iv. exploration

[f47]
A glimpse at sketches from exploring with a focus on solid forms.

Degrees of hesitation would flux throughout exploring different approaches and strategies of design. The experimentation remained mainly in analog form, with select moments welcoming digital exploration. Analog methods were preferred as it decreased the hesitation and potentials of disconnect. As the traditional “problem solving” aspect was absent throughout the design process, design intentions were carried strongly with instinct and emotion. This was able to be translated stronger through analog methods of study models and drawings compared to digital designing. While intuition was followed in all realms, the digital results were naturally more precise, producing exact geometries compared to the products of analog exploration. Aside from technical methods, the design process was experimented through three different principles: form, material, and site.

form

[f48]
When studying different parameters to design without function driving decisions, a categorization on types of form was developed. Formal design was explored relative to some of these categories.

[f49]
Testing dynamic modeling using string through soft density foam.

[f50]
Combining clay and rigid extruded polystyrene foam as “firm and malleable” design object.

[f51]
Subtractive method of form finding through carving rigid extruded polystyrene foam.

[f52]
Soft density foam condensed creating a volume rather than a surface.

[f53]
“Solid Firm” object sketches.

[f54]
“Solid Malleable” object sketches.

[f55]
“Frame Malleable” object sketches.

[f56-57]
Digital sketches exploring different materials and orientations for the same object.

The approach focusing on form started and remained in the physical realm for a while. Although different materials were experimented with, the focus was not comparative but rather focused on one material at a time to explore different formal strategies. Most were monolithic, with limited moments of material combination. Form finding occurred through subtractive and additive strategies when appropriate. Modeling physically, especially in the subtractive methods, allowed for the most intuitive connection and free flow during the design process. As there were no guides put in place for this exercise, the resulting objects were vastly different and unique from each other.

As formal experimentation continued in analog two dimensionally, it took on a categorical approach. While taking into consideration the study models that had been explored until this point, and considering material relationships existing objects have, the following categories were distilled. First, a binary divide between solid and hollow, or framed, objects. Within these two categories were firm and malleable. The two by two matrix resulted in four categories: solid firm, solid malleable, frame firm, frame malleable. [f48] Mundane objects that would fit into each category respectively would be a rock, a plush toy, a storage container, and a tent. These categories acted as the design parameters for an exercise. The sketches focused mostly on objects that would fit into one category, however there were also moments of consideration for designing with the parameters combined. Working with physical study models provoked defining these categories. While each category still allows for endless opportunity, it was a first step at understanding how to place limits on the design strategy. The formal design parameter was provocative but not enough. There was a back and forth between drawing and modeling, which eventually led to modeling digitally.

Digitally modeling was not prioritized intentionally. Although the precision of digital work is typically favored for many good reasons, the precision digital geometries inherit is the reason it was not preferred in this process. There is a connection between hand and drawing utensils that does not exist the same between hand and mouse. When working digitally, there needs to be another layer of decision and intention that goes into the commands entered and lines drawn. Despite this challenge, the exercise of digital modeling was also a necessary step in the process of defining the relationship between designer and design process. The quick turnaround time of digital iterations is a tool to take advantage of when going through various design strategies.

The formal design process had various avenues within it, some more productive than others, however all contributing towards the final design strategy. Learning which methods were not imperative as parameters was crucial in making progress.

site

[f58]
Mapping of site conditions that could be parameters for design strategy. The categories and subcategories were listed with the intention of a random generator combining different conditions to create an unbiased list of site that could be used to provoke design decisions.

[f59]
Two exercises where the intention started with responding to the randomly generated combination of site conditions. The site conditions are written at the top. As can be observed, the initial sketch outlines some of the conditions, but as the sketch develops and ideas are formed, the more the site conditions became irrelevant. Not in a way that they were being ignored, but that the design choices being made were not affected by the conditions listed.

While a categorical system was developed when designing strictly formally, it did not provide enough limitations for the designs to be guided and result in comparable objects. Up until this point, the only decided factor relative to site was the interest in public spaces. Spaces that are shared and utilized by a variety of people. Transitioning away from strictly formal categories, utilizing site factors as the limits and motivations for design decisions became interesting. A list of site conditions and the subcategories were drawn up, a matrix of sorts was the result. The idea was to have a random selection from each category which would come together to create a unique site condition. It seemed as if this was the key to the design challenge. The randomly selected external conditions would drive the design decisions. Once the algorithm was set, and the various site conditions were randomly selected, the exercise occurred through analog sketching. A rude awakening took place with the realization that the sketches were resulting in not much different results than those when the driving factors were pure formal characteristics. These site conditions developed through a matrix were not the key to unlocking designs without functional factors.

material

[f60a]
A material study was completed by modeling the same object with different materials, aiming to achieve the same shape. Due to different material natures, some were closer to the original than others. Understanding the effect material can have on an object’s use is critical. This study also helped in conceptualizing the fabrication processes and its relationship with designing objects a certain way. Certain materials inherit specific scales or behaviors, requiring design solutions to react in a certain manner.

[f60b]
A material study was completed by modeling the same object with different materials, aiming to achieve the same shape. Due to different material natures, some were closer to the original than others. Understanding the effect material can have on an object’s use is critical. This study also helped in conceptualizing the fabrication processes and its relationship with designing objects a certain way. Certain materials inherit specific scales or behaviors, requiring design solutions to react in a certain manner.

The consideration of materials was always on the mind in the background while design exploration was occurring through the lens of formal categories and site strategies. Though as the former approaches came to be unsatisfactory, material as a driving factor took the frontline for a moment of time. For this period there was a return to a focus on study models. Rather than playing with formal states different materials can acquire, an exploration ensued of creating the same form in various materials. Different materials had to be manipulated in different ways, where some were permanently affixed in the desired form, and others only temporarily. This study naturally led to the question, is the thesis one about formal qualities or material behavior? This was a moment of reflection and step back on what the thesis was trying to do. A conversation on material introduces layers which pushes the conversation into a different direction than intended. Material brings on the considerations of scale, details, and fabrication. While these are topics that are of interest and have a place in the conversation, the realization and decision was that these are not the primary points of conversation the thesis wants to focus on. The component of scale stays relevant and finds its place, however not in a manner analogous to fabrication and material qualities.

scale

[f61]
Activating the objects through different uses and scales after they were designed was an integral step in understanding the potential objects may or may not have when they are designed without scale.

The exploration of different design strategies did not include scale as a limiting factor. The aspect of scale was constantly present and forefronted on the mind, however was intentionally not used as a design parameter. The simple reason being that specific scales imply specific uses. It was provocative to model and sketch without a scale, and apply a range of scales onto the same object afterward. This gradation of scale allowed the project to exit the mode of furniture. As the interest started at the human scale, it was a challenge to not consider the design objects as strictly furniture. The typical thought process of a design being multifunctional is that the same object serves different needs in its existing state. Treating scale as a gradient brought a new dimension to the discussion of multifunction. Not only could it be various things in one state, but it could also continue being some of those things while becoming other things as the object got bigger or smaller.

conclusion

Exploring design through the various techniques within the three principles was rewarding as well as disappointing. Throughout this period there were moments that felt stalled, as if progress was not being made, rather going in circles reaching no distinct conclusion each time. Rather than finding the successful design approach, it was an exercise of attempting different design strategies until they proved themselves unfit.

As described, designing with no parameters of function or intention posed an extreme challenge. This prompt could even be said to be ironic, an oxymoron. What is the point of design if not to solve a problem, to satisfy a specific need? An objective often seen in the aesthetics of design, is to establish elements that are deemed “timeless.” A feature that will surpass trends and live on despite its surroundings changing. The challenge of designing without specific intent is a form of seeking a timeless design. Not timeless because it does not adhere to a specific visual aesthetic or trend, but timeless in its function. An approach to design that does not require an adaptation within an expected time frame.

A prompt that demands the dissolving of functional motives for design, also demands the approach and strategy of design to be restructured. A standard approach structured around solution proposing is inapplicable and falls weak. The objective of the thesis is to design a strategy resulting in a multiplicity of designs, not to design a singular solution. While the explorations described in this section fell short of achieving this, they were critical in understanding the significance and lack of importance certain elements can have as parameters in the design process. The realizations were critical in taking a turn in the process of designing a strategy to successfully result in a collection of designs, rather than fine tuning a sole design object through a particular method.

next section: v. design

what is it?

iv. exploration