ivan adelson portfolio by Ivan Adelson

ivan adelson

Education University of Michigan|Ann Arbor, Michigan Master of Architecture with Distinction|May 2012 Taubman College of Architecture+Urban Planning University of Michigan|Ann Arbor, Michigan Bachelor of Science in Architecture|May 2010 Taubman College of Architecture+Urban Planning

Academic Awards and Scholarships Taubman College Continuing Scholarship_merit based|2011-2012 academic year Tower Pinkster Scholarship Fund|August 2009 Binda Scholarship Competition Finalist|May 2008

Professional Experience Eisenman Architects|New York, New York Internship|June-August 2011 Kohn Pedersen Fox Associates|New York, New York Spring Break Externship_facilitated by Taubman College|February 28-March 4, 2011 Guerin Glass Architects, PC|Brooklyn, New York Internship|May 2008, June-August 2007 Neumann/Smith Architecture|Southfield, Michigan Internship|December 2006, October 2005-June 2006

Proficiency Computer Literacy|autoCAD_adobe CS_rhinoceros 3d_maxwell render Photography+Film|canon EOS 5d mark II_final cut pro 7 + 10

Design Exhibitions Palladio Virtuel|Yale School of Architecture|August 20 - October 27, 2012 Research+Design|Summer Internship|summer 2011 Eisenman Architects in association with the Yale School of Architecture

Fresh|2011 architecture student exhibition|March 2011 “Media Mass Public”|Professor: McLain Clutter|fall 2010 University of Michigan_Taubman College of Architecture + Urban Planning

Civic Friche|design installation and exhibition of research|September 2010 Research+Design|France Studio Abroad|spring 2010 University of Michigan_Taubman College of Architecture + Urban Planning

I Love You Back|2010 architecture student exhibition|March 2010 “The Urban Cube”|Professor: Thom Moran|fall 2009 University of Michigan_Taubman College of Architecture + Urban Planning

Design Publications The Normal_detroit|volumes 1,2,3|[www.lulu.com] [thenormal-detroit.tumblr.com/] Research_Photography_Design|Graduate Option Studio|winter 2011 Professor: Christian Unverzagt

Civic Friche|journal of emergent urbanity|September 2010 [www.lulu.com] Research_Reactions_Experience|France Studio Abroad|spring 2010 Professors: Steven Christensen+Anya Sirota

Ivan Joshua Adelson 301 East 38th Street, apt. 17c New York, New York 10016 248.514.0084 ivan.adelson@gmail.com http://www.ivanadelson.com

table of contents selected academic works|2009-2012 taubman college of architecture + urban planning

dip·lo·pia

.....................................................................07

media mass public

.....................................................................29

lighting G-TAC, globe trade art center

.....................................................................45

the urban cube

.....................................................................67

palladio virtuel

.....................................................................71

ARCHrepresentation

.....................................................................87

DRAWNforth

.....................................................................93

brooklyn’s vertigo

.....................................................................99

d.r.t. (discovery. resurrection. transplant)

....................................................................103

dip·lo·pia make belief architecture|thesis|arch660/662|2011/12 professor: keith mitnick 2g4_thesis research/design studio | m.Arch

The human condition presents individuals with various forms of borders, both physical and psychological. Architecture as a form of mediation corroborates the moment physiological/ psychological effects are produced, while maintaining the potential to negotiate, blur and amplify these territorial situations. The boundary in question becomes agitated, confused; developing an architecture to not only explicate the role of the line, but to set up the line as a means of territorial difference; to formalize the border. The title “Diplopia,” commonly known as double vision, is the simultaneous perception of two images of a single object that may be displaced horizontally, vertically, or diagonally in relation to one another. This project attempts to develop a spatial disconnect between what you see and how you experience it, in other words a moment of spatial diplopia. Sited on the political boundary between Hamtramck and Detroit, the project is designed to oscillate between and react to the conditions surrounding it, to amplify and exacerbate the boundary at odds with its circumscribed reality. This work sets forth an investigation into the spatiality and lifestyle of the single family dwelling; the architecture’s goal is to visually/experientially subvert these notions of reality and reimagine the question of boundaries within the domestic realm.

Concerned with both real and imagined parameters, “Diplopia” calls into question the agency of defining a territory; where the simple crossing of a cognitive line may register new rule sets, ideologies, lifestyles, through a new formal arrangement/composition. The narratives of such agency enable fiction to become reality, for the abstract to become literalized and experienced tangibly. “Diplopia” employs a hinge of oscillation, in response to Alberto Perez-Gomez’s “perspective hinge,” between architecture and various disciplinary approaches which most closely associate, or render themselves relevant. This project has been subjected to a range of historical works, precedents, as a means to generate a list of individuals who are designed to be key players in the project’s conversation. A precedent is defined as “something done or said, that may serve as an example or rule to authorize or justify a subsequent act of the same or an analogous kind.” The precedents, shown at the right, help put the project in the disciplinary in-between; a mode of working within architecture, while looking outside the discipline to understand the variety of techniques regarding spatial relationships and formal organizations.

juan gris, landscape at beaulieu, 1918

wassily kandinsky, on white, 1923

theo van doesburg, contra-construction, 1923

orson welles, citizen kane, 1941

harold edgerton, skip rope, 1952

josef albers, structural constellation, 1953-1958

peter campus, double vision, 1971

bruce nauman, green light corridor, 1971

gordon matta-clark, splitting, 1974

richard serra, tilted arc, 1981

maria nordman, de ondas, 1985

peter eisenman, casa guardiola, 1988

embt|miralles-tagliabue, mercaders house, 1994

hiroshi nakao, black maria, 1994

abelardo morell, the brooklyn bridge in bedroom, 1997

valerio olgiati, national park center, 2002-2008

invisible edge that makes itself present

boundary as a spatial divide|the road

boundary within boundary|space within space

boundary within boundary|territorial line

a. The Detroit-Windsor border represents a boundary condition by which

an invisible edge makes itself present. The invisible edge provokes the notion of making the intangible, tangible, while trying to materialize its abstract parameters with material characteristics.

b. Alter Road, the political border between Detroit and Grosse Pointe Park,

represents a boundary condition serving as a spatial divide. Instantiated by the relative densities of both sides, the Road, becomes a territory of transition, the threshold to render the physical/psychological effects of the given situation.

c. The Wall at Alter Rd. and Goethe St. represents another boundary

condition serving as a spatial divide between Detroit and Grosse Pointe Park. Designed with the intention to keep undesirables out of Grosse Pointe Park, the Wall is the physical manifestation of boundary control/ regulation regarding socio-economic and political separation.

boundary as a spatial divide|the wall

d. Possessing the spatial relationship and organization of the Russian

matryoshka doll, Detroit’s political boundary consumes a socially, politically, and economically separated swath of land, establishing a boundary within a boundary or a space within a space. The cities of Highland Park and Hamtramck occupy this separated territory, creating a city within a city.

e. With a shift in scale the political boundary between Detroit and

Hamtramck presents itself as a territorial line; rather than the road as a division between two places, “the line” splits residential blocks and cuts through the houses. This territorial line is analogous to the DetroitWindsor border, in that it does not possess or embody a physical presence, but is entirely understood through its tangible parameters.

f. The “territorial line” only exists in cartographic space, there lacks a

boundary within boundary|split block home

differentiation in the built architecture between Detroit and Hamtramck. The Boundary within Boundary category incurs another case study, the split block home. “Diplopia” uses this case study as a point of departure to visually/experientially subvert notions of reality and reimagine the question of boundaries within the domestic realm.

zoning regulation regulation manipulation manipulation pu scale: 1/8” = 1’-0”

ground o floor floor plan: plan: scale: a 3/32” = 1’-0” 1’-0

altered landscape landscape proposal proposal sal sa scale: 1/8” = 1’-0”

first stt ffloor s floor l loor plan p plan: plan: an scale: ale: a e 3/32” 3/32 3 32 = 1’-0” 1’-0

ax roo ono f s met ca rriicc pe hh : te oouu rri ssee: tor : ial pe rsp ec tiv e

roof o plan: plan: scale: a 3/32” = 1’-0” 1’’---0” 1’-

sit ua tio n

ax gro ono un me d f trriicc loo hh r: moouuss ee ee:: t, i nte rac t, ff uuss ee,, rreep pee ll

ax sc ono ale me : 3 trrii /166 cc hh ”” = oouu 1’- ssee:: 00””

ax firs ono t fl me oo trriic r: t c hh he oouus do see:: me sti c

media mass public faith|thresholds studio|arch552|f.2010 professor: mclain clutter 2g1_arch design V | m.Arch

The megachurch, in its typical form, does not present itself as a religious institution, but rather a facility for masses to gather and be entertained within a media-enhanced environment. Sited in Detroit, this project borrows and leverages the megachurchâ&#x20AC;&#x2122;s use of media, establishing a new sense of community through implementation of a media driven, socially engaging structure. The project is formally conceived as a singular, monumental exterior, with an aggregated, open interior, that borrows and repurposes the spatiality of Detroitâ&#x20AC;&#x2122;s vanishing context. Within this porous spatial interface, the building is infused with a media interface of screens and monitors that keep independent functions and programs throughout the structure in constant communication with one another. The project reflects upon and responds to the nature of the megachurch and its occupants by calling for an interaction between audiences accustomed to engagement with media.

The map of Detroit, Michigan as presented is the resultant construction of strategic [mis]use/abuse of Geographic Information System (GIS) software. Used in an unconventional manner for spatial and numerical data investigations, GIS provided insight regarding how the megachurch behaves as an actor in the exurban landscape, how it defines and measures territory, as well as establishing a locale for public engagement. The megachurch strategically positions itself with the ability to tap into surrounding infrastructures, demographics, and socio-economics with the intention of providing motive for either inward/outward development; hence the preferred locale of the exurban landscape, a region or settlement that lies outside the city and usually beyond its suburbs. Thinking of the megachurch as a catalyst, Media Mass Public positions itself within occupiable vacancy hoping to create urban green space while establishing a new sense of community through the implementation of a media driven, socially engaging performative structure.

megachurch visit

highway intersect with internet usage

income per capita (black[high] - white[low])

vacancies | urban green space

street grid | major/minor

potential sites for Media Mass Public

program as interface/interface as structure program as interface|interface as structure

â&#x20AC;&#x153;a social interface is a critical point of intersection between different lifeworlds, social fields or levels of social organization, where social discontinuities based upo

on discrepancies in values, interests, knowledges and power, are most likely to be located,â&#x20AC;? (prof. dr. n. long)

media, technology, constant reminder

transparent walls as enhanced interface

media interface as constant reminder

media/technology as constant reminder thickened walls as bounding condition

transparent walls as enhanced interface

transparent walls as enhanced interface hard, rigid, circulation within program

thickened walls as bounding condition thickened walls as bounding condition dendrite connection as fluidity across site

hard, rigid, cirulation within program hard, rigid, circulation within program

dendrite connections as fluidity across site dendrite connection as fluidity across site

3rd street martin luther king jr. boulevard

M-10/John C. Lod

ge Freeway

peterboro street

charlotte street

temple street 3rd street

gra er

riv 0’

96’

192’

384’

site plan

art center small gift shop

customer assistance

art center aux. lobby

checkout

home_appliances

BEST BUY bar/waiting area mens room

womens room

kitchen

mobile phones

metals/fab lab

galleries

restaurant entry

glass blowing studio

gps_car_marine

2 womens room

art center lobby

music_dvds

mens room

womens room

children's galleries

lecture hall (216 seats)

coat room

musical instruments

conference room

womens room

mens room

small bar small reception space

geek squad

auditorium

indoor sculpture galleries

BEST BUY

concession stand

ticket booth

home theater/audio

tv_video

mens room

womens room

campus administration

microsoft XBOX360

checkout film exhibition space

mens room

womens room

BEST BUY

film center info desk

Sony Playstation 2_3

cameras_camcorders

campus information station

Nintendo Wii

video games_gadgets

mens room

womens room

video games_gadets

0’

section 1-1

64’

section 1-1

scale: 1”=64’

128’

256’

ground floor plan

dancefloor open to below

mens room

womens room

restaurant dining area

cafe

private dining

workshop space

open to below

classroom

cafe

open to below

workshop space

womens room

classroom

restaurant dining area

classroom

mens room

lecture hall

open to below

digital media archive

book store

theater lobby balcony

open to below book store checkout

open to below

projection room concessions

digital media administration auditorium

reception

mens room

womens room

open to below

large screening room (304 seats)

interactive virtual media

film exhibition space

installation space

mens room

womens room

0’

64’

128’

256’

first floor plan

section 2-2

section a-a

lighting G-TAC, globe trade art center the normal|options studio|arch562|w.2011 professor: christian unverzagt 2g2_arch design VI | m.Arch

In the last 50 years, Detroit has been home to racial tension, riot, protest, strike, automotive and architectural decay; “ruin porn” is at the forefront representing Detroit’s historical aftermath; there have been sparks of creativity beginning to fill the voids and ignite a storm of positivity for a city deemed by media as negative and bleak. The city itself is now becoming the source of inspiration for artists, local and abroad. “Art is one of the last things outsiders associate with Detroit. But drive the streets and you quickly realize the city possesses an energetic, grassroots creative class that not only spreads color, whimsy, and provocation across the landscape, but also serves as an engine of redevelopment.” The objective was to transform the Globe Trade Building into an artist’s incubator, a provider of space, utility, resource, and machinery. With rentable studios and collaboration space, the process of making and that of production would become transparent, and the public would begin to engage with and become a valued part of this event. The hope is to create a central hub of energy for the city and through teamwork and collaboration, begin to redevelop the visual landscape of Detroit as a means to fight blight with art and vision.

Site|Situation. 1. the spatial location of an actual or planned structure or set of structures (as a building, town, or monuments) 2. an area or piece of land where something was, is, or will be located 3. a particular set of circumstances existing in a particular place or at a particular time; the way in which something is placed in relation to its surroundings

north elevation scale: 1”=16’

east elevation scale: 1”=16’

south elevation scale: 1”=16’

unrolled elevation scale: 1”=32’

moments of intervention given condition (preserved or extracted)

west elevation scale: 1”=16’

east elevation scale: 1”=16’

westelevation elevation west scale: 1”=16’ scale: 1”=16’

west elevation scale: 1”=16’

site plan scale|1:4000

site pla sca

plan oblique, light volume formations

The Light. 1. an energy producing brightness: the energy producing a sensation of brightness that makes seeing possible 2. a general notice: general or public notice, attention, or knowledge 3. a way something is viewed: the manner in which somebody or something is regarded, especially by the public

plan oblique, light volume formations, with suspended lighting system

scale|1”=16’

Open to Below O w

restaurant

Open to Below l

Machine Shop Addition

open to below

Open n to Below e

gallery|exhibition

Open to Below

open to below

Open to Below

retail

open to below

Open to Below

open to below

entrance for gallery|restaurant

Shipping & Receiving up

first floor

studios

Industrial L Loft Building

Industrial Loft Building

scale|1”=16’

first floor plansecond

floor

The Plan. 1. a system for achieving objective: a method of doing something that is worked out in advance 2. a layout: a drawing or diagram on a horizontal plane of the layout 3. to work out how to do something: transitive and intransitive verb to work out in advance how something is to be done or organized

scale|1”=16’

second floor plan

Chipping Room|c.1910s

theater

Machine Shop|1892

installation|flexible space

Machine Shop Addition|c.1910s

Foundry|1902

Machine Shop Addition|c.1910s

Foundry|1902

installation|flexible space

bar

bar up

Shipping & Receiving|c.1910s

fabrication shop fabrication shop Industrial Loft Building|1902

fabrication shop Industrial Loft Building|1902 fabrication shop

fabrication shop fabrication shop

scale|1”=16’

ground ground floor floor plan scale|1”=16’

ground floor plan

scale|1”=16’

the urban cube two kinds of monsters|arch432|f.2009 professor: thomas moran ug3_arch design III | b.s. arch

Through an attempt to create an interior urban fabric, the complexity of the project’s interior organization resulted in the external form possessing the simplicity of a platonic cube on point, allowing the form to be readily identified from the exterior. The Logan Square education facility conceptually sought to evoke the perception and spatial experience of the city each floor is modeled after (Paris, Barcelona and Savannah). The openings in each floor plate became interior/exterior atriums allowing natural elements to penetrate through the building, to bring the outdoors, in. The objective was to merge ideas professed by Rem Koolhaas and Leon Krier with regards to bigness and the village, through housing an interior urban fabric. “The ambition is to exploit the growing scale of schools for their potential benefits pragmatically, urbanistically, and formally.”

3 2

ground floor/mechanical room ground floor|mechanical room

first floor/main entrance 1st floor|main entrance 1. information/reception desk 2. cafe 3. bookstore

second floor/public gallery 2nd floor|public gallery

third floor/activites 3rd floor|activities 1. auditorium 2. studio space 3. library 4. school store 5. cafeteria 6. bathrooms

fourth floor/instruction 4th floor|instruction

fifth floor/administration 5th floor|administration

sixth floor/public roof garden 6th floor|public roof garden

palladio virtuel eisenman architects|internship|s.2011 professor: peter eisenman + matt roman summer internship | research + analysis

The summer internship at Eisenman Architects was a course in history, a lesson regarding precedent, and an inquiry into the world of formal analysis. Assigned to Peter Eisenman’s academic team, an extensive analysis of Andrea Palladio and 20 of his Villa projects were placed under scrutiny with respect to “Eisenman’s proposal [of] a virtual Palladio of adjacencies, superpositions, and overlays… show[ing] a complex Palladio of indeterminate relationships, oscillating between possible interpretations.” Given the task of analyzing Villas Cornaro, Zeno, and Emo, the first assignment was to discover multiple occurrences of the ABCBA pattern found in Palladio’s work. “The A is the atrium or frontispiece, the B is the transition space, the C is the central space, B is the rear transition space, and A is the rear portico.” Second, synoptic/ analytic 3-dimensional models were developed as an architectural means to embed the various layers of information discovered in Palladio’s plans as re-drawn for I Quattro Libri dell’Architettura. The third assignment was supplementary to the notion of an ABCBA organization laid out by Peter Eisenman’s theoretical position; these notational axonometric drawings focus on a range of formal transformations and manipulations evident through Palladio’s plans. The following representations are the result of close interaction and group discussion with Peter Eisenman, research assistant Matt Roman, and the accompanying Team Palladio. Graphic, formal, and modeling languages/techniques were established as a team and finetuned through individual intensive work.

Following Rudolf Wittkower’s topological research on Palladio and Colin Rowe’s linking of modern architecture to the Renaissance, Peter Eisenman has been working on a different way to understand architecture today through the work of Palladio. Instead of typology, proportion, or history, Eisenman proposes a virtual Palladio of adjacencies, superpositions, and overlays, which have no preferred or original ground. This work in the context of today’s thinking, marks a departure from the aesthetic ideals of surface, representation, or figure-ground. Starting from plans which include the barchesse, conveniently ignored by Rowe and Wittkower, the plan becomes an autonomous entity. Rather than seeing Palladio as a mannerist deviating from a Renaissance ideal, these drawings show a complex Palladio of indeterminate relationships, oscillating between possible interpretations. The exhibition attempts to open up Palladio to multiple readings, suggesting a latent instability in the work which runs counter to a commonly held assumption that Palladio’s architecture can be thought of as ontologically or typologically whole, present, or complete. Rather than pinning Palladio’s legacy to an abstract idea of resolution–compositional, stylistic, etc–that looks outside architecture for its standards and legitimization, we could read Palladio’s legacy instead as a confrontation with certain persistent internal formal problems. Eisenman’s redrawing of Palladio further displaces any notion of stability or origin in Palladio’s work. abstract authored by Peter Eisenman with Matt Roman

Palazzo Chiericati

Palazzo Della Torre

Palazzo Thiene

Villa Almerico (Rotunda)

Villa Cornaro

Villa Zeno

Villa Emo

Villa Badoer

Palazzo Della Torre

Palazzo Thiene

Villa Almerico (Rotunda)

Villa Angarano

Villa Villa Zeno Godi

Villa Emo Villa Pisani Bagnolo

Villa Villa Badoer Poiana

Villa VillaFoscari Repeta(Malcontenta) Campiglia

Palazzo Thiene

Villa Almerico (Rotunda)

Villa Angarano

Villa Sarego Santa Sophia

Villa Thiene Cicogna Villa Villa Badoer Poiana

Villa Trissino

Villa Valmarana

Villa VillaFoscari Repeta(Malcontenta) Campiglia

Villa Sarego Cologna Miega

Villa Emo Villa Pisani Bagnolo

Palazzo Chiericati

Palazzo Della Torre

Palazzo Thiene

Villa Almerico (Rotunda)

Vil

a. notational axonometrics of formal transformations/manipulations highlighting [mis]alignments of openings, expansions/compressions, off-centering, shifting + [a]symmetries b. iterations of both the ideal and virtual ABCBA spatial relationships

Villa Cornaro

three part axonometric drawing of analytic model Villa Zeno

Villa Emo

Villa Badoer

Villa Fos

Villa Sare

Villa Godi

Villa Pisani Bagnolo

Villa Poiana

Villa Repeta Campiglia

Villa Sarego Santa Sophia

Villa Thiene Cicogna

Villa Trissino

Villa Valmarana

Villa B

A B

C B

B A

B/ C

ideal ABCBA

virtual ABCBA

illustration of analytic model

THE VILLA CORNARO AT PIOMBINO DESE [1553] is the first villa to extend outward from the main villa body with wings, which in other villas become barchessa extensions. Here the extensions are still functionally and formally part of the main villa body. To read an ideal villa it is necessary to detach these extensions and pull the rear portico outward to produce a symmetrical ABCBA volumetric and functional arrangement. A virtual villa is produced by reading the original plan in a slightly different way. The rear portico, A, is pushed into the rear transition space, B, producing an A/B overlay. The central space, C, is figured by a series of flat pilasters and half-round niches, and appearsâ&#x20AC;&#x201C;in one possible readingâ&#x20AC;&#x201C;to press into the front transition spaces, in turn, extend into the added side rooms, while the front portico is simply attached to the main body of the villa. exhibition text for villa cornaro by Peter Eisenman with Matt Roman

3d rendering of final exhibition model

Palazzo Della Torre

Palazzo Thiene

Villa Almerico (Rotunda)

Villa Angarano

Villa Zeno

three partVilla axonometric drawing of analytic model Villa Badoer Emo

Villa Foscari (Malcontenta)

Villa Pisani Bagnolo

Villa Poiana

Villa Repeta Campiglia

Villa Sarego Cologna Miega

Villa Thiene Cicogna

Villa Trissino

Villa Valmarana

Villa Barbaro (Maser)

A B

A/ B

B/ C

ideal ABCBA

virtual ABCBA

illustration of analytic model

THE VILLA ZENO AT CESSALTO [1560] has a seemingly typical three-bay condition, or nine-square parti. However, it is the center to which attention must be paid. First, it should be noted that Palladio’s presentation of the plan in The Four Books seems turned around, with the major portico entry at the top of the plan, where traditionally it is at the bottom of the plan, facing up. There is only one portico, which is compressed into the B transition space. There is no portico on the courtyard side, but rather a pair of side entries into what would normally be the transition bay and a minor entry on axis, directly into the main C space. This makes it difficult even to project the possibility of an ideal villa. This condition produces multiple virtual possibilities, specifically a rather unique A/B condition because of the side entries at the “front,” or courtyard side, of the villa. The minor entries at Zeno are the only ones in Palladio’s work to connect the barchessa to the villa body without a portico. exhibition text for villa zeno by Peter Eisenman with Matt Roman

3d rendering of final exhibition model

Palazzo Thiene

Villa Almerico (Rotunda)

Villa Angarano

Villa Emo

three part drawing of analytic model Villaaxonometric Badoer Villa Foscari (Malcontenta)

Villa Poiana

Villa Repeta Campiglia

Villa Sarego Cologna Miega

Villa Trissino

Villa Valmarana

Villa Barbaro (Maser)

A C

A B A/

ideal ABCBA

virtual ABCBA

illustration of analytic model

THE VILLA EMO AT FANZOLO [1564] may be the most virtual villa of all because it is the most difficult to translate into an ideal villa. The front portico is collapsed into the front B transition bay, which is followed by a second B circulation bay that pushes the main C, or central space, completely to the rear. Thus, from the rear, the main space is in an A or A/B position producing a C/B/A condition. While Emo is nominally a compressed nine-square parti, when the parts are read by location, what would typically be a large C volumeâ&#x20AC;&#x201C;the center of the main body of the villaâ&#x20AC;&#x201C;is actually occupied by two internal stairs and a very narrow vestibule or transition space. In the virtual diagram, the C volume disappears entirely, leaving a void between the front and back halves of the main villa body. exhibition text for villa zeno by Peter Eisenman with Matt Roman

3d rendering of final exhibition model

ARCHrepresentation seminar: projective geometries|arch516|f.2011 professor: rosalyne shieh manual geometric projection | orthographic + perspectival

Alberto Perez-Gomez writes “representation is not a neutral tool or mere picture of a future building” furthermore “the tools of representation have a direct influence on the conceptual development of projects and [the] generation of forms.” In an age of digital process, understanding, and design, what is the disciplinary status of the practice of drawing with regards to spatial inquiry? What would result from an “[interrogation] of the relationship between a drawing’s production and its conceptual objectives?” Representation is the spatializing of intelligence; it is “the translation of complex thinking into spatial constructs.” This course offered an opportunity to “examine the means by which drawing [is used] to describe, in a measured way, objects, spaces and relationships in the world.” Exposure to basic principles of projective geometry and the construction of orthographic projection, via manual processes, allowed for the invaluable development of dexterity and versatility in the realm of architectural representation.

perspective projection

principal + auxiliary views

oblique views + planar sections

DRAWNforth seminar: drawn forth|arch509|f.2011 professor: perry kulper experimental architectural representation

the ethics of drawing the proximities of the architect the drawing and architecture the temporality of drawing the characteristics of experience the drawings as things in the world the act of drawing and un-drawing the drawing as a â&#x20AC;&#x153;groundâ&#x20AC;? for accumulation the shuttle of ideas to formal and material states the production of visual agencies of editing, forgetting, erasing the augmentation of spatial conditions the fusion or the combination of the digital and the manual objectives discussed and provoked courtesy of professor perry kulper

draw[erase]remember 504 marks (24 sets of 21) 001 iconic house plan_wolf house|mies van der rohe 252 marks remain 1/2 wolf house remains 168 marks censored|4 blue tick marks on text 1/3 wolf house censored|4 blue tick marks on image 084 marks remembered|blue cross hair w/ yellow triangle on image 1/6 wolf house remembered|blue cross hair w/ yellow triangle on text if text “erases” the graphic mark on left, then text “remembers” mies on right... if image “erases” mies on right, then image “remembers” graphic mark on left

crossings|digital manual combine digital [black]

villa tugendhat ludwig mies van der rohe/brno|czech republic, 1930 casa del fascio giuseppe terragni/como|italy, 1936 kaufman desert house richard neutra/palm springs|california, 1946 house VI peter eisenman/cornwall|connecticut, 1975 museum abteiberg hans hollein/mรถnchengladbach|germany, 1982

manual [red] rapidograph pen|koh-i-noor .80mm nib point translucent vermilion ink|koh-i-noor

brooklyn’s vertigo overconstruction|wallenberg studio|arch442|w.2010 professor: cathlyn newell ug4_arch dsign IV | b.s. arch

Investigating potentials within construction sites and inherent inhabitability, an attempt to exploit the “overconstructed” situation of Williamsburg, Brooklyn, is generated through a visually unfinished installation, while reality provides a finished occupyable space. Terrain vague includes “Unincorporated margins, interior islands void of activity, oversights, these areas are simply un-inhabited, un-safe, un-productive. In short, they are foreign to the urban system, mentally exterior in the physical interior of the city, its negative image, as much as a critique of a possible alternative.” The objective is to embody the strangeness of site and its context through enthusiasm for its vacancy. Vertigo is defined as “a sensation of motion in which the individual or the individual’s surroundings seem to whirl dizzily.” Confusion, disorientation, lack of stability; vertigo emphasizes the typically un-inhabited, and renders it occupy-able. Williamsburg holds its destiny, but no longer will it remain untouched; beyond the safety barricade, something will take place, occur, happen.

no no

rth

8th

9th

str ee

rth

7th

str ee

rth

6th

str ee

rth

5th

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d.r.t. (discovery. resurrection. transplant) rough + orange|propositions studio|arch672|f.2011 professor: perry kulper 2g3_arch design VII | m.Arch

Confined by its historicity, Cambridge (U.K) is in need of moving forward, to establish a new trajectory, one of historical remembrance and future technologic prospect. Over the last 100+ years, space within Cambridge has gone missing, forgotten, mis-placed, mis-located due to gradual development; however the city remains trapped, imprisoned by its static present-ness. In an attempt to reboot and amplify a lineage/history that has become stagnant in appearance and mentality, this project begins by remembering the psychological orphans which have been left behind and lost their place within the city. Cambridge. [las]Vegas. Melbourne. Proto-architecture. Draw, Erase, Remember. Mis-reading. Here + There. Google Earth. Proximities. Geographic Coding. Prison. Archaeology. Raum Plan. Technology. Propulsion. Mathematics of Unknown. Spectacle. Orange. Misfits. Larva, Cocoon, Butterfly. Holographic. Resolution. Conceivable Whole. Historically Fragmented. Profane. Virtual. Narrative. Retrospective. Projective. Immediacy. Double Agent. Temporal Split. Duration. Noise. Translation. Free Plan. Surveillance. Then, Now, Future. Artificial. Energies. Invisible Spaces. Scramble. Objects. New Sites. Displaced. Iridescence. Analogous. Cipher. Synthetic. Mechanical. The Discovery. The Resurrection. The Transplant.

Cambridge, United Kingdom as viewed from Google Earth. How can the Google Earth technology allow for design decisions to arise? How can decisions made on the ground begin to influence and perhaps glitch Google Earth and perceptual activity? There is a simultaneous concern regarding the aerial vantage and the perceptual experience of Google Earth, and when these modes of “looking/engaging” become the operative means of understanding architectural production. The question becomes, what can Google Earth do for the practice and production of Architecture? Prior to 1849, what is commonly known as Market Square was once home to single family residences; the great fire destroyed that which occupied this location, allowing for the development of a new geographic center. This space became the heart of Cambridge’s civic, social, and public interaction. In search of this future technologic prospect, Cambridge has set out to establish itself as a new technological frontrunner with not only advancements in science through Cambridge University, but through its own Silicon Fen, referential to Silicon Valley. The market space, a charged, contested site, is prime suspect for reinvestment with technological incubators; the new face of Cambridge will create a presence in the heart of the city with close proximity to the University to continue collaborative research and experimentation.

cambridge_1903

1903-1927

1903/1927

1927-1960

1927/1960

cambridge_1927

1903-1960

1903/1960

1927-2010

1927/2010

cambridge_1960

cambridge_1903

1903-2010

1903/2010

1960-2010

1960/2010

cambridge_1927

cambridge_1960

cambridge_2010

The project assumes a role in the representations of histories, as provided via historical satellite imagery (i.e. Google Earth). Starting in 1903, the project begins to track various forms of development within Cambridge, including the disappearance and emergence of space over time. Biopsies are taken from 1903, 1927, 1960 and 2010, to gather a spectrum of over 100 years of development. By sampling these historical mappings, a series of inherent overlaps and mis-registrations begin to emerge as formal opportunities in relationship to the given ground condition of Google Earth. D.R.T. objectifies these moments of mis-communication and capitalizes on the ability to define and memorialize forgotten/lost spaces of time.

1903-2010

[mis]registration

[mis]location

[mis]identification

The Discovery. Predicated on the act of collecting data pertinent to understanding the history of Cambridgeâ&#x20AC;&#x2122;s psychological orphans, the tracking devices create fissures as a means of establishing a form of remembrance; to remember that which has been forgotten. This is the marking of space lost over time. These fissures become the stage for the resurrection, the rebooting of time in place.

The Resurrection. Developing around the notion of the spectacle; it is “an eye catching or dramatic public display” within the city. Invisible objects shuttled overhead flicker with information and materiality, never wholly presenting itself or rather what it is yet to become. The architectural objective is never fully explicated, relying on the emergence of “an” architecture rather than “the” architecture itself.

The Transplant. Focusing on the Market Square–a symbol of the civic, social, and public–as the site for an architectural intervention, it will become home to the technology incubators. The resurrected objects are transported in hopes of establishing a new center for Cambridge, UK; one that speaks to the city’s history while simultaneously projecting a new technological agenda for the region’s future.

eames plastique_the VitraHaus / weil am rhein|germany, 2010

Ivan Joshua Adelson master of architecture with Distinction|2012 bachelor of science in architecture|2010 university of michigan/ann arbor, michigan taubman college of architecture + urban planning

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