Stage 03.06 example process
Here is the process I used for the development of the intimate space. All in all, there were about 25 steps, which could have been broken into smaller step. Once again, a lot of the steps look very minor when considered individually, but should produce a developed space/zone en mass. Do not be intimidated by this, and do not be afraid to use these steps to help further develop your spaces/compositions. Developing your formal vocabulary is crucial for the articulation of the spaces/compositions, and trying new steps in a new order is crucial.
A word of advice is that you clearly identify what you are trying to do prior to doing it, write it down, do a quick sketch diagram, then perform the operation/step. Once you have completed the step, determine if you have developed the space within the confines of the diagram from step to step. Remember this is about articulation, not complete transformation, but with that said, an immense amount of work will develop something which may not resemble the original composition. The key is to do so in minor step that accumulate over time. If you can perform this process of identifying deficiencies/potentials, diagramming them, and determine potential solutions, I truly believe that you can design anything.
This is also about identifications of sub-systems, and the development of those. When you perform operations, do so on the individual sub-systems so that each begins to develop its own materiality/tectonic. Think about wether the operation you are performing will help the sub-system stand out against the whole, even when it is viewed in "all white."
An extremely important operational strategy is to develop the systems/sub-systems so that they do not share coincidental faces. Slight shifts or extrusions in a single direction will help to develop depth in and around the object, accentuating the differences between the systems/sub-systems. Remember that a coincidental face/surface will often cause the objects/sub-systems to be percieved as being the same, or part of one another when viewed without materiality.
Intimate Space Identification
The intimate space is shown in context using 25% opacity black.
Intimate Space Isolation
Here the intimate space is simply identified using the 25% opacity black.
Extension
The intimate space is extended along its main access in order to differentiate itself from the surrounding context. The main access was chosen in order to maintain the diagrammatic clarity of the space/component. The resultant of the slight extension is that the space no longer shares a coincidental face with the linkage space allowing for it to be read as a different system.
Micro-Cuts
Here regulating lines from a similar component further away in the composition are used to divide the object, allowing for more possibilities within future steps. These also begin to break the objects scale down.
Surface Scarring
Another set of regulating lines from a non-related component are used to produce surface scars on the object, further breaking the object. The difference between this and the previous steps is that the micro-cuts are used as a complete cut through the object which has a specific width, where as the surface scarring has none. Another operation I could have performed would have been to use "deep surface scarring," which would produce surface scars that have a width, but do not extend all the way through the object's skin.
Carve
A carve is used to identify the object as being inserted. A floorplate was used to develop the placement of this carve.
Plane/Carve
Here I let the surface of the space appear as though it has been pulled away from the object. It could also be considered as a carve dividing the object into two discreet pieces.
Infill
Infill is used between the two discreet pieces to develop a transparency zone between the two solids. I purposefully move the faces of the transparency zone in so that it maintains itself as a zone separate from the solids. This allows for them to be read as different even without the introduction of transparency.
Sub-System Identification
The larger block is identified as the primary sub-system, and plane which has been broken off is now identifed as the secondary sub-system. The transparency zone simply acts as a filler between the two sub-systems.
Primary Sub-System Frame Extension
For this step, a frame is extruded from the primary sub-sytem, connecting it to a path further over in the composition. The frame is developed using a series of rules which govern the patterning/distribution of the frame members. The frame direction was chosen as an extension of the perceived movement of the sub-system through the full composition.
Primary Sub-System Slots
Floor plates are used once again to create slots in the primary sub-system. Because the frame is perceived as extending from this sub-system, it is modulated to appear as though it flows from the object in its current state.
Here is the process I used for the development of the intimate space. All in all, there were about 25 steps, which could have been broken into smaller step. Once again, a lot of the steps look very minor when considered individually, but should produce a developed space/zone en mass. Do not be intimidated by this, and do not be afraid to use these steps to help further develop your spaces/compositions. Developing your formal vocabulary is crucial for the articulation of the spaces/compositions, and trying new steps in a new order is crucial.
A word of advice is that you clearly identify what you are trying to do prior to doing it, write it down, do a quick sketch diagram, then perform the operation/step. Once you have completed the step, determine if you have developed the space within the confines of the diagram from step to step. Remember this is about articulation, not complete transformation, but with that said, an immense amount of work will develop something which may not resemble the original composition. The key is to do so in minor step that accumulate over time. If you can perform this process of identifying deficiencies/potentials, diagramming them, and determine potential solutions, I truly believe that you can design anything.
This is also about identifications of sub-systems, and the development of those. When you perform operations, do so on the individual sub-systems so that each begins to develop its own materiality/tectonic. Think about wether the operation you are performing will help the sub-system stand out against the whole, even when it is viewed in "all white."
An extremely important operational strategy is to develop the systems/sub-systems so that they do not share coincidental faces. Slight shifts or extrusions in a single direction will help to develop depth in and around the object, accentuating the differences between the systems/sub-systems. Remember that a coincidental face/surface will often cause the objects/sub-systems to be percieved as being the same, or part of one another when viewed without materiality.
Intimate Space Identification
The intimate space is shown in context using 25% opacity black.
Intimate Space Isolation
Here the intimate space is simply identified using the 25% opacity black.
Extension
The intimate space is extended along its main access in order to differentiate itself from the surrounding context. The main access was chosen in order to maintain the diagrammatic clarity of the space/component. The resultant of the slight extension is that the space no longer shares a coincidental face with the linkage space allowing for it to be read as a different system.
Micro-Cuts
Here regulating lines from a similar component further away in the composition are used to divide the object, allowing for more possibilities within future steps. These also begin to break the objects scale down.
Surface Scarring
Another set of regulating lines from a non-related component are used to produce surface scars on the object, further breaking the object. The difference between this and the previous steps is that the micro-cuts are used as a complete cut through the object which has a specific width, where as the surface scarring has none. Another operation I could have performed would have been to use "deep surface scarring," which would produce surface scars that have a width, but do not extend all the way through the object's skin.
Carve
A carve is used to identify the object as being inserted. A floorplate was used to develop the placement of this carve.
Plane/Carve
Here I let the surface of the space appear as though it has been pulled away from the object. It could also be considered as a carve dividing the object into two discreet pieces.
Infill
Infill is used between the two discreet pieces to develop a transparency zone between the two solids. I purposefully move the faces of the transparency zone in so that it maintains itself as a zone separate from the solids. This allows for them to be read as different even without the introduction of transparency.
Sub-System Identification
The larger block is identified as the primary sub-system, and plane which has been broken off is now identifed as the secondary sub-system. The transparency zone simply acts as a filler between the two sub-systems.
Primary Sub-System Frame Extension
For this step, a frame is extruded from the primary sub-sytem, connecting it to a path further over in the composition. The frame is developed using a series of rules which govern the patterning/distribution of the frame members. The frame direction was chosen as an extension of the perceived movement of the sub-system through the full composition.
Primary Sub-System Slots
Floor plates are used once again to create slots in the primary sub-system. Because the frame is perceived as extending from this sub-system, it is modulated to appear as though it flows from the object in its current state.
Secondary Sub-System Extension
The secondary sub-system is extended along the length of the primary sub-system. The patterns evident in its original state are also extended through itself. The extension of the plane allows for greater intimacy of the space enclosed by the frame. This extension continues to accentuate the directionality of the perceived movement of the space through the composition.
Secondary Sub-System Reduction
For this step, I pulled back the faces of the secondary sub-system that were coincidental to the primary sub-system. This was done to further accentuate the differences between the two sub-systems, and to emphasize the dominance of the primary sub-system. Here is a view of the whole as well so you can begin to see it in context.
Frame Subtraction
The frame extending from the primary sub-system is subtracted where the path from the context overlaps. This allows for the clear reading of which system came first, and also lends to the appearnce that this particular sub-system attaches onto the existing path in an almost parasitic fashion.
Frame Modulation
The top of the frame is modulated in order to emphasize the top portion which extends over the pathway beyond.
