Cal Poly | 2016-2017 by Alan Maedo

ALAN MAEDO P O R TFO L I O YEAR O1 2016/ 2017 ARCH 131|JOANN MOORE ARCH 132|RYAN BROCKETT ARCH 133|ANGELA BRACCO

CALIFORNIA POLYTECHNIC STATE UNIVERSITY: SAN LUIS OBISPO

T AB L E OF C O N TE N TS

YEAR ONE 2016/2017

ALAN MAEDO 2016/2017

VOL. 01 FALL 2016|ARCH 131 STUDIO MOORE

VOL. 02 WINTER 2017|ARCH 132 STUDIO BROCKETT

VOL. 03 SPRING 2017|ARCH 133 STUDIO BRACCO

00 BIOGRAPHY

01 FIRST PROCESS 02 TECTONIC CUBE 03 SOLID/VOID 04 SHEARED SHAPES

08 14 24 34

05 HUMANS 06 SLOscope 07 paraSITE

46 58 68

08 DESIGN VILLAGE 09 PRECEDENT STUDY 10 PIER 11 PORTFOLIO ARTIFACT

84 98 108 124

ALAN MAEDO [AUTO]BIOGRAPHY

ALAN MAEDO

ABOUT

From Long Beach, California Grew up playing basketball and baseball Goes fishing with his father and brother in the summertime Enjoys sketching and drawing Likes to do things that are crazy And likes things that are crazy

FALL 2016

FIRST PROCESS

TECTONIC CUBE

ALAN MAEDO FALL 2016|STUDIO MOORE

ARCH 131|STUDIO MOORE

SOLID/ VOID

SHEARED SHAPES

ALAN MAEDO FALL 2016|STUDIO MOORE

ALAN MAEDO FIRST PROCESS|FALL 2016|STUDIO MOORE

FIRST

PROCESS PROJECT 01 FALL 2016 STUDIO MOORE

TO ARRANGE A DYNAMIC COMPOSITION The first part of the project was to go around campus and take pictures while trying to abstract them, so they become almost unrecognizable. From a selection of almost one hundred pictures, I was to select nine that I felt succeeded in being abstracted. Then, from these nine pictures, I was to select two to use to create my INTERPOLATED VOID, which can be found on the next page.

NINE COMPOSITIONS The first part of the project was to go around campus and take pictures while trying to abstract them, so they become almost unrecognizable. From a selection of almost one hundred pictures, I was to select nine that I felt succeeded in being abstracted. Then, from these nine pictures, I was to select two to use to create my INTERPOLATED VOID, which can be found on the next page. Using the various forms and linear elements from these two pictures, I created a composition that connected the two pictures seamlessly. This was achieved through cutting, sliding, and manipulating pieces from each picture and adding additional line work that built of the preexisting context of the two photos, ultimately attempting TO ARRANGE A DYNAMIC COMPOSITION. 9 COMPOSITIONS

ALAN MAEDO FIRST PROCESS|FALL 2016|STUDIO MOORE

INTERPOLATED VOID

MEDIUM: Pencil, Micro-pen on Bristol Paper

ALAN MAEDO FIRST PROCESS|FALL 2016|STUDIO MOORE

I learned to let the geometry speak to me, not for me to impose what I wanted on the geometry.

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

TECTONIC

CUBE

PROJECT 02 FALL 2016 STUDIO MOORE

FOLLOWING AN ORDER OF OPERATIONS The end result of the project was to create a 6” x 6” inch cube using only the wood that the professors gave the students, which was 1” x 4” X 48”. The process of the project was about planning the tectonic nature of the cube: how does the cube come together? What cuts need to be made?

STUDY MODELS Through many iterations and drawings, I created a design for my cube. Afterwards, I created various cardboard study models of my design and refined some minor details. Before going into the wood shop to create the cube, I had to think about FOLLOWING AN ORDER OF OPERATIONS. That involved making a cut-list of all the parts of the wood, what machines I would need to cut each part, and how the pieces were going to be arranged.

HALF-INCH CARDBOARD STUDY MODEL: 3” x 3”.

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

FULL-SCALE CARDBOARD STUDY MODEL: 6” x 6”.

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

FINAL DRAWINGS After constructing my tectonic cube, I did orthographic drawings and an isometric drawing. With the orthographic, the line-weights communicate the depth of various planes within my cube; the more prominent lines are closer to the viewer while the more faint ones are farther. With the isometric, all the lines are the true dimensions of the cube, which gives the drawing an unusual distortion.

ORTHOGRAPHIC: Top, front, and bottom drawings of my tectonic cube. MEDIUM: Pencil

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

ISOMETRIC: 45 degrees MEDIUM: Pencil on Bristol.

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

WOODEN MODEL

FINAL WOOD MODEL 6” x 6” MEDIUM: 1” X 4” wood

After cutting out all the pieces for my TECTONIC CUBE, I assembled the cube itself through very little white glue and a lot of clamping.

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

DETAIL SHOTS

ALAN MAEDO TECTONIC CUBE|FALL 2016|STUDIO MOORE

The key to a successful TECTONIC CUBE project is to plan everything out clearly before going into the wood shop.

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

SOLID/

VOID

PROJECT 03 FALL 2016 STUDIO MOORE

RELATIONSHIP BETWEEN POSITIVE AND NEGATIVE SPACE The objective of SOLID/VOID was to create a 6” x 6” plaster cube. The mold of the cube was based off of diagrams by early 1900s modern artists. In a way the plaster model is a 3D extrusion of the diagrams.

99 DIAGRAMS The first phase of the SOLID/VOID project was to create 99 DIAGRAMS. I selected Bauhaus artist Laszlo Moholy-Nagy, and based off of three drawings he did, I created 33 diagrams from each drawing.

99 DIAGRAMS: Based off of three drawings by Laszlo Moholy-Nagy MEDIUM: Pencil, Micro-pen, Trace

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

STUDY MODELS

Using Bristol paper, I constructed various study models based on three of the 99 DIAGRAMS I drew. The goal of these models was to EXPLORE THE RELATIONSHIP BETWEEN POSITIVE AND NEGATIVE SPACES by extruding the diagrams from 2-Dimensions to 3-Dimensions.

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

FINAL DRAWINGS

SECTIONS: Two sections from two various planes in the model. MEDIUM: Pencil on Bristol

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

AXONOMETRIC: 30/60 degrees. MEDIUM: Pencil on Bristol

After TECTONIC CUBE, the next types of drawings I executed were sections and axonometric. Like the isometric, the dimensions of the oblique are also true to the dimensions of the 6” x 6” SOLID/VOID cube I created.

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

PLASTER MODEL Once I got the design finalized, it was time to create a plaster mold out of cardboard. The process took about 26 hours. The cardboard mold was lined inside with metal tape to prevent leakage. After the plaster was filled into the mold, it was left in a sunny location to cure for a couple of days. After it was done curing, the cardboard pieces were all torn off, and the plaster model was sanded down.

FINAL PLASTER MODEL 6” x 6” MEDIUM: Plaster

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

DETAILS

ALAN MAEDO SOLID/VOID|FALL 2016|STUDIO MOORE

If there was a next time, I would have laser cut all the cardboard for the plaster mold.

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

SHEARED

SHAPES

PROJECT 04 FALL 2016 STUDIO MOORE

CREATING SPACES THROUGH FOLDS AND BENDS The objective of SHEARED SHAPES was to create a metal form that could fit within a 6” x 6” x 6” cube. The SHEARED SHAPES were based off of simple primitive forms, such as the cube, cone, tetrahedron, and cylinder. From those primitive shapes, planes were sheared, and eventually the students started to think about how the shape was going to fold together, which resulted in the idea of a net.

STUDY MODELS BRISTOL STUDY MODEL

I constructed four “Primitive Shapes”: a cube, cylinder, tetrahedron, and cone. I then selected the cube and started to shear the planes through the study models. Then, I started to think about how I was CREATING SPACES THROUGH FOLDS AND BENDS, so I also started to create various seams, such as lapping seams. In addition, color was added for emphasis on the interior planes.

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

CHIPBOARD STUDY MODELS

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

FINAL DRAWINGS

COLLAGE: Cut-out magazine pages onto an isometric of my SHEARED SHAPE MEDIUM: Pencil, magazine paper on Bristol

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

OBLIQUE: 30 degrees ORTHOGRAPHIC MEDIUM: Pencil on Bristol

After constructing the final SHEARED SHAPE metal model in the metal shop, it was time for some drawings. On the left is a collage done inspired from a TIMESCAPE LAB gallery. Above are oblique and orthographic of my SHEARED SHAPE. Like the isometric and axonometric, most of the dimensions of the oblique are true to the dimensions of the SHEARED SHAPE.

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

METAL MODEL

FINAL METAL MODEL MEDIUM: Sheet Metal

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

DETAILS

ALAN MAEDO SHEARED SHAPES|FALL 2016|STUDIO MOORE

What was planned out beforehand is limited to the capabilities of the machines in the metal shop.

WINTER 2017

HUMANS [PROJECT]

SLOscope [PROJECT]

ALAN MAEDO WINTER 2017|STUDIO BROCKETT

ARCH 132|STUDIO BROCKETT

07 paraSITE [PROJECT] 68

ALAN MAEDO WINTER 2017|STUDIO BROCKETT

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

HUMANS PROJECT 05 WINTER 2017 STUDIO BROCKETT

THE HUMAN BODY BECOMES A SITE The first part of the Humans project was about creating a lot of silhouettes and extensive diagramming of human actions. And, based on the diagramming, each student created a paper garment that would reflect some insight gained from diagramming the human body. To cap it all off, the first annual Paper Garment Show was held.

SILHOUETTE A N TH R O P OMET RIC S Here are 84 SILHOUETTE ANTHROPOMETRICS that took forever. Each dynamic action contains a front view and an angle view, and each view has ten silhouettes to demonstrate the action.

STATIC POSES

JUMPING SERIES

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

ROLLING SERIES

TWISTING SERIES

DUAL ACTION SERIES

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

SILHOUETTE 2: Twisting DSet I Series 2 A G R A M M I N G

Alan Maedo ARCH 132-09 Brockett 3-6

TWISTING Series 2

Set 2: Twisting Series 3

Alan Maedo ARCH 132-09 Brockett 3-6

Scale 1”=1’

TWISTING Series 3

Set 2: Twisting Series 4 Scale 1”=1’ TWISTING Series 4

Scale 1”=1’

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

Alan Maedo ARCH 132-09 Brockett 3-6

Set 1: Jumping Series 2

Alan Maedo ARCH 132-09 Brockett 3-6

JUMPING Series 2

Set 1: Jumping

ScaleSeries 1”=1’ 3

Alan Maedo ARCH 132-09 Brockett 3-6

JUMPING Series 3

Set 1: Jumping Series 4 Scale 1”=1’

Alan Maedo ARCH 132-09 Brockett 3-6

JUMPING Series 4

Scale 1”=1’

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

PROTOTYPE CONSTRUCTION

GARMENT 1 (far left): Based on my JUMPING SERIES. GARMENT 2 (middle): Based on my TWISTING SERIES. MEDIUM: Copy paper

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

Based on the diagrams, I constructed 3 different prototype garments. With these garments, THE HUMAN BODY BECOMES A SITE.

GARMENT 3 (far right): Based on my ROLLING SERIES. MEDIUM: Copy paper

ALAN MAEDO HUMANS|WINTER 2017|STUDIO BROCKETT

FINAL GARMENT

Sometimes the process does not matter as long as the final product is fantastic.

TOP LEFT: Epic shot on the fourth floor of the 05 ARCHITECTURE building. PAGE 54-55: Details. BOTTOM RIGHT: Garment Show. Photo taken by Emily White.

GARMENT MOVEMENT

ALAN MAEDO SLOscope|WINTER 2017|STUDIO BROCKETT

S L O scope

PROJECT 06 WINTER 2017 STUDIO BROCKETT

FRAMING A VIEW AND ATTACHING TO A SITE SLOscope had two main parts: 1) a joiner, and 2) a periscope proposal. A JOiINER is a collection of images of a specific area that are arranged together to create an immersive feeling of that space. Each student created their own JOINER, and based of the JOINER, each student created a periscope proposal and prototype that described how the periscope would capture a certain view.

SLOscope JOINERS LEFT: First draft joiner. Each photo is 2” x 3”. MEDIUM: Copy paper RIGHT: Photo of my FOUND SPACE that my joiners are based off of.

SECOND DRAFT JOINER: Black and white. Each photo is 2” x 3”. MEDIUM: Copy Paper.

ALAN MAEDO SLOscope|WINTER 2017|STUDIO BROCKETT

Above is my final JOINER. Each picture is printed on 4” x 6” glossy paper from CVS. The joiner represents the first part of the SLOscope project. I went downtown and discovered a FOUND SPACE, an intimate space that was not intentionally created.

ALAN MAEDO SLOscope|WINTER 2017|STUDIO BROCKETT

PERISCOPE PROPOSAL

Based on the joiner, I created a PERISCOPE PROPOSAL. The periscope would capture the running river by my found space. MEDIUM: Pencil, Sign Pen, Micro-pen, copy paper, trace on Bristol

FINAL PROTOTYPE FINAL PERISCOPE PROTOTYPE MEDIUM: Bristol paper, cardboard, chipboard

I constructed a PERISCOPE PROTOTYPE that hung from the light beams of the studio. At the base of the PROTOTYPE, I framed a wide view of the river near my FOUND SPACE. The picture in the base slides back and forth as if the PERISCOPE was rotating. I had to consider FRAMING A VIEW AND ATTACHING TO A SITE.

ALAN MAEDO SLOscope|WINTER 2017|STUDIO BROCKETT

DETAILS

ALAN MAEDO SLOscope|WINTER 2017|STUDIO BROCKETT

I should have taken good pictures of my project before BRENT FREEBY threw out all the SLOscopes.

ALAN MAEDO paraSITE|WINTER 2017|STUDIO BROCKETT

para

SITE

PROJECT 07 WINTER 2017 STUDIO BROCKETT

ATTACHING TO A SITE AND FEEDING OFF A SITE ALAN MAEDO|THEALEYNA NEWSTAT|JENNIFER COLCLEASER Parasite was the first big group project of the year. Each group was assigned a specific site on the architecture building. The first part of the project dealt extensively with site analysis. The second part of the project dealt with designing a temporal installation onto the site based off of the site analysis. Finally, the last week of the project was simply building.

FORCED PERSPECTIVE FINAL SQUARE MEDIUM: Tape

LEFT and RIGHT: Different points of view of our FORCED PERSPECTIVE

Our group was located at SITE 100, which was located in the grass courtyard of Building 05. We explored the various elements of the site by constructing a FORCE PERSPECTIVE square.

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

AS-BUILT DRAWINGS SITE PLAN

DETAIL

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

SITE ANALYSIS Before designing the paraSITE, our team did some site analysis. We diagrammed circulation, materiality, shadows, views in, and views out. The main idea we got out of doing the site analysis is that our site is multi-leveled, so one of the driving forces of our paraSITE was to make it climb over the wall onto the upper walkway, essentially ATTACHING TO A SITE AND FEEDING OF A SITE.

CIRCULATION Most people circulate around our site rather than through it. The bike racks serve as obstacles to get into our site, so there seems to be specific access points. seating bike racks foot traffic

MATERIALITY Vegetation dominates our site. In addition, a lot of installations already exist, such as the hanging benches and the metal sculpture.

metal wood

vegetation concrete

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

SHADOWS Each color indicates a different time of day in which the shadows cast. For the most part, because our site is insulted by the walls, it does not receive a lot of sunlight.

VIEWS IN The main focal points of our site are the man-made objects, such as the metal sculpture.

VIEWS OUT When people rest in our area, they tend to look at the architecture building, mainly towards the upper walkways.

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

PERMIT SET SITE PLAN

PLAN Our paraSITE is constructed out of a bunch of tetrahedron straws strung together by REX-LACE.

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

SECTIONS

DETAILS These details show how initially our paraSITE was going to attach to the site.

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

FABRICATION PROCESS Me grinding down the welds on our metal rod attachments.

Jen and me securing part of the paraSITE to the upper walkway.

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

Most of the time was spent in studio stringing together straws using REX-LACE. Our time in shop was spent creating our wall attachments which we refined to just metal rods.

LEFT: Thea using the chop saw to cut the metal rods. RIGHT: Jen using a blow torch to heat up a metal rod so it can be bent.

Securing the REXLACE to the metal rod attachments.

ALAN MAEDO|JENNIFER COLCLEASER|THEALEYNA NEWSTAT paraSITE|WINTER 2017|STUDIO BROCKETT

FINAL paraSITE DETAILS MEDIUM: Straws, REX-LACE, metal rods, LEDs

Not every critic actually knows what they are talking about.

BIG MOODY: Charcoal on Mylar

SPRING 2017

DESIGN VILLAGE

PRECEDENT STUDY

ALAN MAEDO SPRING 2017|STUDIO BRACCO

ARCH 133|STUDIO BRACCO

PIER PROJECT

PORTFOLIO ARTIFACT

108

124

ALAN MAEDO SPRING 2017|STUDIO BRACCO

DESIGN

VILLAGE PROJECT 08 SPRING 2017 STUDIO BRACCO

HAVING FUN AND NOT HAVING FUN ALAN MAEDO|RYAN LAU|THEALEYNA NEWSTAT|DANIEL WEAVER Design Village was a three week group project in which each team had to design a transportable structure that also serves as an overnight shelter for the team. During the final weekend of the project, all the teams carried their structure to Poly Canyon and placed them upon the DV hill. Over the weekend, most of the teams stayed overnight in their structure.

INITIAL DESIGN ELEVATION

PLAN

FINAL MODEL

Our team’s initial design was focused around a hexagonal form. The material that our team was assigned was 1/4” metal rods, and since the material was very weak, a lot of trussing and cross-bracing had to be done. In addition, we used parachute to roof off the structure. ALAN MAEDO|RYAN LAU|THEALEYNA NEWSTAT|DANIEL WEAVER DV|SPRING 2017|STUDIO BRACCO

FABRICATION PROCESS Fabrication week was absolute hell. The availability of the welders was constantly low. The 1/4â&#x20AC;? steel was weak. And to construct the whole thing in four days was a monumental task. The breakthrough came on Wednesday when I planned every single cut out in order, and Daniel and Ryan welded a whole frame in under 2 hours. Thea and Ryan weaved all the PARACHORD into nets, and Daniel and I secured the nets onto the metal frames. We were HAVING FUN, AND NOT HAVING FUN.

Ryan and Daniel welding in the metal shop.

LEFT: Thea weaving a PARA-CHORD net on the studio wall. RIGHT: Daniel grinding excess metal off the frame.

Ryan grinding excess metal off the frame.

FINAL SETUP The transportation through the rain on Friday was absolutely awful. All of our clothing got wet and soggy. Once we got to our spot, we just dumped our structure on the ground and returned the next day. Once everything was set up, the end result was very satisfying, and I was very proud to finally see our whole DV standing.

TRANSPORTATION

METAL FRAME SET UP

TENT SETUP TOP: Parachute tent set up. BOTTOM: Some unexpected help setting up the parachute tent.

To protect us from the elements of the night, our team set up the PARACHUTE over our metal structure. We got some unexpected help when around 15 of Theaâ&#x20AC;&#x2122;s friends happened to be nearby. The end result was a very comfortable warm interior space. The PARACHUTE trapped the heat inside very well, especially through the night.

TOP: Interior shot of our DV with the parachute tent set up. BOTTOM: Night shot of our DV with LED lights on the inside. Photo taken by Dennis Johnston.

DETAIL SHOTS Professor Keith Wiley squealed in happiness over the use of swivel glides as a way to adjust to the terrain of the hill. (On other page) ADJUSTABLE LEGS

TABLE LASER-CUT FILES: There are cupholders.

LEFT: Swivel glides RIGHT: Table hinge

The transportation through the rain was one of the most physically perturbing moments of my life.

ALAN MAEDO PRECEDENT STUDY|SPRING 2017|STUDIO BRACCO

PRECEDENT

STUDY

PROJECT 09 SPRING 2017 STUDIO BRACCO

RESEARCH AND GRAPHIC DESIGN Precedent Study was a research project in which each student picked an international dwelling to study: understanding the architect(s), client(s), context, history, and so forth. Then, diagramming was the next step of the project, utilizing RHINO and ADOBE ILLUSTRATOR extensively. Finally, each student presented their Precedent Study in front of their studio.

RESEARCH PLATES kiyonori kikutake

kikutake with fumihiko maki digital arch papers/taschen[5]

kiyonori kikutake Giacoppo, Kiyonori Kikutake, 9-13.[3]

sky house

otsuka bunkyo-ku, tokyo, japan|1958

kiyonori kikutake architect

sky house Zhaoye, “East Asia,” 9: 92-93.2

Kiyonori Kikutake , born in 1928 in Kurume, Japan, was one of forefront Japanese architects of his time. He is well known as one of the original founders of Metabolism, a major Japanese contribution to modern architectural philosophy. Recognized internationally for his “Marine City Project” first proposed in 1958, he continued to present floating system projects. As solution to problems associated with high density urban centers, Kikutake has made proposals of high rises since the early 1960s. During the 2000s, he headed the Hyper Building Research Committee, which is made up of representative Japanese building firms and professionals working to design a better habitat for the city. As the head of his firm, Kikutake Architects, he had been active in architectural planning and design for the past 50 years. Kikutake’s works range from private homes to new town development, commercial and municipal office buildings to schools, museums, sports facilities and events installations. Aside from his design practice, Kikutake is involved with various governmental, non-governmental and academic organizations.[3]

about 01

alan maedo

studio bracco|arch 133|precedent study

kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

kiyonori kikutake, ca. 1968 anguloarquitectos.com/taschen[5]

side view Zhaoye, “East Asia,” 9: 92-93.[2]

exterior view Zhaoye, “East Asia,” 9: 92-93.[2]

The Sky House is the private residence of Kiyonori Kikutake, a member of the Metabolist School.[2] The Sky House is a square building with 10 meters on each side, supported by four wall pillars, and it has only one room.[2] The reason he designed this one-room structure is that he believed the nucleus of the residence is the space for the couple (husband and wife), while the bathroom, the kitchen and other rooms are all subsidiary spaces which are replaceable and movable and are attached to the main structure. [2] Regarding architecture as a mechanical construction is in line with the ideas of contemporary Archigram, but the style is typical Japanese.[2] The Sky House is not in the least a colonial product, nor does it play the so-called neo-Japanese tune of that period; rather, it is the remnant of ancient architecture, such as those of Izumo Taisha and Ise Jingu.[1] In the post-war period, the trend of futurism and the ancient sensitivity are blended into one.[2]

plan Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

overview of sky house 04 kiyonori kikutake

sky house - kikutake residence

section Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

from Kiyonori Kikutake: “Actually, the project was based on loans from the Government Housing Loan Corporation, so it was subject to restrictions. But the plan itself is based on the dimensions of the two-room parlor suite in our parent’s family house in Kyushu. From my physical experience in the old house where wakes and weddings were held, I knew exactly who would sit where and how people would move around inside this space, and was confident that this size would suffice for a family living.”[1]

plan and section 05 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

movement for child’s room and kitchen Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

Sky house has two types of spaces: (1) permanent type spaces – spaces where changes are not needed – as main spaces, and (2) spaces where changes can be made – as subspaces with the possibility of removal. This division of interchangeable space harkons to many of the concepts of Metabolism. The main space of the Sky House is a large space reflecting the 16 tatami mat-parlour of Kikutake’s family house in his hometown of Kurume. (The size of rooms in a traditional Japanese house is measured in tatamis, or straw mats. A tatami is about 3 feet by 6 feet, or 18 square feet, or 0.9 metres by 1.8 metres, or 1.62 square metres.) This large parlour of 4 ken by 4 ken (1 ken is about 6 feet long) was also used in ceremonial occasions.

kikutake’s ground floor office Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

balcony Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

Kikutake raised the living floor was because he believed that it had to be completely separate from the ground floor in order to provide a free and open life. Since the site was sloped, the height was necessary in terms of views, and the raised floor was fully open to all directions.[1] The single-room space was elevated solely for the sake of freedom in the layout, openness, and ventilation.[1]

The most important part of planning the Sky House was flexibility (from Kiyonori Kikutake): “A large space that can be utilized for a myriad of function throughout the year, without restricting the lifestyle, was realized. In association with nature, many folding fixtures were used in order to control the relationship with the surrounding environment. The children’s rooms, the kitchens and the bathroom were designed as units that can be moved, enlarged, decreased and changed to accommodate their predictable future needs. The uniqueness of the “Sky House” is the application of these ideas. With the “Sky House”, I tried to realize spaces that can be interchanged.”[3]

from Kiyonori Kikutake: “Originally, the fixtures were to be made of Japanese cypress. However, the craftsman recommended me to use cheaper lauan, and so I did. The fixtures has remained untouched since then, but the accuracy in the details of woodwork stays pretty much the same to this day. In reference to lattice doors that were in heavy use in the old house in Kyushu, I opted for ‘musou-mado’ (windows made of fixed slats).”[1] “Also, the lack of ceiling lights was rather unusual at the time. Lighting in this house consists of fluorescent lamps housed inside the raised threshold along the four sides. Light traps didn’t exist in those days, so I hoped that mosquitoes would be blocked here and kept out of the house.”[1] “The structural engineer in Mr. Sukenobu Tani. I bothered him with my unreasonable requests. For example, beams that are attached along the sides of the wall columns and not orthogonal to the wall columns involve a special type of structure in terms of load exertion. He assumed that walls were thick and wide enough to ensure necessary adhesive force and helped me out. The HP shell roof can be entirely made of straight lines, so he suggested that a temporary frame would do, besides being simple and easy. The result is a pent roof instead of a deck roof, which was better in terms of design, as people used to point out to me.”[1]

interior space Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

spatial innovation: flexibility 07

structure and materiality 08 kiyonori kikutake

kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

sky house - kikutake residence

exterior support structure Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

main space Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

[1]

Yukio Futagawa, “GA HOUSES 100,” in GA HOUSES (Tokyo: Tosho Printing Company, 2007), 2: 76-86.

[2]

Guan Zhaoye, “East Asia,” in World Architecture (Beijing: China Architecture & Building Press, 2000), 9: 92-93.

[3]

Pierantonio Giacoppo, ed., Kiyonori Kikutake: From Tradition to Utopia (Italy: I’Arca Edizioni, 1997), 9-13.

[4]

Takato Marui, Osaka Expo’70 Kodak + Ricoh Pavilion. 1970. Available from: Fickr Commons

[5]

Mark Mulligan, “Kiyonori Kikutake: Structuring the Future,” Places Journal, November 2015.

[6]

Marianne Ibler, Modern Japanese Architecture: Msters and Mannerists in the 1950-60s (Denmark: Aalborg University Press, 2003)

interior living space Zhaoye, “East Asia,” 9: 92-93.2

The interior of the Sky House is simply one-room. Kikutaked partitioned this space with fixtures to create a dining room and a bedroom, but these fixtures can be moved at any time for various activities. The kitchen and toilet are placed around this space as movable units, and a set of pipes is laid beneath the veranda that surrounds all four sides of the space, so wherever the units are moved they can be connected to the pipes below. The child’s room is also conceived as a unit that is hung below the main space. from Kiyonori Kikutake: Most visitors gave few comments on Sky House. They were perhaps left speechless. One of the reasons for such reaction is the fact that the building has only one room. They would always ask me; “how can you actually live in just one room?” And I would explain to them; “the most important feature in a Japanese home is the use of fittings that can be adjusted in highly complex manners according to the changes of seasons.” Because there were no other buildings around this house, the west sun beats down on the floor, and it was fun watching it move as time goes bu. I would always tell him: “Japanese houses try to avoid the west sun, but I personally like it.”[1]

main space Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

one-room house 06 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

100

ALAN MAEDO PRECEDENT STUDY|SPRING 2017|STUDIO BRACCO

index 09

kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

hotel sofitel, 1994 Giacoppo, Kiyonori Kikutake, 9-13.[3]

kurume city hall, 1994 Giacoppo, Kiyonori Kikutake, 9-13.[3]

edo-tokyo museum, 1993 Giacoppo, Kiyonori Kikutake, 9-13.[3]

1958 1958 1963 1963 1964 1966 1966 1969 1976 1979 1987 1993 1994 1994 1999 1999 2005

Sky House, Tokyo Marine City Tatebayashi Civic Centre Administrative building of Izumo Shrine Hotel Tokoen Pacific Hotel, Chigasaki Miyakonojo Civic Hall Expo Tower, Expo ‘70, Osaka Matsumi Tower Tanabe Art Museum Hotel Seiyo, Ginza, Tokyo Edo-Tokyo Museum Hotel Sofitel, Tokyo Kurume City Hall Shimane Art Museum National Showa Memorial Museum Kyushu National Museum

notable works 02 kiyonori kikutake

sky house - kikutake residence

kenzo tange

arata isozaki

marianne ibler[6]

izumo grand shrine admin building, 1963 Mark Mulligan

kisho kurokawa marianne ibler[6]

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

[5]

clusters in the air, 1960-62, arata isozaki marianne ibler[6]

More than half a century has passed since the publication of Metabolism and its distribution to attendees of the 1960 World Design Conference in Tokyo. Though frequently referred to as a manifesto, the pamphlet was in fact a collection of essays and urban design projects by architectural critic Kawazoe Noboru and four young architects then launching their practices: Kiyonori Kikutake, Kishō Kurokawa, Fumihiko Maki, and Masato Ōtaka. Their texts and design proposals revolved around a core idea: that the increasingly disparate rates of change in cities required new paradigms for architectural and infrastructural design. The pamphlet’s modest production values did nothing to detract from the potency of this message in the mid-20th-century context of rapid urbanization and mass production. Metabolism soon found its way into academic and professional discussions in far corners of the globe. In postwar Europe, avant-garde groups such as Archigram had already theorized the plug-in, or replaceable-part, consumerist city; but no attempts had yet been made to implement architectural projects to test these ideas. By contrast Japan, with its tabula rasa, top-down planning methods and fearless embrace of innovative construction techniques, was a fertile testing ground for the Metabolist philosophy. Indeed, the 1960s — and to a lesser degree the ensuing decades — saw a profusion of built and unbuilt architectural works that, one way or another, grappled with the implications of metabolic change.[5] [4]

hotel tokoen, 1964 Osamu Murai

expo osaka 1970 photograph by Takato Marui

miyakonojo civic hall, 1966 taniguchi kazuhiro, public photo

[5]

from Kiyonori Kikutake: “I began to seriously consider methods that utilize natural resources without waste, that reuse materials by dismantlement and reassembly and allow for reconstruction. One of the primary considerations on the “Metabolism Movement” was the evolution of this thought and its application to “Modern Architecture.” After the first institution I then considered situations where the application of this ingenious reconstruction can occur. With the completion of the “Sky House” in 1958, my attention was focused on extending its concept to universal application. With this in mind, I began to consider the concept of metabolism. I began thinking about it in 1958 and 1960, and once perfected, this concept was proposed at the World Design Conference.”[3]

post WWII and the metabolism movement 03 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

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101

FINAL PRESENTATION edo-tokyo museum, 1993 Giacoppo, Kiyonori Kikutake, 9-13.[3]

hotel sofitel, 1994 Giacoppo, Kiyonori Kikutake, 9-13.[3]

kiyonori kikutake

kurume city hall, 1994 Giacoppo, Kiyonori Kikutake, 9-13.[3]

sky house

otsuka bunkyo-ku, tokyo, japan|1958

kiyonori kikutake, ca. 1968 anguloarquitectos.com/taschen[5] cover image-sky house Zhaoye, “East Asia,” 9: 92-93.2

1958 1958 1963 1964 1966 1969 1976 1987 1993 1994 1994 1999 2005

Sky House, Tokyo Marine City Administrative building of Izumo Shrine Hotel Tokoen Miyakonojo Civic Hall Expo Tower, Expo ‘70, Osaka Matsumi Tower Hotel Seiyo, Ginza, Tokyo Edo-Tokyo Museum Hotel Sofitel, Tokyo Kurume City Hall National Showa Memorial Museum Kyushu National Museum

kiyonori kikutake architect

alan maedo

bracco|arch 133|spring 2017|precedent study

kiyonori kikutake

sky house - kikutake residence

miyakonojo civic hall, 1966 taniguchi kazuhiro, public photo

hotel tokoen, 1964 Osamu Murai[5]

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

izumo grand shrine admin building, 1963 Mark Mulligan[5]

main space Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

kenzo tange marianne ibler

arata isozaki marianne ibler

[6]

kisho kurokawa marianne ibler

fumihiko maki marianne ibler

[6]

kiyonori kikutake marianne ibler

[6]

main space Futagawa, “GA HOUSES 100,” 2: 76-86.[1]

post-WWII and the metabolism movement 02

overview 03

kiyonori kikutake

sky house - kikutake residence

kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

expo osaka 1970 photograph by Takato Marui

[4]

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

side view Zhaoye, “East Asia,” 9: 92-93.[2]

northwest

northeast

otsuka bunkyo-ku, tokyo, japan|1958 n

site 04

southwest

kiyonori kikutake

sky house - kikutake residence

southeast

form and envelope 05 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

1977

1958

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

circulation of water

movenett: children’s room hang under the house; children descend from main floor by ladder

pipes circulation of kitchen/batroom

1985

circulation of people

circulation 08

evolution 09

kiyonori kikutake

sky house - kikutake residence

kiyonori kikutake

sky house - kikutake residence

exterior view Zhaoye, “East Asia,” 9: 92-93.[2]

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

[1]

Yukio Futagawa, “GA HOUSES 100,” in GA HOUSES (Tokyo: Tosho Printing Company, 2007), 2: 76-86.

[2]

Guan Zhaoye, “East Asia,” in World Architecture (Beijing: China Architecture & Building Press, 2000), 9: 92-93.

[3]

Pierantonio Giacoppo, ed., Kiyonori Kikutake: From Tradition to Utopia (Italy: I’Arca Edizioni, 1997), 9-13.

[4]

Takato Marui, Osaka Expo’70 Kodak + Ricoh Pavilion. 1970. Available from: Fickr Commons

[5]

Mark Mulligan, “Kiyonori Kikutake: Structuring the Future,” Places Journal, November 2015.

[6]

Marianne Ibler, Modern Japanese Architecture: Msters and Mannerists in the 1950-60s (Denmark: Aalborg University Press, 2003)

“contrary to the architecture of the past, contemporary architecture must be capable of responding to the changing needs of the contemporary era.”

sky house 10 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

index 11

kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

roof

curtain wall

sliding shaders

substructure

stairs

piers

structure and materiality 06 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

07 06 05 04

03 02 01

05 dining kitchen bedroom bathroom living room

06 Within this one room space, programs were able to be rearranged around though the movement of temporary walls. Modular rooms were added to the underside of the raised structure as well as throughout the site of the house over time to accommodate for the growing Kikutake family.

flexible programs 07 kiyonori kikutake

sky house - kikutake residence

otsuka bunkyo-ku, tokyo, japan|1958|alan maedo

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PRESENTATION DIAGRAMS

WATER CIRCULATION DIAGRAM

circulatio

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ALAN MAEDO PRECEDENT STUDY|SPRING 2017|STUDIO BRACCO

07 06 05 04

03 02 01

PROGRAM DIAGRAM

ALAN MAEDO PRECEDENT STUDY|SPRING 2017|STUDIO BRACCO

105

northwest

southwest

envelope: the form of the four piers

dining kitchen bedroom bathroom living room

Following WWII, Japa architecture emerge out of the late 1950s t at the time, a young through the design o Sky House was simply But, within this one ro walls. Modular rooms

programs: spaces can be rearranged to create different layouts

MICRO-TEXT and WIRE-FRAME are key components to successful graphic design consistency.

northeast

southeast

e form of the building is simply a raised living space supported by

exterior: zhaoye, â&#x20AC;&#x153;East Asia,â&#x20AC;? 9: 92-93

sky house

kiyonori kikutake

otsuka bunkyo-ku, tokyo, japan|1958

WWII, Japan was in a stage of rebuilding and expanding. During Japanâ&#x20AC;&#x2122;s transitional phase, a new style of re emerged: Metabolism. Metabolism was a modern Japanese architectural movement that developed ate 1950s that emphasized the idea of organic biological growth, and at the heart of this movement was, e, a young architect named Kiyonori Kikutake. In 1958, Kikutake put the ideas of metabolism into play e design of his own house, the Kikutake Residence, or otherwise famously known as, the Sky House. The was simply a one room structure that was raised 4.5 meters of the ground by four large concrete columns. this one room space, programs were able to be rearranged around though the movement of temporary ular rooms were added to the underside of the raised structure as well as throughout the site of the house over time to accommodate for the growing Kikutake family.

alan maedo|arch 133|precedent study|spring 2017|cal poly

Presentation Poster

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

PIER PROJECT 10 SPRING 2017 STUDIO BRACCO

BUILDING A FORM USING EVERYTHING WE HAVE LEARNED ALAN MAEDO|DAVID COLMAN|VIOLETA SMART Pier was a group project and the final project of the school year. Utilizing a section of the Harford Pier as a site, each group designed an alteration/ intervention of that section of the pier. The final result was a basswood model that also conjoined with the rest of the time zone.

109

AS-BUILT DRAWINGS SECTION

EAST ELEVATION

Drawn by VIOLETA SMART

110

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

PLAN

STRUCTURAL PLAN

Drawn by DAVID COLMAN

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

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MODELING PROCESS TOP LEFT: Ladder for the as-built model hanging off a Starbucks Coffee cup. TOP RIGHT: David Colman holding a piece from our study model. BOTTOM: As-built study model in line with the rest of the time zone.

The pier process was slow and laborious. We went from as-built drawings to an as-built model. Then, there was about a week period dedicated to music. We went from making music to making study models based off of music. Then, we went from study models to more refined study models, and a more refined design. We struggled to find a solid, final design with the pressure of BUILDING A FORM USING EVERYTHING WE HAVE LEARNED. Our team worked back and forth between RHINO and our final study model to solidify our final design. After that was accomplished, it was all about craftsmanship.

TOP: Iterations of our study model. MIDDLE: Building a ramp for our final basswood model. BOTTOM: Progress into our final basswood model.

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

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PIER PLANS

Drawn by VIOLETA SMART

1/4” = 1’

VIOLETA SMART

PLAN 01 ARCH 133-22

16 FEET

Drawn by DAVID COLMAN

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1/4” = 1’

DAVID COLMAN

PLAN 03 ARCH 133-22

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

16 FEET

1/4” = 1’

ALAN MAEDO

PLAN 02 ARCH 133-22

After finishing our final design in RHINO, we converted the line-work into ADOBE ILLUSTRATOR. On this spread are three plans at three different elevations of our final design. In addition, the next pages show three sections at three different cuts, two are CROSS-SECTIONAL and one is LONGITUDINAL. We then collaged our drawings, using cut-outs from the website SKALGUBBAR and other various elements.

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

16 FEET

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PIER SECTIONS

1/4” = 1’

DAVID COLMAN

Drawn by DAVID COLMAN

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SECTION 02 ARCH 133-22

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

16 FEET

1/4” = 1’

ALAN MAEDO

SECTION 01 ARCH 133-22

16 FEET

Drawn by VIOLETA SMART ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

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FINAL MODEL

120

ALAN MAEDO|DAVID COLMAN|VIOLETA SMART PIER|SPRING 2017|STUDIO BRACCO

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Both collages were drawn by VIOLETA SMART

The time spent on PIER PROJECT was by far the most mentally and emotionally taxing period of this school year.

ALAN MAEDO PORTFOLIO ARTIFACT|SPRING 2017|STUDIO BRACCO

PORTFOLIO

ARTIFACT PROJECT 11 SPRING 2017 STUDIO BRACCO

CULMINATION AND FINALITY The Portfolio is a representation of each and every one of us. As the last assignment of the year, every project was compiled into a portfolio, such as this one. In addition, an “ARTIFACT” was made as a way to preserve our portfolio and what we left behind in FIRST YEAR.

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COVER MOCK-UP

126

ALAN MAEDO PORTFOLIO ARTIFACT|SPRING 2017|STUDIO BRACCO

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REFLECTION YEAR

Only one year has gone by: three quarters, three different studios, three different professors, and ten different projects. I have been challenged mentally, physically, and emotionally. About twelve all-nighters, I think BROCKETT would freak out if he knew. Yet, I would never give any of this up. It has only been YEAR ONE, filled with memories with all the great people we meet in studio. But, there is still a long road ahead.

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ALAN MAEDO PORTFOLIO ARTIFACT|SPRING 2017|STUDIO BRACCO

YEAR 01

2016 2017