PG 04 -
FRAMING ARCHITECTURE ELENA MANFERDINI / BUILDING THE IMAGE / FALL 2014
PG 13 -
WITHDRAWN ELENA MANFERDINI / SPRING 2014
PG 21 -
WITHDRAWN: DESIGN DEVELOPMENT TOM WISCOMBE / HERWIG BAUMGARTNER / FALL 2014
PG 24 -
PATTERNS:
BUDAPEST COMPETITIONS
MARCELO SPINA / SUMMER 2014
PG 37 -
WEIRD TECTONICS TOM WISCOMBE / SPRING 2015
PG 43 -
BLACK INVOLUTIONS TOM WISCOMBE / SPRING 2015
PG 52 -
THESIS:
BIGGER ON THE INSIDE
ELENA MANFERDINI / SUMMER 2015
FRAMING ARCHITECTURE CRITIC : ELENA MANFERDINI
An addition to the world health organization headquarters in Geneva Switzerland. This projects utilizes the qualities of the frame as it exists in photography and painting, in order to create architecture. From the point on the site where transition occurs from the XSSHU WR ORZHU OHYHO WKH WH[WXUH DSSHDUV WR EHFRPH ÀDW 7KH HIIHFW RULHQWV WKH YLHZHU DQG VLJQL¿HV WKDW WKLV ORFDWLRQ LV PRUH important than any other. The textures simultaneously delineate and associate the different parts of the building: border, exterior, interior. Monumentality is created by limiting physical and visual access into the building from the site. This effect is continued on the interior by the massive central atrium that runs the length of the project. Because the exterior form and texture are continued inside, the building seems never to stop despite physical limitations.
MASSING SEQUENCE
PERSPECTIVAL SPACE
REAL SPACE
SPATIAL TYPOLOGIES
VIRTUAL SPACE
PERSPECTIVAL / REAL / VIRTUAL SPACES
SECTION CUT + UNFOLD
WORLD HEALTH ORGINIZATION HQ The project is based on a competition to design an addition to the WHO headquarters in Geneva Switzerland. The original building was designed by the renowned architect Jean Tschumi, and this new building is meant to exist in operational and aesthetic harmony with the existing structure. 60,000 SF
PAPER SECTION MODEL
WITHDRAWN ALEX BLUGERMAN / SMITA LUKOSE
A multi-use building in downtown Santa Monica, CA. Exploration of the studio interest in contextualism happens through the plaza. The plaza creates a bridge through the site; it is exaggerated by raising the buildings and lowering the pedestrian path. 7H[WXUH GHÂżQHV WKH SXEOLF ]RQH LW LV DSSOLHG WR WKH SOD]D DQG the underside of the buildings that span the gap. :LQGRZV DUH GHÂżQHG E\ SURMHFWLRQ RULHQWHG IURP WKH PDMRU bordering streets onto the masses. The transition from square to streak informs circulation from the street to within the site. )XQFWLRQ LV VHSDUDWHG E\ EXLOGLQJ 2IÂżFH +RWHO DQG 5HVLdential; program within each of these buildings is distributed according to window type. Each building maintains its own iconicity, but the common articulation of massing, scale, and material allow them to register as a set. Extrusion lines are isolated on the exterior and re-projected inward, the resulting intersection creates the divisions of the interior space. The heart of this object becomes circulation and is articulated as an echo of the plaza within each building.
PUBLIC ZONE “TUNNEL”
89 TOM WISCOMBE / HERWIG BAUMGARTNER / FALL 2014
AS: DESIGN DEVELOPMENT
PATTERNS:
TEXTURE STUDIES
3 / Occ
1 / Generate Massing
2 / Extract Top Occlusion
clusion to Bitmap Image age
4 / Project to front elevation
5 / Texture Result
This process of self-referential texture generation was implemented across all four Budapest competitions. The bitmap pattern is GHSOR\HG DV D JUDSKLF HOHPHQW ZLWK FRRUGLQDWHG WHFWRQLFV DV ZHOO DV LQ VHYHUDO FDVHV GHÂżQLQJ DSHUWXUHV DQG VLWH VWUDWHJLHV
PATTERNS:
NEW NATIONAL GALLERY + LUDWIG MU
MARCELO SPINA / SUMMER 2014
USEUM
Main Entrance
Main Entrance
FF?9 New National Gallery
Ludwig M
DEM
Museum
FF?9 DEM
PATTERNS:
HUNGARIAN HOUSE OF MUSIC
MARCELO SPINA / SUMMER 2014
@@E House o Main
H
EMK of Hungarian Music Entrance
FotoMuzeum Budapest ungarian Museum of Architecture
PATTERNS:
ARCHITECTURE + FOTO MUSEUMS
MARCELO SPINA / SUMMER 2014
Whole A Single Object
Splice Shared cut plane bisects into two
Puncture Additional relating void
Site Plan Scale 1:500
Bicycle Route Pedestrian Route
Main Entrance
>GEM FotoMuzeum Budapest
Drop-Off Area
Pedestrain
Embrace Puzzle peices conjoined
Slide masses comminucate through space of public plaza
>GEM nnga & lmu
n Promenade
@EM9
Massing Evolution Diagrams Not to Scale
Main Entrance
@EM9 Hungarian Museum of Architecture
Drop-Off Area
PATTERNS:
ETHNOGRAPHY MUSEUM
MARCELO SPINA / SUMMER 2014
Whole A Single Object
Fracture Adjacent Parts
EM= Museum of Ethnography FotoMuzeum Budapest Hungarian Museum of Architecture
Main Entrance
Fi
Adjust Emphasize Top Mansard
Shift / Pull iguaral Qualities in the Roof
Icon Horizontally and Vertically Differentiated
Massing Evolution Diagrams
Not to Scale
e Childr ns Mu
seum
Site Plan Scale 1:500
Bicycle Route Pedestrian Route
WEIRD BISMUTH ALEX BLUGERMAN / SOMANSH AURORA / JOE MORENO
Our focus for this project was on creating strange scalar effects and ambiguous joinery / seaming techniques. This object oriented approach to tectonics is directed towards “weird realismâ€? and focuses on the strange. By combining ancient Japanese joinery techniques with the proto-architectural nature of bismuth crystals, we achieve a panel system in which detail and tectonics become indistinguishable from, and obfuscated by, one another. Joints and seams are no longer understood as the VLWH RI WHUWLDU\ FRQQHFWLRQV EXW UDWKHU RI ÂżWWLQJ ORFNing, and gluing together. In this way, the design logic of the seam and the surface articulation exist in amELJXLW\ Ă€RDWLQJ EHWZHHQ DFWXDO DQG IDNH WHFWRQLF and graphic. By moving back and forth between digital modeling and physical prototyping, we were able to ensure that our design would carry through from the theoretical into the realm of the built environment.
PANELS + LOCKING INLAY
BLACK INVOLUTION CRITIC: TOM WISCOMBE
“The things hollow - it goes on forever - and oh my God! - it’s full of stars!” - Arthur C. Clarke 2001: A Space Odyssey
7KH VWXGLR ZDV D FRQWLQXDWLRQ RI ZRUN RQ QHDU ¿JXUDWLRQ through the investigation of involutions. In this way, distinct and legible objects emerge from illegible and uncertain conditions. 7KHVH ¿JXUHV H[KLELW ERWK JUDSKLF DQG IRUPDO IHDWXUHV WKDW contribute to create involutions: conditions which simultaneously create the effect of exterior depth and interior spatial ¿JXUDWLRQ In this way, interior and exterior become illusions, superimposed onto one another. A threshold is created which is not blurred but elastic, and at times uncertain. 7KH FU\VWDOOLQH ¿JXUHV FUHDWH DQ DPELJXRXV ERXQGDU\ EHtween interior and exterior space. They exist in tension, seeming to sink in and push out at the same time. Mystery is created in that not all involutions constitute actual points of entry, but rather moments of a lack of access. Forms were rendered in a light-studio environment, and then rearticulated to mimic and enhanced the qualities of the image. The models were a method to visualize the proto-tectonic nature of these rendered effects in the built environment. Ultimately, what is at stake is the status of the object, its qualities, and our lack of access to them as they withdraw \ into black interiors. We must now create a type from this window into the problem that Object Oriented Ontology has provided.
BLACK DIAMONDS + INVOLUTED HOLES The project is a redux of Renzo Piano’s Downtown NYC Whitney Museum. Located on the Highline in the Meat-packing District. 200,000 SF
BIGGER ON THE INSIDE ADVISOR: ELENA MANFERDINI
In “t zeroâ€?, Italo Calvino tells the story of a man in an impossible prison. This man Faria is bent on escape, but no matter which way he tunnels, it always emerges in the cell of Edmond Dantes. Up, down, towards the outside wall, or deeper into the prison, every direction leads to that same cell with the same Edmond Dantes; It repeats endlessly though time and space but never emerges from the prison. “Bigger on the insideâ€? architecturalizes Calvino’s inversion, in ZKLFK ÂżHOG LV FRQWDLQHG ZLWKLQ REMHFW LQ RUGHU WR GLVSODFH WKH interior from its container. We would assume that a building makes sense when the insides correspond to the outsides. This thesis manipulates that assumption to achieve spatial and perceptual instability through the creation of an extreme topological difference between Euclidean and non-Euclidean geometries.
MIRROR TWINNING
VIRTUAL TWINNING
COMBINATION TWINNING
THERE IS NO DIFFERENCE BETWEEN REALITY AND FICTION
An apple in my imagination is just as “realâ€? as a physical one. In the context of perception, real and fake become indistinguishable from one another. The difference lies instead between actual and virtual. This thesis deals with inversion. The output is a movie theatre in Hollywood California; WKURXJK WKH XVH RI UHĂ€HFWLRQ JUDSKLFDOO\ PDWHULDOO\ DQG ÂżJXUDOO\ WKLV WKHVLV FUHDWHV D ÂżHOG FRQGLWLRQ LQVLGH RI DQ DUFKLtectural object. 7\SLFDOO\ DQ REMHFW LV SDUW RI D ÂżHOG LW VXJJHVWV WKH ÂżHOG externally through its qualities. By inverting this relationVKLS DQG XVLQJ WKH JHRPHWU\ RI WKH REMHFW WR JHQHUDWH D ÂżHOG condition internally, the interior and exterior are perceptually displaced from one another. 7KURXJK FRPSOHWLRQ DQG UHSHWLWLRQ RI WKH DFWXDO ÂżJXUHV E\ LQWHULRU UHĂ€HFWLRQ VXUIDFHV WKH VL]H RI WKH ÂżHOG LV XQGHUVWRRG to exceed its envelope. We arrive at a condition in which the architecture is understood as bigger on the inside, and in which experience differs from reality.