Sean OlmsteadMidterm Learning Portfolio

Arch. 101 Spring, 2014

Prof. Jerry Lum

The language of design radiates from every creature, object, facet, and idea that we experience in the world. From the structures of our habitats, to the motion of birds in flight; from the intervals of a Beethoven sonata, to the blossoms of a cherry tree in Spring; we cannot escape the influence of this language, though we may not always be aware of it. In order to gain a greater understanding of the impact the world has on us, it is essential to learn not only how to speak this language, with all its subtle grammar, vocabulary, and secret metaphors, but also how to listen to and comprehend the messages hidden within. To do so is to open ourselves to a profound world of harmony and beauty. This portfolio represents a chronicle of my time toward this end.

The Language of Design

Icebreaker:Malevich’s Suprematist Composition 2

Approaching the Malevich assignment, I began with the idea that nothing in the universe is static. All matter, from the microscopic to the macroscopic, is in a state of flux, changing from one form to the next. Nebulas coalesce to form stars and planets. The cells in our bodies multiply and eventually decay. Looking at “Suprematist Composition 2,” I asked myself in what state of change do these forms, the circles and rectangles, the lines and curves, exist as I see them in this in this painting, as though in a snap-shot? If I apply vectors and motion to these shapes, where are they headed? Are they being drawn toward each other by gravity? Or perhaps being expelled from one another through a cosmic explosion? I didn’t believe there was an intrinsic answer to these questions with regards to this piece. The ebb and flow of attraction and repulsion are part and parcel of the whole. As gravity pulls matter toward itself, the universe expands, ever increasing the space between matter.

2D Malevich study

However, for the sake this project, I decided it would be more interesting to draw the elements of the painting together rather than further repel them from one another. I spent quite a lot of time studying the painting’s individual elements in two dimensions, specifically as they related to circles of certain relative radii. Basing the circle size upon the curve of the pink “mouth” or “watermelon” shape in the upper left corner of Malevich’s work, I began arranging other elements within the circle to see if I could find any patterns. I was stunned by what I noticed as I laid the pieces down. Some elements measured exactly the radius of the circle. Others, notably the larger rectangular or trapezoidal pieces seemed to interact with other elements of the painting. For instance, I might lay a piece with four corners so that two of its corners were touching the circumference of the circle. I could then find another piece with a side whose length exactly matched that of the first piece’s innermost side (closest to the center of the circle). In several instances, one corner of the second piece would now be exactly touching the circle’s

circumference opposite where the first piece’s corners touched the circumference. In other instances, if I added a third element, arranging it again by side length or tangential to the meeting point of the first two elements, I often found I could arrange it so that a corner was now touching the circumference of the circle. Using these observations as my inspiration, I decided to arrange the elements of my piece so that their extremities would form contact points with the perimeter of a sphere. Thus, the elements would revolve around central axis, giving it a perceptible center of gravity and a kind of centripetal symmetry. This I juxtaposed with a single arching form, pouring horizontally from one side. This form stands as an explicit reference to the circle and sphere which are generally only implied by the main structure of the piece, as well as giving the overall piece a sense of motion as it relates to the aforementioned idea of universal flux and change.In the end, I was minimally successful with the concept of the sphere, as I found it incredibly difficult to maintain an equal distance between the elements’ extreme points and the center of the sphere. The intended dimension of the sphere was to have a diameter of 5.5” and a radius of 2.5”, thus necessitating that all extremities of the piece be 2.5” from the center. The final product was very inconsistent with this measurement, varying from around 2” to 3.5”. I believe this was due to the difficulty in perceiving precise distances on an X, Y, and Z axis measured out in empty space, as well as attempting to twist and manipulate the pieces in relation to one another so as to maintain a certain vitality and playfulness in their interactions.

First Malevich iteration

Second 3D Malevich iteration, and 2D study of radial geometry and organizational principles of Suprematist Composition 2.

The next project we took on involved creating a new design iteration and then creating a set of step by step instructions for the construction of this new design. This exercise proved surprisingly challenging. For one thing, the act of communication is a two-way street, requiring aptitude in verbalization and comprehension from both parties. Any failures in this precarious balance, on either side, and the process cannot be realized. I felt that this was also the first practical experience I had with the importance of developing a highly specific and expressive tectonic language. As such, being so immature regarding design experience, I found that I was far more successful at both expressing and comprehending design instructions when allowed the use of diagramed steps and kits of parts.

The Written Instructions Exercise

As we delved forward into the expressive qualities exercise, I chose the adjectives calamitous, stumbling and ephemeral. These qualities all imply the senses of time and change, which I feel are essential in creating dynamic designs. As well, these qualities reinforce one another. For instance, calamitous flames reduce the stumbling logs of a campfire to the ephemeral ruin of ash and smoke. After deciding upon these adjectives, I was tasked with delving into their true meanings; their true essences. I did this not only by finding their literal definitions, but their synonyms and antonyms as well. Doing so provided a frame of reference based in the idea of the gestalt figure/field. The expressive qualities become ever clearer not only through the ideas which they express (figure), but also through the ideas which frame them through antithesis and contrast (field).While the significance of this exercise was not immediately apparent--architectural design, at first glance, hardly seems in need of a literary foundation--it soon became clear just how relevant this exercise in linguistic expressionism was. First of all, human thought is inextricably linked to language. For better or worse, our creative processes and potential, therefore, are essentially tethered to boundaries or frontiers of our linguistic capabilities. As exhibited in the previous exercise, this is especially true in the realm of design. Beautiful, meaningful design requires a great level of intention and purpose, which we can only attain in a thorough and sophisticated verbal context.

Expressive Qualities &The Design Language

Calamitous Stumbling Ephemeral

Definition: causing great harm or suffering

Synonyms: catastrophic, cataclysmic, destructive, ruinous, unfortunate

Antonyms: preservative, creative, innocent, helpful, nondestructive

Definition: lasting a very short time

Synonyms: brief, fleeting, transient, transitory

Antonyms: ceaseless, dateless, perpetual, immortal

Definition: coming unexpectedly or by chance

Synonyms: tumbling, collapsing, fumbling, staggering

Antonyms: rising, standing, coasting, sliding

Calamitous

Ephemeral

Stumbling

These overlay sketches reveal the patterns and organization in these photos of qualitative objects or events. The stumbling boulders exhibit rectilinear forms and stark, alternating shadowed surfaces. The calamitous explosion, however, is comprised of many staccato lines which seem to terminate at random and which generally radiate outward from a central axis, ground zero of the explosion, as it were.

Organizational Principles Revealed

As I began to further my understanding of organizational principles in design, I was faced with the daunting task of expanding my awareness to the myriad ways in which they might be manifested. A few examples include:

Understanding Organizational Principles

● Variation● Repetition● Spatial relationships on the x, y, and z axes● Line measure and line weight● Alignment● Increased or decreased complexity● Hierarchy● Proximity● Rhythm● Implied lines or surfaces● Volumes and spaces● Color● Texture● Sequence● Magnitude

Gesture Drawing

From our focus on literary expression through design, we swiftly segued into a very physical manifestation those expressions: charcoal gesture drawings. As we began doing these drawings, I found I was presented with new challenges as well as new opportunities to fulfill my design potential. Having never considered myself much of a "drawer," I approached this element of design with much trepidation. How could I possibly find the means to express the emotion of my previously chosen adjectives? The answer was much simpler than I anticipated. As a medium, charcoal is highly responsive to variations in pressure, velocity and angling. As such, the medium can act as a very organic extension of the body, instantly recording the emotion behind gesture and gesticulation.

For instance, many fast, short and hard movements of the hand will be instantly recognizable on paper as emoting frenetic aggression, while long, broad sweeping gestures will be seen as undeniably elegant and graceful. This process naturally led to the recognition of organizational principles as they related to the qualities which I wished to express in my designs. I began to realize that developing an acute awareness of these principles would prove to be a crucial aspect of my journey down the road toward developing to expressive design language.

StumblingCalamitous

Calamitous

Using the principles of tectonic and expressive design language development honed through our gesture drawings, naturally the next step was to create three-dimensional iterations imbued with our expressive qualities. This would prove to be the most challenging step yet. As I focussed on organizational principles which enhanced the qualities I wished to express, I occasionally saw how levels of organization (or lack there of) can spring up inadvertently, creating unintended expressions, or even contradicting my intended expressions all together. For instance, overt repetition of parallel lines might seem to call into question my intended expression of calamity. At these moments, I was forced to reevaluate my approach and assumptions I made regarding my designs and organizational principles. I began to see the importance of not taking any level of organization for granted, and that this is perhaps one of the biggest hurdles to overcome in my development as a designer.

Expressive Quality Iterations

It is important to note that at this point in the process, we are seeing a holistic, multidimensional design perspective develop. From my initial analytical, geometrical approach, to the focus on an expressive vocabulary, to this current physical, gestural connection to design, it becomes clear that design is an immersive process; one must engage all the senses and corners of the intellect in order to fully express and find communion with one's intended design.

My first iteration focussing on my chosen expressive qualities felt a bit too dense and lacking in cohesion. For the subsequent iteration, I decided to focus on more voluminous, rectilinear shapes to convey the qualities calamitous, stumbling and ephemeral. I feel this was an improvement in overall form, yet it still needed work in organizing elements such angles and hierarchies of magnitude to express the intended qualities.

As we move along in developing an expressive design language, we see that the object is not merely to imbue our designs with emotive qualities, but to allow those qualities to convey or be reflections of an implied narrative. Just as emotion and expression are elements of the stories which our lives author from day to day, it is essential to allow this kind of narrative to play out in the designs we create. Though these narratives are not always explicitly available to one experiencing a particular design, they are the key to unlocking the heart and imagination, and thus fulfilling the potential of design to be fully experiential and, to a degree, interactive. This would prove to be the most challenging exercise yet. Basing my narrative off of my expressive qualities, I began with the idea that my personal conviction and resolve are elemental in maintaining balance and harmony in my life. Balancing those things which I hold dear, such as my relationships, education, and artistic growth, requires the ability to maintain focus and to avoid distraction and self-destructive behavior. Failure to do so results in me stumbling, bringing calamity to these things which I care about, and thus showing the potential for ephemerality in that which is meaningful when matters of the heart are not attended to carefully. These narrative iterations came to light in the form of framed designs. This approach, I feel, has been helpful as, by tearing away the skin from the design, the fundamental organizational principles at work are exposed, and thus, much as the fossilized skeleton of a dinosaur reveals a great deal about the anatomy and behavior of that animal, it becomes a great deal easier to see the ways in which the design supports or opposes the intended narrative and imbued qualities.

Frame Expressions &The Narrative

My first framed iteration seemed to support the narrative fairly well in the way it seemed to devolve and deconstruct itself as it progressed from the closed rectilinear forms to open ended, unresolved forms, however the organizational principles lacked cohesion. There was no developed logic behind the magnitude of the forms, their relative angles and the points at which they converged. The second iteration was somewhat more refined through its organizational simplicity, however, certain elements such as the short, vertical components at the top still did not seem to work toward clarifying and expressing the intended narrative.

First frame iteration Second frame iteration

By the third framed iteration, I found that my narrative was beginning to evolve in response to the materials I was using (bamboo skewers) as well as the the project itself. I found as I attempted to break free from my predisposition toward and fixation on rectilinear, cubical forms, my materials made that quite difficult. As a result, by using the simple logic of disallowing parallel edges to make contact in connecting a series of cubical forms, each open along one edge, the narrative developed toward the idea of inflexibility of form and logic precluding the possibility of coming to a definitive conclusion and state of completion. I feel that I was the most successful in this iteration in expressing a fairly sophisticated notion quite succinctly through the an abstract, tectonic design.

Third frame iteration

As I progress through my education toward becoming a designer, I become ever more aware of my design shortcomings and the hurdles which I face. However, I do not fret these facts. Instead, I see that they portent enormous possibilities and potential. I am faced with the opportunity not only to express myself and create designs of great beauty and profundity, but also to view the world--disasters, miracles, and all--with an unprecedented degree of detail and meaning. For this I am grateful and in full anticipation of the wonders that await.

What’s Next?