An Architectural and Design Thinking Challege
THE CONTEXT
We were given two silhouettes abstracted from classmates’ previous elevation and plan drawings and challenged to connect them into a single three-dimensional composition. The only constraints were scale (fitting within an 11" × 11" × 17" box) and the requirement that both original forms remain legible within the final design.
How can two unrelated geometries coexist and communicate as one coherent spatial system?
DESIGN PROCESS
01
Discover
Understanding the Problem
02
Define
Establishing Rules & Logic
03
Develop
Iteration & Material Studies
04
Deliver
Final Model
DISCOVER
Starting sillouettes
Rationalizing the two forms. Defined the connecting trapezoidal form.
Rule 1: Connecting the trapezoidal forms from rationalized sillouettes
My first step was to study their geometry and identify shared axes, edges, and voids that could become sites of connection. This process exposed structural relationships hidden within their outlines — allowing me to define an early rule for connection: link the two forms through a continuous trapezoidal volume that mediates their differing proportions and scales.
DEVELOP
Building from the initial rules, I began a series of small sketch models to test how the trapezoidal connection could operate in three dimensions. Each iteration explored different ways the two silhouettes might fold, overlap, or hinge around shared voids, turning two disconnected profiles into a continuous spatial sequence.
Rule 2: Triangulate all double curved surfaces
As the studies progressed, I introduced a second rule: triangulate every surface to eliminate double curvature and maintain geometric clarity. This rule created a system of planar connections that could flex between scales while preserving structural logic.
To further ground the composition in the language of the second silhouette, I extruded its column system downward, generating a strong diagonal gesture that anchored the form. The columns were split according to their original widths, preserving the rhythm of the façade and translating a two-dimensional order into three-dimensional structure.
Final Sketch Model: To-Scale
FINAL PRODUCT
TAKEAWAYS
Designing Through Systems
This project taught me how to translate intuition into logic — building a coherent system from seemingly unrelated forms. Defining clear rules for connection, triangulation, and proportion allowed complexity to emerge naturally, proving that strong design often comes from structured thinking rather than spontaneous form-making.
Constraints as Catalysts
Working within strict limits — fixed dimensions, surface rules, and inherited geometries — revealed how constraint fuels creativity. Each boundary became an opportunity to discover new relationships between structure, rhythm, and material, teaching me to see restrictions as design tools, not obstacles.
From Architecture to Product Thinking
Through this process, I realized how architectural problem-solving parallels product design. Both require systems thinking, iteration, and clarity of hierarchy. The same mindset that organized columns and folds now guides how I structure digital interfaces — designing spaces, whether physical or virtual, that feel intentional and intuitive.
Last updated Oct. 2025
Contact
s.feng@yale.edu