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Designing Furniture at the Intersections of Drawing and Making

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Designing Furniture at the Intersections of Drawing and Making
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Castaño Urrea, Catalina
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University of Florida
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English

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Undergraduate Honors Thesis/Project

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Abstract:
Through the series of making models, sketches, and drawings at different scales and stages of the project, this thesis explores experiences of these modes of representation to understand how the process of making is an active part of arriving at a final design and then speculates how this process relates to architectural practice. The methodology tracks each step from beginning to end taken to arrive at a final construct and then analyzes the roles that each production step plays in the process. Utilizing craftsperson’s cyclical making techniques, architecture students’ awareness of all the forces that are part of a design project from concept through to final built work, and the final phase of this thesis looks at how the specific exercise fosters a method of architectural inquiry. ( en )
General Note:
Awarded Bachelor of Design, summa cum laude, on May 6, 2023. Major: Architecture
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College or School: Design, Construction and Plan
General Note:
Advisor: Charles L. Hailey. Advisor Department or School: Architecture.

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Copyright Catalina Castaño Urrea. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.

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1 Designing Furniture at the Intersections of Drawing and Making Catalina Casta ño Urrea School of Architecture, University of Florida Undergraduate Honors Thesis Charlie Hailey March 10, 2023

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2 Abstract Through the series of making models, sketches, and drawings at different scales and stages of the project , this thesis explores experiences of these modes of representation to understand how the process of making is an active part of arriving at a final design and th en speculates how this process relates to architectural practice . The methodology tracks each step from beginning to end taken to arrive at a final construct and then analyzes the roles that each production step play s in the process. Utilizing craftsperson cyclical making techniques, of all the forces that are part of a design project from concept through to final built work, and the final phase of this thesis looks at how the specific exercise fosters a method of architectural inquiry. Introduction Background methods of designing and making can help us become more attuned to what we design and the way that projects are built (Pallasmaa, 2009 ) . Through the making of a console table, material studies and cyclical modes of representation such as drawing and modeling aid the process of working on wood and the development of the design. Design 8 Furniture Studio The Design 8 Furniture Studio consist ed of designing and making a piece of furniture for the first half of the semester. The project could be any kind of furniture that studies material behavior and detail . Through a method of sketching, drawing, and modeling, students can consistently test their concepts and develop a finished furniture piece. Based upon interests in different materials and types of construction, students could begin to explore architectural ideas through the making of the furniture. (Belton, 2022).

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3 Methodology Foundations For this project, group material and material processes research built a foundation on the different methods of furniture making. I nitial research focused on joinery; inquiring about how similar materials join (e.g. wood to wood, metal to metal), how diffe rent materials can be joined (e.g. metal to wood), and the logics that they require. This provided a basic understanding of the different joint typologies and their structural behavior, which could then be translated into design proposals. The initial re search informed personal interests in wood to wood joinery, beginning to pose design questions into one to one scale models. The purpose of these investigations was to begin to establish a proof of concept, understanding of material behavior, and practice on craft. Influenced by traditional Japanese building methods, where glue, screws , or nails are not used or needed due to the complexity of the joinery, these initial studies sought to use similar making techniques while also investigating how the corner of a piece of furniture could be represented. Material and Assembly Studies Thre e initial joint mockups were created: a castle joint, a corner miter joint, and a finger joint. These studies helped build an understanding of the behavior of the wood and the different variables that must be considered when laying out the joint design. Fu rthermore, they began to inform questions about proportion, scale, and structural forces.

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4 In the castle joint model (Figure 1) , the joint failed altogether in the assembly stage. The was laid out and cut following the grain of the wood, making for a weak point in the top. This break in the joint could be avoided by either go ing against the grain or by changing the proportions of the different pieces. The castle joint did successfully show a method in which the corner of a table could be expressed by having each directional plane represented as its own piece while interlocking at the corner point. The corner miter joint model also had a similar outcome (Figure 2) . It expressed each the two mitered pieces met. This would foster ideas about how different types of wood could create contrast against each other and highlight desi gn ideas. Questions about proportions would also arise to create a sense of hierarchy between the different pieces of the assembly, and while doing so, start to answer how this joint could span the length of a tabletop and remain structurally sound. Figure 1 Castle Joint Figure 2 Castle joint

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5 The finger joint was a departure from the initial design challenge to not use any fastening or bonding tools, having to use glue to bond the strip s together at the bottom edge to become a leg. Yet it posed interesting design questions when having to answer the idea of highlighting a he other joint studies did , and questions about how to manipulate the strip s to do so started to shift the focus of the condition, like the other joints, it w ould constitute the corner by not having one and instead engage the corner as a void. Figure 3 finger joint

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6 The next set of concepts posed a means to answer the question of how to make a voided corner while using the finger joint method. Initial ideas like turning the joint 45 degrees were deemed undesirable due to the amount of stress that the tabletop corner could experience. The next idea was to mirror the initial leg design 45 degrees along the corner middle axis, leading to eight individual legs, which was aesthetically undesirable. Yet, it did add the structural stability needed to handle the table top while also beginning to engage the corner as a void. To keep the positive findings from the eight legs concept, the wood steam bending studies sought to find ways into bringing the two legs together as one. Steam bending was initially difficult and unsuccessful. Pine pieces would break under pressure and the method for steam bending by completely submerging the pieces of wood in a tub with hot water had too many variables, the main one being the lack of a constant high enough temperature. After the class acquired a proper steam bending box the process of bending the wood was significantly easier along with making some changes to using hardwoods, in these mockups , it was oak and poplar (Figure 4) . This method and material changes were successful and began to lay down the foundation for proof of concept: a table with voided corners composed of strip pieces of wood as the legs. Figure 4 I nitial steam bending mock ups, from left to right: oak, red oak, and poplar

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7 Th inking through Drawing The next phase of the project in volved sketching to develop the design concept of the table efficiently. Not every single idea needed to be modeled but they could all be tested through drawing. Being able to quickly see and test out different proportions and layouts, and even during this phase of sketching all ideas that the table began to establish a logic for its joinery as well as its proportions. For example, to maintain the integrity of the wood strips while they twiste d, a second tabletop or shelf was added as well as wooden blocks between each strip to strengthen the joint . The design of the table began to emerge as one that would explore the potential of the corner through the construction of the legs. Digital modeling and drawing were used in this step to produce templates for all the pieces. Throug h this practice, proportions, size, and rhythm kept being tested until arriving at the final dimensions of the table (Figure 6 ) . Along this process, full scale prints of the drawings were produced to further understand how the dimensions set on the computer screen would engage with the human body. Figure 5 Thinking sketches

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8 Modeling to Scale S cale models of the table were made to further analyze the design and its potential problems. First, a model on a one inch to one foot scale was made. This model tested the proportions of the console table as well as different assembly possibilities. For in stance, it tested how the table may look with six total or four total strips per leg. Yet it still left questions about assembly unanswered. A three inch to one foot scale model was then made to have a closer look at how Figure 6 All iterations of the design Figure 7 Dimension test Figure 8 Corner construction detail

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9 these two different compositions (n umber of strips) look and compare to each other. It was determined that the four strips assembly was more aesthetically desirable. The next step would be to produce a full complexities of the final table assembly. B efore moving into a full scale model of the needed to be considered . As a means to further establish a hierarchy in the design, contrasting wood tones were chosen. Red oak was selected as the tabletop material for its strength , allowing it to be a thin piece of wood while not sacrificing the integrity of the joint s which would be under heavy stress during the twisting process of the strips. To contrast the tone of the red oak, cherry was chosen for the strips and blocks , and for its prope rties as a wood responsive to steam bending. With these materials decided, a full scale model was made to test the cherry strips as they would be the pieces of the whole assembly under the most amount of stress and simultaneously familiarize with the methods of steam bending and assembly (Figure 10) . With both materials and design fully established , the making process of the table c ould now begin. Figure 9 From left to right, 1":1' scale model, 3":1' scale model

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10 Final Assembly The table was constructed through the following series (Figure 11) of steps: 1. Plane, cut, dimension , and square all the wood slabs. 2. Cut the oak and glue the different slabs together to make the tabletops. 3. Cut the cherry strips and blocks . 4. Dimension and cut all the joints . 5. Glue cherry blocks to the tabletop. 6. Steam the cherry strips . 7. Glue strips to the table and clamp ends together to form the legs . 8. Cut strips flush to the surface . 9. Sand and add a finish . Figure 10 Table leg full scale model

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11 Figure 11 Different stages of the table assembly

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12 Conclusion Final Design Proposal width. It has two surfaces, made of red oak, that are storage opportunities. The legs are an assembly of six total indiv idual pieces, made in cherry, leg and its point of contact with the ground. corner altogether. The construction of the legs draws focus to the corner while creating a spatial condition th at is occupiable and open to the hand . Figure 12 Final table along with all other process models

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13 Architectural Applications This project tested the corner as an architectural moment where instead of two intersecting planes meet ing , it can be treated as a spatial feature . Whether it is through the manipulation of light or as a space that it is desirable to occupy , Museum Gipsoteca Antonio Canova windows or Louis Fisher House respectively, the treatment of the corner in architecture continues to be challenged. The process of making this table provided insight into provided a vehicle to explore architectural questions , in this case about corner conditions , demonstrating how objects can be a foundation for architectural ideas. Acknowledgments This Design 8 Furniture Studio project was applied to research thinking through making as part of one of the exercises for the University Scholars Program. Findings from this making exercise helped add another scale of projects s eeking to understand embodied thinking and its applications in architectural practice . To Professor Charlie Hailey , thank you for consistently believing in me and for your support throughout my upper division experience . Your mentorship has been i nvaluable and a defining factor in my undergrad uate trajectory. Through your encouragement , I have accomplished things I . To Professor Stephen Belton , thank you for providing a studio environment and culture that encourages experimentation and failure to develop a design.

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14 References Belton , Stephen . (2022). Architectural Design 8 [Syllabus]. Gainesville, FL: School of Architecture, University of Florida . Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. United Kingdom: Wiley, 2009., pp ., 11 20 .


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