UNDERGRADUATE PORTFOLIO ANA ANTONI

ANA A NTONI

Ana Cecilia Antoni +1 (213) 706 - 0473 anaantonig@gmail.com Undergraduate Sci-Arc Student

Contents 04

Statement Design Studio

05 31 53 71 85 107 123 143 161 175

5B UG Thesis 5A Design Studio 4B Design Studio 4A Design Studio 3B Design Studio 3A Design Studio 2B Design Studio 2A Design Studio 1B Design Studio 1A Design Studio Visual Studies

189 193 199 203

4B Visual Studies 3A Visual Studies IV 2A Visual Studies II 1B Visual Studies I Applied Studies

211 4B Construction Drawings 217 4A Design Development Liberal Arts

225 3B Film & Architecture 231 3A Philosophy II 237 2B Philosophy I History / Theory

241 2B History of Architecture and Urbanism III 245 2A History of Architecture and Urbanism II

Interiority and materiality have been the main driver of most of the architectural projects I produced throughout my undergraduate education at Sci-Arc. I’m interested in making architecture that produces surprise and wonder in the spectator while telling a story. I’m mostly interested in designing from the inside out because interiors are the spaces in which we are most present in, spaces that are able of shaping one’s habits and actions through delivering a narrative. I’m fascinated by interiors because these require a mix of art and design objects from different time periods to re-purpose these and re-invent settings for daily life scenes to happen.

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undergraduate thesis

5B

Spring 2020

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UG Thesis

On The Inside Advisor: Peter Testa In collaboration with Andrea Velasco Spring 2020 Architecture often establishes its identity through its exterior presence in the city while the interior is perceived after. This thesis is about inverting this conventional hierarchy and producing architectural identity from the inside out by designing two houses located in Glasgow, Scotland.

One in the city and one in the countryside. This project privileges the domestic interior because people are themselves an effect of the space they create and live in, and are defined by the way they address their environments.

We are interested in rethinking different realms of industrial design, product design and architecture and how these function together to suggest a new approach on creating a domestic project.

Our design approach operates by playfully constructing narratives and recontextualizing ordinary objects. While the elements we work with are known the outcome is open at the beginning so as to produce something that cannot be known beforehand, to leave space to explore unknown territory through construction and juxtaposition of images and objects. In our thesis the image is a space of composition first and foremost.

Paraphrasing Media Theorist Alexander Galloway on the Image what is interesting is not so much that an image can furnish useful answers but that an image can be a good question. We work with narrative and image to stage atmospheres and fictional worlds - to speculate on the inside. We’re proposing rental spaces that serve as a platform for creatives consisting of art studios, galleries, shared living areas and residences to rent as needed offering students who visit the Glasgow School of Art flexible spaces to live or work temporarily in the city or countryside.

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UG Thesis

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Spring 2020

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UG Thesis

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Spring 2020

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UG Thesis

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Spring 2020

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UG Thesis

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Spring 2020

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UG Thesis

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design studio

5A

Fall 2019

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Vertical Studio “POP-UP” Instructor: Elena Manferdini In collaboration with Andrea Velasco Fall 2019 It is unquestionable that we have never been so connected and social media dependent. Online feeds on personal devices have forever changed our way to look at the same old reality. Our attention span has drastically shortened, and our brains have been quickly trained to posts, likes and shares.

Social media are predicated on positive reinforcement and this pleasure seeking activity has inevitably invaded the field of art and architectural visual consumption.

This studio explores how social media is changing the digital and physical footprint of institutions like art museums and in particular how pop-ups and interactive installations have changed the economy of art consumption.

Excerpt taken from Elena Manferdini’s vertical studio syllabus.

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Fall 2019

Archive of Ideas The new museum is an archive and gallery of concepts. We believe in collecting, preserving and exhibiting art installations or environments that provoke thought, and explore space, color, materials and moods. Installation artworks or “environments” consist of art that is meant to be experienced and walked through rather than displayed. This movement began in the 1960’s in a shaken art world by political and social conditions that produced a strong desire in the artist to move out of the canvas and into the space to provide an intense experience for the viewer.

These environments become very hard to archive and collect outside of the viewer’s memory and pictures taken at the moment. Because this form of art insists upon the viewer’s presence in space, it has led to many issues about how it is remembered. Therefore, we are interested in acquiring the concepts behind art installations and material samples to later reproduce these and preserve their essence in time.

The building functions as a machine to generate and intensify experiences through art. The different galleries work as portals through which we can enter into times and spaces otherwise inaccessible.

The brick and mortar is needed because it stitches together different narratives and perspectives within a whole. This museum is focused on highlighting the importance of being present, as well as the importance of consuming things and places in a meaningful way.

The Archive of Ideas is interested in the conceptual distance between the translation and the original by examining new ways of seeing installation art framed differently rather than just “experienced” to produce a dialogue between being inside and seeing others be inside.

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Fall 2019

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Curatorial Statement The layout of the spaces allows for one to see how others react and interpret the work exhibited. There are moments throughout the building when the same installation that was visited can be seen framed as a flat elevation or seen from the top. Resolution and scale issues occur depending on the view.

The viewer can also explore and be part of the archival section, allowed to enter the material and concept library of other exhibitions done by the same or other artists.

Exhibitions are organized and categorized by critiquing current relevant issues in terms of social media, digital media and copies of originals.

In the way that Instagram is a digital platform to see others experience art, this museum is a physical manifestation of what it means to encounter art and see other people as performers with the installations.

Curtains reveal and hide, divide spaces temporarily, create flexible architecture and spatial compositions through their softness and pliable qualities . Experience of space can be easily transformed by the intervention of translucent textiles that produce various perspectives through their movement at once. Constantly shifting environments and backgrounds allow the artist to exhibit the work individually or collectively. The background has the ability to change our perception of the object. Building narratives and specific views to understand that social media platforms are not enough to see art and its environment as a whole rather than through the flatness of the screen.

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Fall 2017

Final model

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design studio

4B

Spring 2019

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Vertical Studio “Connect The Dots” Instructor: Natasha Sandmeier In collaboration with Andrea Velasco Spring 2019 To be an architect today is foremost an act of connection - wether in the literal joints and materials of architecture’s making, or the subtler and experiental moments of the people, spaces and events it brings together. As such, you will each design and develop a machine (a space, theater, apparatus, room, building, city - call it what you want) that connect things together. Each student will begin with 5 events and design, invent and create a machine that builds a wild and singular world with them all.

The architectural landscape will be compressed into 1 image, 1 video, 1 book, 1 narrative and 1 performance.

Excerpt taken from Natasha Sandmeier’s vertical studio syllabus.

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Spring 2019

Connect The Dots - In the future, building-sized 3D printers will make copies of what cities were supposed to looki like as described in old fashioned science fiction novels.

- Thomas Demand translates photographs into 3 dimensional paper sculptures, only to photograph those and use the final image as his art work. (and then reportedly BURNS the models).

- At 10:30 PST on Tuesday June 30,2018 Epic Games launched a realtime rocket in Fortnite and cracked the sky.

- For his movie Playtime, Jacques Tati created a false city in the outskirts of Paris, complete with paved roads, with street lights, working water, and electricity and even a functioning escalator in one of the sets. The city space became known as Tativille. The budget of the film quickly increased during production and its failure at the box office destroyed his career.

- Four german chancelors sitting looking at a huge Barnett Newman painting on the far side of what appears to be a window. Only this never happened. Andreas Gursky has somehow photographed this event. He takes pictures of things that don’t exist.

- After his election President Reagan asks to see the situation room only to discover the room he was thinking of was the set of Dr. Strangelove.

- By 2150, Venice and Atlantis share a similar fate.

- Wes Anderson’s architecture is always in section

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Architecture relies on production, the mistakes we make and the way we represent it. The making of one image, one video, one book and one narrative is the product behind 12,000 hours of work including modeling, rendering, drawing, printing and so on. Things that we as producers take for granted and you as an audience never see. This project is about mistakes, misrepresentations and malfunctions.

With the countless tools and machinery that are available for us today we find ourselves with higher possibilities for mistakes to happen in the work. A drawing may look completely different on screen than on paper, the quality of an image depends on its medium, the translation of a digital model to a physical one relies on its scale, material qualities and tolerance. The precision of a render varies from software to software depending on its features.

The printer in our studio space, in this case serves as an example of a connection machine to stitch dots together. The printer works as a production space for the image to happen and the video to frame it. In order for the work to be printed the paper must go through different stations, using imaginary realism to show the amount of work and possibilities for mistakes to happen on the production of an image, and how to take advantage of these.

Inside a world of production, behind one image there may be thousands of spent ideas barely used, behind a model there may be endless discarded iterations never shown. Coincidences and accidents may be more useful than the final product itself and these just pile up when replaced with new ideas, these shouldn’t be forgotten and should be revisited to reconsider the project’s direction.

Re-reading mistakes leads to new discoveries. Without mistakes we certainly wouldn’t have gotten here.

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Spring 2019

Animation storyboard

Looking into our studio space, we begin a journey to the inner world of a common printer found in most students work spaces, in this world of production the paper goes through different stations to be printed, using imaginary realism as a tool to emphasize on the amount of work and possibilities for mistakes to happen on the production of one drawing or image.

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Spring 2019

The book functions as a manual of compiled research that helped shape the content of the project and understand the nature of mistakes as useful tools rather than obstacles. The format of the book is shaped in a similar way the final performance was, which starts with the description of mistakes, its types and how to deal with them in the architecture world and further describes production and representation today.

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Spring 2019

Exit station looking like Las Vegas

Paper pipes and tanks where ink travels We made a set of paper models that worked as tools to create another type of animation, such as the stop motion seen at the end of the video, as well as study references to create the inner animated digital world of the printer, consisting of piled up clues in our desk that were helpful elements for production.

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HVAC hidden behind an old study model

An office referencing to Jacques Tati or Thomas Demand

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13.070”

a.2

11”

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17”

32.437”

b.2

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design studio

4A

Fall 2018

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Architecture from the Inside-Out Instructor: Tom Wiscombe Fall 2018 The final studio in the core sequence introduces students to independent thinking and integrative design through an open yet defined framework.

With one foot in core and one pointed towards thesis, the pedagogy is based on culminating all previous core studios by charging students with constructing a disciplinary position and formal agenda as it relates to advanced notions of Precedent, Aesthetics and Composition. This four fold structure is intended as an underlay for students to think about and produce a multidimensional architectural proposal.

Excerpt taken from Ramiro Diaz-Granados’s 4A studio syllabus.

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Fall 2018

Bibliotheque Nationale Henri Labrouste

Precedent analysis

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Precedent analysis abstracted as a model kit

Developing a precedent study of the Bibliotheque Nationale by Henri Labrouste in the form of a model kit or board game opens up possibilities to have the building modeled as a whole which when taken apart connections reveal within these pieces creating inner elements between parts through the abstraction process.

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Fall 2018

Through a recombination of the parts produced for the model kit precedent study a new massing proposal has been produced for a house in Boyle Heights. The internal and external abstracted qualities of the three dimensional parts have blurred the boundaries between interior and exterior as a lifted living area has been created above a communal one, with embedded commerce in its walls.

Having one’s own business as the front porch of a house is a common condition found in Boyle Heights. Convenience shops are considered communal areas for them to share as a neighborhood and buy essential needs. My project aims to take this idea further to provide public spaces to the community around it. I am proposing a rooftop on the second level of the front house with areas meant for eating and hanging out, which leads to the back house where there are two studio units on the second level and an enclosed eating area underneath.

Creating a live-work typology, a mechanism for users to produce their own products, sell them to their community and enjoy it’s public areas while living there.

Initial massing proposal - interior / exterior relationship

Initial massing proposal exploring a live-work typology

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Massing model of the house open in half

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Fall 2018

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Fall 2018

Final model

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Fall 2018

Final model

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design studio

3B

Spring 2018

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AMIGAA: Articulation and Tectonics II Instructor: Herwig Baumgartner In collaboration with Andrea Velasco Spring 2018 The 3B studio introduces students to the comprehensive design and development of a large scale building on an urban site. Advancing on the pedagogy established in previous studios (AMIGAA: Architecture as Mass, Interiority, Ground, Aperture, and Articulation), this studio focuses on the design, development and tectonic logic of the building envelope and its ability to articulate contemporary formal organizations. Assemblage versus monolithic form, surface vesus mass, iconicity and image, the intentional obscuring of hierarchical mass, layered, and graphic assemblies, tectonics and materiality, constitute a range of concerns in the design work.

Excerpt taken from Russell Thompson’s 3B studio syllabus.

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Spring 2018

Abstracted building profiles from Mexico City’s roofline

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Texture studies

This is a sample of a distorted floral texture found in the urban landscape of Mexico City that adds up to the idea of context by having a graphic image with a blurred meaning of a contextual pattern which then forms new continuities when applied to the massing volumes and can be further interpreted as apertures and tectonic panels.

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Spring 2018

Flat Profiles

Hybrid Massing

Curvilinear Profiles

Street views

Building scale in relationship to the context

Bus 4 - Plaza San Juan I

Walking distance

300 Ft.

Public open spaces

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The building’s program consists of a shopping center and an art gallery space which are based on circulation and an incentive to invite the public in, the scale being relatively big in comparison to its adjacent structures. The curvilinear profiles abstracted from historical neoclassical buildings found around Mexico city served as a guideline to produce the massings.

The project responds to the lack of public space around this specific area of the city by providing a meeting space in between tight spaces and proximity of buildings.

This meeting space consists of a public plaza located above the existing market of San Juan and the new massings added above.

This public space is meant to be for the community, as an inbetween escape within the urban environment. It also serves as a transition space from the traditional Mexican market below to the contemporary shopping center and art gallery above, purposefully emphasizing on the evolution of the shopping experience from what it used to be to what it has become today.

Shadow studies - 8:00 a.m.

Shadow studies - 6:00 p.m.

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Spring 2018

The project proposes a new type of market that interlocks with other programs and at the same time adds public spaces to the city. The orientation of the original market was changed to create a horizontal inner boulevard to guide the visitors upward towards the main voids. An abstracted texture referencing to distorted floral elements found around the city was added to emphasize the idea of context in a more graphic way which at some moments is translated into its 3d version producing a variety of thicknesses.

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Front Elevation

Back Elevation

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Spring 2018

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Structural axon chunk detail 01 2’ I- Beam / Grid Structural System 02 GFRC Panels 03 Steel Frame System for Panels 04 Waterproof Membrane 05 Glass Mullion 06 Double Glaze Insulated Glass 07 Insulation 08 Interior Wall Finish 09 Interior Floor Panels

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10 Metal Decking

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Interior glass void structural axon chunk detail

01 Printed Image on Vinyl Plastic Banner 02 0.05’ Thick Glass Panels 03 Custom - Made Translucent Stone Glass Bricks 04 Metal Glass Brick Joints 05 Stainless Steel Structure 06 Metal Decking

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07 1’ Deep I-Beam Floor Structure

Spring 2018

RESTAURANT MARKET

OPEN PUBLIC PLAZA

Ernesto Puigbet

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MARKET

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Spring 2018

ART GALLERY

ART GALLERY

RESTAURANT

RESTAURANT

RETAIL SPACE

RETAIL SPACE

MARKET

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ART GALLERY

RESTAURANT

RETAIL SPACE

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Spring 2018

Final model

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design studio

3A

Fall 2017

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AMIGAA: Articulation and Tectonics I Instructor: Maxi Spina In collaboration with Shayan Khorassani Fall 2017 The first studio of the third year core studio sequence locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their work, while the main investigation examines the particular impact of the building and its material and geometrical determinations on site and a Tall Building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making.

Excerpt taken from Maxi Spina’s 3A studio syllabus.

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Fall 2017

Facade studies tested on 10 stories of the building

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Throughout the study of early computer art we developed the concept of breaking the reading of the grid as endless vertical and horizontal vectors and rasters that challenge the idea of the flat curtain wall by having a sense of real depth versus an implied one.

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Fall 2017

Massing study models The use of basswood extrusions was an experimental/ systematic way to explore typological issues as well as massing and formal observations. The specific dimensions of these extrusions provided a systematic measuring device with a predetermined grid.

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Unrolled elevation - Merge of facade & massing studies

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Technical detailed axon blowout

01 8” x 5.5” Extruded Aluminum I-Beam Mullion 02 2” x 2” Concrete Column W/ Steel Beam 03 24” Concrete Slab W/ Metal Decking 04 4’-75” x 16’-00” Double Glazed Glass 05 6” Graphic Pattern 06 24” Extruded Aluminum Framing

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07 24” Carved Glass With Steel Frame

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Axon chunk detail - 10th floor to 20th floor

01 Office Elevator Bank 02 Studio Elevator Bank 03 Fire Stair Shaft 04 Studio Restrooms 05 2’x 2’ Concrete Fill In Columns W/ I-Beam 06 8”x 5” Extruded I-Beam Mullions 07 24” Extruded Aluminum Mullion Frame 08 12” Post-Tentioned Concrete Slab 09 Concrete Metal Decking

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10 12” Carved - In Aluminum Frame

Level 34 E.L. 580’-00”

Level 33 E.L. 559’-00”

Level 33 E.L. 536’-00” Level 32 E.L. 523’-00” Level 31 E.L. 510’-00” Level 30 E.L. 497’-00” Level 29 E.L. 484’-00” Level 28 E.L. 471’-00” Level 27 E.L. 458’-00” Level 26 E.L. 445’-00” Level 25 E.L. 432’-00” Level 24 E.L. 419’-00”

Level 23 E.L. 396’-00”

Level 22 E.L. 380’-00”

Level 21 E.L. 367’-00”

Level 20 E.L. 344’-00”

Level 19 E.L. 328’-00”

Level 18 E.L. 312’-00”

Level 17 E.L. 296’-00”

Level 16 E.L. 280’-00”

Level 15 E.L. 264’-00”

Level 14 E.L. 248’-00”

Level 13 E.L. 232’-00”

Level 12 E.L. 216’-00”

Level 11 E.L. 1200’-00”

Level 10 E.L. 184’-00”

Level 9 E.L. 168’-00”

Level 8 E.L. 152’-00”

Level 7 E.L. 136’-00”

Level 6 E.L. 120’-00”

Level 5 E.L. 104’-00”

Level 4 E.L. 88’-00”

Level 3 E.L. 65’-00”

Level 2 E.L. 49’-00”

Level 1 E.L. 33’-00”

Level 0 E.L. 0’-00”

Fall 2017

Final model

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design studio

2B

Spring 2017

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Object to World: Ground and Apertures Instructor: David Freeland In collaboration with Tiziana Felice Spring 2017 The 2B studio follows the lessons of previous semesters by designing material form in close relationship to techniques of drawing and modeling. This studio expands the idea from building abstract massing models to constructing materially specific models that emphasize building systems. This shift adresses material constraints - such as size and thickness, structure, and finish - which produce interesting limits and problems of translation between digital and physical media. The final project consists of a research institute located in Palm Springs, that contains a diversified program, such as a housing campus for traveling students, studios, laboratories, classrooms, library, and recreational indoor and outdoor public areas.

Excerpt taken from Anna Neimark’s 2B studio syllabus.

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Spring 2017

0.060�

4 ply museum board

Developed surface drawing of a cube with rendered shadows

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Mies Van der Rohe’s Barcelona Pavilion Onyx Materials 1 24x36” Sheet of 2 Ply Museum Board 1 Drafts tape GOLDEN Heavy Body Acrylics (Titanium White, Transparent Red Iron Oxide) 1 extra-thick Maxi Cure Glue 1 8x32” wood sheet of 3/36” thickness Assembly Cut a 7x7” square from the medium 3/36” thick wood in the laser cutter or woodshop.

In Rhino, trace a template with the image of the original travertine of the Barcelona Pavilion as the background base.

Laser cut the separate pieces and the hatch obtained from the tracing in the 24x36 2 ply museum board sheet.

After laser cutting, paint each one of the pieces carefully imitating the real onyx in Mies’s Pavilion, wait for them to dry and glue them in order in the 2-Ply Museum Board white square that wa slaser cutted on the 1st step.

Paul Rudolph’s School of Art & Architecture Concrete Materials 1 8x32” general medium wood sheet 1 24x36 Sheet 1 ply chip-board 1 Golden Crackle Paste 2 Golden Heavy Acrylic colors (Titanium White, Gold) 1 Montana Golden Black Spray Paint Can Assembly Cut a 7x7” square from the wood shit in the laser cutter or woskshop.

In Rhino following the direction of the concrete linesdrawin the 7x7” square 45 ° angle lines within a 0.6” distance in between them.

Once the lines are drawn, produce three separate templates, to obtain the adequate amount of space to paint in.

Laser cut the three templates as well as the hole template, and use the Golden Crackle Paste mixed with a pinch of white and gold acrylic (to obtain grey) as the medium to color in between the spaces of the template.

Wait for each paste and paint to dry for about an hour to later use the following template.

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Spring 2017

Developed surface drawings of interior and exterior of the box with material application

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Image plotted on pearl photo paper

Crackle paste with acrylic gold and white paint

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Spring 2017

Examples of unfolding options Instead of reading the box as a fixed element with established corners, the box can be re-read as a device where all sides are flexible enough to rotate on different directions in order to produce new corners while having the ability to return to its original form.

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In terms of the internal and external relationship of the solid, at this stage of the design, there is yet no defined interior or exterior as these are interchangeable. The shift of perception of the squared box as an artifact rather than a fixed solid provides a variety of possibilities to create compositions that can later evolve into a cinema / theater space.

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Spring 2017

Massing studies of unfolded boxes in site

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Site plan

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Spring 2017

Upper level plan

S1

S2

Ground plan

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Front elevation

Back elevation

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Coffee Shop

Concrete re-production taken from Paul Rudolph’s Yale School of Art and Architecture

Re-production of the blinds taken from Doug Aitken’s “Migration”

Theater 2

Offices

Re-production of the blinds taken from Doug Aitken’s “Migration”

Film & Bookstore

Spring 2017

Final model

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Spring 2017

Final model

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design studio

2A

Fall 2016

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Architecture from the Inside-Out Instructor: Emmett Zeifmann Fall 2016 The second year studio sequence focuses on the internal organization of an architectural project, and the relationship of that interior to the physical and cultural context in which the project is located. Building on the rigorous analysis and transformations of geometry undertaken in the first year of the core, the 2A design studio introduces students to diagrams as conceptual and geometric structures that organize form and program into coherent, speculative building proposals, opening a dialogue on buildings as expressions of disciplinary positions.

Excerpt taken from Emmett Zeifmann’s 2A studio syllabus.

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Fall 2016

Convent La Tourette Le Corbusier

Precedent analysis

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Superimposition of vector, object and field diagrams of Convent de la Tourette

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Fall 2016

Vector materialized diagram

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Superimposition of vector, field and object materialized diagram

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Fall 2016

Parti diagram

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Materialized parti diagram

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Fall 2016

Shadow studies on site

Based on a series of fields are linked and separated by the vector which represents a continious loop that appears to be broken by the shift of one of the fields produced by the tension of its legibility. This shift represents the in-between of the public and priva te realm of a small city type, seeming to be pushing out towards the external world.

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Sun studies of the building on site

Within this space a figure has been carved out in order to produce a wide flexible space for the most public programs to be located in, such as the exhibition walls, the lecture hall and the coffee shop. The residential units are located in the courtyard filling the inner void and are surrounded by research classrooms and laboratories, which goes against the common campus organization where the dormitories usually surround the rest of the program.

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Fall 2016

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Administrative Area

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Storage Unit

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Lecture Hall

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Exhibition Walls

10 Coffee Shop

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Exhibition Walls

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Administrative Area

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Lecture Hall

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Exhibition Walls

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Administrative Area

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Lecture Hall

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Exhibition Walls

10 Coffee Shop

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Section 2

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Side elevation

Front elevation

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Fall 2016

Final model

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design studio

1B

Spring 2016

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Mass and Interiority II Instructor: Mira Henry Spring 2016 Ideas, when deliberately assembled, become intellectual structures for conceptual strategies that oversee notions of spatial systems and architectural form.The relationship between the conceptual and the circumstancial will be examined in a series of evolutionary and interrelated projects that guide the student towards an understanding of sophisticated notions of spatial structures and material consideration. The final project for this studio is an architectural museum called LACA (Los Angeles Convention of Architecture) located in Los Angeles, with the purpose to house and exhibit architectural work to promote research and study in the area. Excerpt taken from Myra Henry’s 1B studio syllabus.

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Spring 2016

San Carlo Alle Quattro Fontane Francesco Borromini

Precedent analysis

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Formal analysis of San Carlo Alle Quattro Fontane

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Spring 2016

From the reconstructed plan, a figure from the poche that includes a moment of complexity was chosen in order to serve as the base of the museum to be further designed.

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As a starter this figure was translated into a three dimensional object which was submitted into a series of variations that produced as a result the original massing of the project.

Three dimensionalized delected figure

Resultant grid from the massing

Three dimensionalized modified figure

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Catalogue of variations of parent figure

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Figure / Ground diagram - Public / Private spaces

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Spring 2016

Final model

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design studio

1A

Fall 2015

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Object, Mass and Interiority I Instructor: Betty Kassis Fall 2015 The first studio introduces the student to spatial problem-solving. A sequence of increasingly complex problems charge the students with working within two opposing knowledge-based fields: analytical and intuitive operations are applied to the study of materials, their potential for transformation, and their cappacity to suggest ideas and intentions, organizational concepts, and abstract spaces. The studio begins with an examination of two dimensional problems, then focuses on problem solving in three dimensions.

Excerpt taken from Betty Kassis’s 1A studio syllabus.

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Fall 2015

179

DS

180

Fall 2015

Transformed Dodecahedron

181

DS

Resultant volume after transformation

182

Fall 2015

Through t he use of a colo r p a lette from Jose f Albe rs Homa g e to t he Square se ries, studies of interiority were develop ed b y m isre ading t he volumetr i c i nte rior of t he t ransfor med d od e cahe dron.

A translation from a two d i m e n s i o n a l d ra w i n g to a t h re e di mens i ona l volum e produce d cer ta i n va riat ions and possibi l i ti es of i nte rnal ge om e t ries.

Color studies based on Josef Alber’s Homage to the Square

183

DS

184

Fall 2015

Three dimensional interpretation of the color diagram

Projection of interior massing produced by three dimensionalizing color diagram

185

DS

Resultant internal geometry explored in section

186

Fall 2015

187

DS

Final model

188

Spring 2019

189

VS

visual studies Design Manual Instructor: Florencia Pita In collaboration with Andrea Velasco Spring 2019 This class will try to “sell” design ideas, we will prototype them, package them, publish them and brand them. In order to do this we will began by studying Armin Hofmann and his book titled “Graphic Design Manual” from 1965. This book presents a methodological approach to the realm of graphic design, but it is more than that, as it aims at unraveling the pictorial and the formal as a visual language. The shift from graphic design to architecture will be conveyed through the medium of the “disciplinary drawing” and it’s transformation from highly abstract and conceptual into a brand.

Excerpt taken from Florencia Pita’s visual studies seminar syllabus.

4B 190

Spring 2019

191

VS

192

Fall 2017

193

VS

visual studies Miniatures Instructor: Florencia Pita In collaboration with Andrea Velasco Fall 2017 This course focuses on the idea of Miniature architectural features, miniature stairs, columns, doors and windows. Following the work of Monica Sosnowska, the class specifically investigates her work and how it creates abstract variations of ‘true’ architectural features and extrapolates them into geometries. The shift from recognizable stairs, columns, etc, to abstracted forms will be done by converting mass to outlines, by delineating these familiar forms and voiding all material implications.

Excerpt taken from Florencia Pita’s visual studies seminar syllabus.

3A 194

Fall 2017

195

VS

196

Fall 2017

197

VS

198

Fall 2016

199

VS

visual studies Technologies of Description II Instructors: David Freeland and David Eskenazi Fall 2016 This course introduces the principles of digital drawing tools essential to 2D architectural representation. Working with primary digital representation tools, students learn both the application of projective techniques for architectural subjects and the conventions of operation and interface.

Excerpt taken from David Freeland and David Eskenazi’s visual studies seminar syllabus.

2A 200

Fall 2016

Shadows projected on spheres to produce new corners

201

VS

Resultant shadows projected on the new corner on a simple sphere

202

Spring 2016

203

VS

visual studies Fabrications & Delineations Instructor: Emmett Zeifman and Dwayne Oyler Spring 2016 This course emphasizes on the conventions of architectural projection for the description of form and space. The exercises build on the understanding of the logic inherent to deployed techniques, digital modeling and constructed geometry.

Excerpt taken from Emmett Zeifman and Dwayne Oyler’s visual studies seminar syllabus.

1B 204

Front elevation

Top elevation

Vertical section cut

Horizontal section cut

Using a traffic cone as a starting point, this was further studied and explored by cutting into it angled cuts that unveiled its geometry and formal qualities. The different sliced versions were booleaned together to create hybrid forms that had interesting formal configurations creating an overall hybrid that seems to have no relevance to the original traffic cone but at the same time can be read to have originated from one.

Iterations of sliced versions of the cone

Spring 2016

207

VS

208

Spring 2019

211

Applied Studies

construction documents Instructor: Pavel Getov & Kerenza Harris In collaboration with Andrea Velasco, Alejandro Loor, Tiziana Felice, Navid Simanian and Yousef Houssain Spring 2019 The course focuses on advanced methods of project delivery and construction documents incorporating digital technologies and investigating new models for linking design and construction processes. It introduces Building Information Modeling as one of the tools for realignment of the traditional relationships between the project stakeholders. Using a single unit residential building located in Los Angles, students will analyze and develop the architecture by creating a detailed 3d digital model and a set of 2d construction documents specifically tailored for the design challenges of a single unit residential project.

Excerpt taken from Kerenza Harris and Pavel Getov’s course syllabus.

4B 212

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Applied Studies

design development Instructor: Scott Uriu & Pavel Getov In collaboration with Andrea Velasco, Dian Anzarut, Tiziana Felice, Brian Garcia, Neno Videnovic and Alex Hauptman Fall 2018 This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials, the integration of building components and systems, fire/life safety and ADA planning, and the introduction of sustainability measures.

Excerpt taken from Scott Uriu and Pavel Getovâ&#x20AC;&#x2122;s course syllabus.

4A 218

Fall 2018

GlassFiber FiberReinforced Reinforced Concrete Concrete ( Glass Integrated Integrated

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Applied Studies

(GFRC) (GFRC) dd Color Color

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Main Structural System Main Structural System HSS Steel Member

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Fall 2018

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Applied Studies

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222

Fall 2018

Vinyl Sheet Frame Vinyl S heet F r a me 2” Aluminum inum Alum 2” xx2”2” Vinyl eet Vinyl S hSheet nted Patter nPattern With P r iPrinted With Main uctur a l S ys tem System Ma in S trStructural HS S S teel Member HSS Steel Member C- Cha nnel C-Channel C6 x 10.5 C6 x 10.5

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SteelS I-Beam teel I- B ea m 15 0 x15 W1x W10

Acoustic Ceiling Tiles Acous tic Ceil in 30” x 30” Mineral 0” Miner a 30” x 3Fiber

223

Applied Studies

WHITE GLASS ENVELOPE White Glass Envelope

GFRC Panels GFRC PANELS

Glass Mullion GLASS MULLION DOUBLE GLAZED INSULATED GLASSGlass Double Glazed Insulated

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224

Spring 2018

225

Liberal Arts

film & architecture Instructor: Michael Stock Spring 2018

3B 226

Spring 2018

Me & Cleo from 5 to 7

A set of tarot cards depicting her future, neither Cléo nor me are sure if she will make it until 7 pm alive.

Very anxious and scared she walks down the stairs to walk out into the street and lets me follow her minute to minute in real time, as Agnès Varda intended me to.

In the following paper, I will describe my perception of Cléo from 5 to 7, it is not a description of t he film but my interpretation of it.

Scared of cancer, of dying, of loosing her beauty, Cléo, a famous french singer, rambles through the streets of Paris with a frightened look in her face by the side of her paid companion or secretary which gives her company at all times, minutes after she comes out of a fortune teller to know more about her future, as she awaits medical results to know if she has cancer or not. Not aware of what’s happening around her, Cléo can not see outwards, nor herself, she can only see what might happen when the doctor gives her an answer.

To some extent she even doesn’t seem to be part of her own life. As a consequence of being constantly worried about her looks, medical results and what other people might be thinking about her, as recognizable and beautiful as she is, I am also not able to see Cléo properly, I can just see her from the eyes of the rest of the characters, from the eyes of her maid, the store seller, the waitress, her friends, but not as she is just as how she seems to be. Paris, all around the place, calling my attention in instances more than Cléo’s attitude or worries.

From the camera’s view, I can have a clear sense of what Paris was like in 1962, I understand the context that surrounds Cléo. I’m perceiving the same things as she is, and rambling through the city just like she does.

Full of people, Paris, seems to be a city to be afraid of, which Cléo apparently is.

Loneliness and the fear of death crave her mind as she looks for ways to distract herself and hide reality behind he r beauty, repeating to herself “As long as I am beautiful I am more alive than others” .

227

I noticed the rep etitive appearance of mirrors as she walks, seeing her from multiple different angles I can notice that she uses her beauty as an excuse from feeling bad with herself, as having no other attributes to compliment her, she gets drowned by this notion of beauty and the supposed powers it has to make one feel immortal. As a singer and style icon who mostly gets attributed for her looks, I don’t blame her for feeling this way. As beautiful and perfect as she may seem, as any other human being, she can get sick too, she can die too and it won’t be her looks that stop that from happening. The mirrors surrounding her surely remind her and me of her fractured entity.

Liberal Arts

She lets me into her apartment, her lover visits her, some songwriters too, they don’t seem to be worried about her medica l situation at all. According to her paid companion superstitions and time will prevent her sickness. But it is at this instant, when her colleagues are making her sing a song that she feels as the puppet of her own fear, angry of singing about her own life crisis, there is a dramatic change in her attitude. The lyrics of the song wake her up. I’m amazed to see Cléo rebel herself and wear whatever she finds around the apartment to leave by herself, without the need of her paid companion by her side.

She walks onto the street to discover herself, to discover what is really going on with her. I can no longer see her through other people’s eyes, now I see the st reets from her eyes. Now I can see that she is looking outwards, she realizes that other people exist, have problems, have lives, that it’s not only her with fear of living. I read Paris in a more detailed way, I can see what other people are doing, what is happening on the streets, how facades look like, how riding a car during that time at that specific moment would be like. As minutes go by, I get more interested on Paris than on Cléo, and I know that she’s going through something similar.

Is it the real time filming, or the way the camera shifts, but there is something about this film that makes it extremely personal and provides a very close relationship with her and with the city.

Cléo sings, as she walks through Paris, nobody listens. She now unde rstands that she is not the only one walking through the city, there are other people out there and they don’t care at all of who she is or what she’s signing. I don’t know Cléo that much, but for the hour and a half that I have been with her I have seen a drastic change in her mind view, I have witnessed how she now sees Paris and how she saw it before, how she now feels like one more tiny human in this big city.

From all the things she encounters with, she meets with a young man, Antoine, who happens to be soldier.

She talks to him and they soon enough form a close relationship without knowing each other too well. I think that if this would have happened at 5’ o clock she wouldn’t have formed that bond with him, he would have been just a soldier and not enough of a man to speak to her probably. Just as Cléo is going through an existential crisis and questioning her life, Anto ine is too, having fear to die in the Algerian War and not knowing his fate in the near future, finding commonalities

228

to share.

As Cléo at this point of the film seems to be more relaxed, I can now see the beauty of Paris, of the garden, the sun and the glow on their faces. It seems to be the real Cléo, not scared of dying but eager to live when she is with Antoine and same goes for him. It’s almost 7 (6:30 in real time) and the film is close to ending, it’s now the three of us. They both define the situation, and choose to be happy at this point, it is no longer the opposite. The situation is not defining Cléo anymore. I can see her stronger and more confident and definitely lightened to have found someone who understands her. I have experienced a variety of emotions similar to the ones Cléo has faced in a very short period of time. A set of emotions have come and left up until this time.

Spring 2018

As Cléo and Antoine go to the hospital to find out the results, in the most casual way possible, the doctor surprises us with the news that she won’t die. All that fear and anxiety that she and I felt changed her perspective completely, in just two hours she found herself and left me with an important thing to remember. From the moment that I start looking from deep within at other things and people carefully and realize that my problems are not big enough, that there is people around me with problems too, that the city is not a placed to be scared of, that looks is not what matters and that what other people think about me is completely insignificant, that’s when I’ll start to live.

And maybe then I can avoid fear from changing my perspective on things.

herself. She is now aware that she can deal with real problems just as anyone out there in the city can , that Paris isn’t scary enough.

Paris provided her the beautiful park, the nice weather and all that variety of people who changed her mind.

I have been in Paris but never in 1962 and this film gave me the chance to see it in the most accurate way possible. Only two hours with Cléo made me feel as if I knew her deeply, made me experience with her the fear of not knowing what will come next and the confidence a woman is able to feel by herself, with the help of no one.

The film ends, there’s no time for me to see Cléo’s reaction or thoughts about it, and I don’t really know if she will truly live or die, or if she will continue having a relationship with Antoine or if he will die, everything ends very suddenly. But what I do know is that she changed, that she is no longer unhappy, she is no longer empty inside, she now sees what is around her and she won’t let anyone, not her lover, songwriters, or personal companion, determine her future or her life, she now knows how to do it fo r

229

Liberal Arts

Va rd a A g n è s . C l é o D e 5 à 7 .

Per for m a n ce b y C or i n n e M a rc h an d, 1962.

230

Fall 2017

231

Liberal Arts

philosophy II Instructor: Jake Matatyaou Fall 2017

3A 232

Fall 2017

Notes on “Notes on Suicide” or awareness of our surroundings, it is the people around us that create a world for us, a perspective on how to see it and how to appreciate it or hate it. Our ability of Suicide. The act of learning, improving and lovintentionally destroying one ing one self and others shape self. To end a life that seems our purposes and general to be directionless and with interests as we grow in life, no purpose to keep existing. A but it is exactly in this period, cultural and social phenomin growing, by our surroundenon that is getting increasing society that all of those ingly out of control as more qualities that define us as people are eager to leave this human beings can change for world, for what it has bebetter or worse. Reasons to come. Simon C ritchley on his escape from the rest of the book Notes on Suicide manpeople emerge can emerge, ages to illustrate the ideas because it may seem to hard and clichés behind the act of to handle life and the best destroying one’s life, suicide way out is death. notes and how people react to this.

Rousseaus main point According to JeanJacques Rousseau in Discourse on the Origins of Inequality, human beings have basic traits two which are animals have as well, such as the “natural instinct of compassion if we see another being in pain, and the natural interest in ourselves, and our preservation”, and what makes us unique from other species, “we are unusually intelligent, and we have the capacity of self- improvement, adopting creatively to circumstances, not just following instincts.” We come to the world with no knowledge

on Discourse is based on how society shapes us and defines us. As we grow into a modern society based on stereotypes, dogmas and hierarchies that separate people into different social classes or races or religions, inevitably we begin to compare ourselves to other individuals. We tend to look for ways to appear more attracti ve, strong and smart to other people than what we really are. Our lives evolve around the idea of impressing someone else, sometimes to extremes where we are unable to recognize our actions or how much we’ve changed

233

and how detached from ourselves we have become. It is within our judgement to decide how to interpret and perceive society and use it as a benefit rather than an obstacle in our lives. In a way we are the result of our experiences and environment and we need to understand ourselves through society.

Critchley comments on how the book resulted as a dissatisfaction of the way people respond to suicide and of a method to overcome it and keep on living. As our capability of happiness gets destroyed by society or mental illness suicide happens and the people around the victim perplexed and shocked with no space in their minds to think of how someone can destroy him/herself find ways to not talk or write about it.

Some never accept this and remain angry with the dead person for a long time and others keep wondering what they didn’t do or could have done to save that person, but mostly no one accepts the fact that this person really didn’t want to live.

Liberal Arts

That maybe the fact that the person is no longer alive can work as a le sson fo r how we’re acting against each other. Pity and compassion for a few weeks or months fo r the d ead aren’t enough to respond to a human’s self-destruction. Because after pity is gone and the dead person forgo tten, the rest usually go back to their daily lives and keep acting and living the same way as before that person took away his/her life.

Certainly one of the things that scare people the most of suicide, and makes them incapable of even mentioning the word, is the fact that they are also humans and equally capable of ending their lives.

When I think of suicide notes I can just see it as a way of self-fashioning or an end to the way in which we brand ourselves. As we grow up we’re told to go to school, get a degree of our preference and be professionals.

All of this to sell our image to the world. We present our identity through the way we dress, the way our Instagram feed is, how we speak and what we like or dislike.

The world in which we live today focuses on the image, and we become however society shapes us to show this image of ourselves.

Even if one doesn’t follow the typical path to “success” or doesn’t care about branding his/her own

image, one is somehow still attached to this idea and the actions and clothes that this person will take on will determine his/her status in society. So “Suicide Notes” is a call to society to brand death and how it takes place, because it is responsible for producing this agony of being alive. The fact that a note has to be left behind to justify to other people the of such action makes it an unconscious or consci ous act of ending one’s image by taking control over it and shutting it off. No matter if the message is directed to crowds, to families or to a lover it will impact the people around this person dramatically and will impose an image on their minds as the person who committed suicide and left most of the issues unclear.

I think it’s up to us if we control that image or let it control us. It’s about understanding how society works, how other people are in order to be able to avoid them whenever it becomes an obstacle and enjoy their presence whenever they are not.

Understanding this and being conscious leads ourselves to be strong enough to never have a death drive if circumstances don’t go as expected.

Society has to learn from suicides because the number of people who feel pressured and beaten

234

by an image is high enou gh to worry. It’s happening to people who usually have normal/boring lives, who have done everything as they were supposed to, just like the rest of us.

As Critchley mentions in the book, “If death is chosen because of some explicit cause whether mental or corporeal, then we can empathize, seek to understand the particular predicament of the suicidal person and then quietly mutter under our breath” and later adds, “…This is a more disturbing issue because it implies that someone like us, someone, let’s say, who is just normally and boringly neurotic, but not suffering a fatal illness or clinical depression, could also choose to end their lives, right here and right now…

Why live?” (p. 64). At some point the fact that people who commonly live similar lives to ours commit suicide must raise awareness in society due to our relation to this.

We are also capable of doing it, it’s just a matter of deciding how and when. It must not be something that fears us to an extent in which it can’t be mentioned but something that changes the way selffashioning and society works in order to feel a pleasure in living and change the question to … why die?

Fall 2017

In my opinion, I blame it all to society. We, as humans, are born with a desire to take care of ourselves and to keep reproducing our essence in this world, none of us has an inner self-drive to death or any internal reasons to stop living unless a painful and terminal sickness produces this intentions of dying but otherwise it’s mainly about the external factors that lead to people who have mental health to kill their essence and along with it all purposes to succeed, follow dreams and impact positively other people’s lives.

Understanding the action of committing suicide and thinking about ways which lead to a person’s selfdestruction is necessary to raise awareness and reduce suicide rate numbers. It is the responsibility of the one’s who have not been affected by this thought to change the issues that are destroying “happiness” and humanity. As Critchley comments on his book “Suicide needs to be understood and we desperately need a more grown-up forgiving and reflective discussion on the topic… we have to dare. We have to speak.” (p.13)

whenever we desire, having smartphones that “facilitate our lives” and services that help us consume unconsciously, it is questionable how people are the most unhappiest. Is social media killing humanity? In relation to the image are people so caught up by their Instagram or Facebook feed that there can be a possibility to just shut them off? I guess it is up to each one of us and how we decide to interpret what society is becoming and what is doing to our minds and self.

But life doesn’t have to be so tragic and sad, as soon as this balance between internal happiness, solitude and social interactions is achieved, as soon as one’s purposes in life are set and determined, one has plenty of reasons to live. It is precisely on those critical moments in our lives where obstacles become mechanisms to make our beliefs and pursuits stronger and show us the people that will always be present through the course of our existence. The people and context around us are the main factors that can change one’s thoughts on acting to end life but we make the choice to listen or not, to live.

It is quite unreasonable how in an era in which most of the things are automated and have easy access, times in which we are comfortable enough to find food

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Liberal Arts

C r i tch ley , Si m on . N otes o n Su i ci d e. F i tz ca r ra l d o E d i ti on s , 20 1 7 .

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philosophy Instructor: Graham Harman & Jake Matatyaou Spring 2017

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Spring 2017

Plato / Aristotle

Fathers of ancient Greek philosophy, Plato & Aristotle are two characters that after thousands of years of history are still present in academia as a requirement to form people’s knowledge. In this paper, I will argue how the comparison between the ideas of this two philosophers are relevant and how these began to shape philosophy and challenge thinkers to come.

Plato’s Phaedo as a dialectic way of arguing ideas abo ut the nature of reality at a first instance leaves an impression of uncertainty on the reader and is open to any type of interpretation. Setting characters in conversation with one another seems to be a very compelling way of showing Socrates philosophical ideas and thoughts about reality, emphas izing on the power that words can have to transmit a message for centuries.

The constant questioning of Socrates seems to still have a resemblance on our world nowadays due to the amount of doors it opens for people to understand and interpret his thoughts in various ways.

Plato’s idea of what Truth or Beautiful is, is based on the fact that perfect forms of things need to exist in order to understand and know how this forms really are. The human body for him is a critical element that can lead us into danger or temptation of pleasures. In his argument, he states that real things can only be seen when we’re born and growing into a body makes us forget about these.

There’s no doubt that his thoughts are extreme in the sense that life must be lived in a very simple way, with no pleasures that lead us into distraction.

“The allegory of the cave” works as a medium and example of how he expresses this thought, in Socrates’ voice explaining the way he sees it, “In the knowable realm, the form of the good is the last thing to be seen, and it is reached only with difficulty.

Once one has seen it, however, one must conclud e that it is the cause of all that is correct and beautiful in anything, that it produces both light and its source in the visible realm… so that anyone who is to act sensibly in private or public must see it.”

Appearance, Truth, Beauty, Courage with capital letters are timeless things that never change and need to be seen in order to appreciate things that are considered under this terms.

For him, the intelligible world is more valuable than the visible one, and raising enough questions lets opinions form knowledge and reasoning. People must have wisdom in order to make logical decisions.

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In a dialogue with Glaucon, this is s omething which he makes extremely clear: “…But, Socrates, you must also tell us wether you consider the good to be knowledge or pleasure or something else altogether.

What a man! It’s been clear for some time that other people’s opinions about these matters wouldn’t satisfy you.

Well, Socrates, it doesn’t seem right to me for you to be willing to state other people’s convictions but not your own, especially when you’ve spent so much time occupied with these matters. What? Do you think it’s right to talk about things one doesn’t know as if one knows them?… … Haven’t you noticed that opinions without knowledge are shameful and ugly things?.”

Aristotle, Plato’s student and one of the most influential Greek philosopher of all times not only rejects his tutor’s theory of form but also makes him seem to be a radical and utopian thinker with a narrow perspective on things. For instance, Aristotle was a more practical philosopher who based his ideas on experiences rather than pure thought. He didn’t seem to be committed to the existence of perfect forms and of eternal and indestructible souls, but he did to nature.

Fo r him, the body didn’t imply danger nor lead the human into temptation, going against the idea that pleasure is a negative thing in our lives, on the contrary he believes that with no pleasure depression can become t he consequence. On his writings, he always seems to be looking for an equilibriumin things, arguing that one can never have exceed on pleasures nor on courage or bravery, as this may lead to wrong decision making.

His work is centered around two basic concepts, substance and accident.He states that the substance is what one is, something permanent that always stays how it is, basically things that exist by nature, while accident on the other hand, is what one isn’t. He later introduces ideas of potentiality and actuality, the first one considered as a state that doesn’t define the thing which possesses it and the second one considered as the form, as what one is doing right now (in other words, the result of potentiality). As Aristotle explains in “Reality is Individuals” from the Categories and the Metaphysics: “Substance, again, does not appear to admit of variation of degree. I do not mean by this that one substance cannot be more or less truly substance than another, for

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it has already been stated that this is the case; but that no single substance admits of varying degrees within itself.”

When the arguments and thoughts of Plato and Aristotle are presented in the same essay the relationship of Plato’s lessons to Aristotle’s work becomes unclear and a linkage between these two may be hard to find. Both had such an impact on society that consequently groups of people where formed following their concepts and studies. Intellectuals gathered together forming schools of thought that followed their beliefs, keeping these alive for future generations to come. It is clear that Plato’s and his student, Aristotle’s philosophy challenge and introduce highly eloquent concepts that always have and will keep forming people’s minds and ways of thinking due to the discoveries that in such early times were made by them.

Spring 2017

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History / Theory

history of architecture Instructor: Alex Maymind Spring 2017

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Spring 2017

A Re- examination of Architecture in the 60’s

Architecture has always been a practice that intrigues the architect in suc h a way that he or she almost always urges to look for a method to explain the work produced, the logic and reason behind ideas, what is being explored. As the practice has gone through many different styles, historians have had the need to divide it into periods of time in which ideas follow each style.

Even though thousands of years have gone by since the first humans started to define architecture, nowadays there’s still the same question on the table, “What is it that we are doing?” with a never ending purpose of finding an explanation to our work and a prediction of what will come next.

1960’s.

Reading those numbers bring plenty of thoughts to mind, mainly associated with the vast amount of events that took place during that decade. In the U.S society was changing, people were marching for their needs, racial tension was highly i ncreasing, and there was a clear lack of social reference of (architectural) education. Architects during this period were highly influenced by the context, they were well aware and in a way paralized, not really knowing how to work their way through society.

All of this social events highly affected architectural scholars, making them rethink and reconsider the role of the profession and how could they also be taken more seriously. Design studios in architecture schools were exploring self-building, studies on low-cost housing, community-design workshops, etc. Architecture was starting to become a flexible entity that had no limits on its explorations.

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The first man stepped on the moon, humans now relied on special suits to survive in outer space and “architecture in space” became a thought and a topic to study destroying all type of boundaries the practice could have. Ideas such as self-contained transportable houses, a house that is not always grounded on the floor but one can actually wear as a garment piece began to develop.

Certainly it was a time period that changed the architect’s perspective on where to take the profession to, while breaking the limits and trying to catch up with society.

History / Theory

As Hollein introduced in his essay “Everything is architecture” : “A true architecture of our time will have to redefine itself and expand its means. Many areas outside traditional building will enter the realm of architecture, as architecture and “architects” will have to enter new fields.

All are architects. Everything is architecture”, is a great example of what was architecture going through in this period and how the architect was well aware of it.

Technology. Another significant factor that came into the discussion became this new religion that dictated what was possible and could be achieved.

A language of mechanics and automatization inspired many architects, considered “ technologists” who played a significant role in transforming the discourse.

It was the perfect moment for a group of highly creative and motivated students to introduce their revolutionary ideas through a comic book.

Archigram introduced ideas of plugged-in architecture, concepts of indeterminacy, and the machine’s role in the subject. They “destabilized the fundamental assumption that architecture is a static art.”

Their work didn’t focus on the building as a result but on the highly executed drawings to introduce new ideas that had never been thought of before, or at least not called architecture.

Another technologist that also had revolutionary ideas was Cedric Prize who was against the preservation of buildings. He saw buildings as temporary interventions that once they accomplished their purpose were ready to be torn down, for the city would always be updated. A concept that went against all ideas that we ever had of buildings in a city, he challenged static and grounded architecture, having a sense of a building to be something that doesn’t necessarily have to last forever.

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SuperStudio desig ned a set of projects that eliminated the idea of design. As they argue in one of their statements, “Our work has used the instrument of architecture in a contrary fashion, gradually, through absurdity, showing its usefulness…”.

The context they’re located in, Italy, destroyed after a flood, 1966, was the reason for them to explore such issues as they were completely lost and desperate to make a change with very little room to do it.

All of this architects and groups serve as an example to visualize how architecture was transformed in the 1960’s on and how the social context had an effect on their work. They took architecture to a new realm, vanishing the limits and exploring all of the things that this practice can become.

Fall 2016

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History/Theory

history of architecture Instructor: Alex Maymind Fall 2016

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An Ideal City Vs. an Architecture School As the utopian model for an ideal city purely dedicated to the fabrication and preservation of salt during times when it was considered to be one of the most sacred commodities of society in France, Salines de Chaux reimagined and challenged a purely elliptical form to maximize efficiency, surveillance and productivity within a selfcontained structure of harmonious living and practicing at the same time. As commissioned by the Royal Monarchy during his imprisonment around 1774, Claude-Nicholas Ledoux refers to this project in an emotional and passionate way. According to Emil Kaufmann in his writings on Ledoux, “…he did not want the city to be simply an agglomeration of houses; he wanted it to be the crown of all architectural endeavors…Ledoux explores the many ways in which the language of architectural form communicates both meaning and sentiment.”

Around sixty years went by and in some other part of Europe, specifically Berlin, Karl Friedrich Schinkel was

commissioned to build a new architecture school in a vibrant city that was growing at the same speed as industrialization. As an architect highly interested in the technological innovations occurring at that time he was able to merge and integrate architectural principles with utilitari an building methods from early English structures produci ng as a result, in the case of the Bauakademie a school similarly associated with a type of industrial warehouse or factory able to house several actions at the same time. Influenced by society during the construction of the s chool around 1833 Schinkel had a rigid position in the function and purpose

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of the building. According to Hermann Lebherz, “Schinkel formulated his theory in the notes for his projected book on architectural theory: ‘Utility is the fundamental principle of all building’.”

In comparison to the way in which Ledoux refers to his project, Schinkel refers to it an a more functional and forthright way.

Saltworks at Chaux and Bauakademie are two buildings that at a first glance seem to be completely different in all aspects, just by the function that each has they appear to be hardly comparable but if the plans and overall forms of the

History / Theory

projects are to be analyzed caref ully more aspects than expected can be compared and contrasted. Saline is certainly a project that can be interpreted and associated with an underlying radial grid that defines its formal qualities. In the plan it is highly noticeable how this semicircle is composed by a series of repetitive figures in a symmetrical way that shape the overall form of the site and define its boundaries. Each of this figures is aesthetically independent and serves a unique function depending on it’s location on the site even though they may seem extremely alike as seen from above. The Bauakademie, on the other hand, is a project that can be clearly read to have an internal orthogonal grid that defines the overall form and subdivides spaces to follow its main purpose, which is to create rooms of study that aren’t fixed or meant to be a single thing, rather than a set of interchangeable spaces that

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can be adapted to achieve any desired function, creating a series of rectangular boxes arranged repetitively in a symmetrical way. Overall within this aspects and analyzing the plan, both projects can be seen and understood as pure geometrical shapes composed by a set of repetitive elements defining its boundaries. Certainly this differ in the way in which Saline follows a circular system while the Baukademie follows an orthogonal one, as well as the fact that in the ideal city each element has a specific purpose and external quality that define them while in the architecture school there is no hierarchy between each element, nor they have a specific purpose but are rather modifiable and flexible as a concept for study areas.

It is evident that Ledoux is concerned in the utopian concept of creating a factory and living area that not only promotes productivity using architecture, but also, surveillance. He designs the project in a way in which the director’s house, the center of the semicircle, has a broad view of all the other bui ldings being capable of supervising them within this contained machine 1 . His main purpose of following the panopticon concept makes the offsetting of the center several times essential to set a hierarchy and order within the spaces.

Ledoux refers to Saline de Chaux as a machine to enhance harmonious labor.

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Symmetry, for Ledoux, seems to be the essential component led by function and the guiding principle in which the form is based on. For Schinkel, symmetry seems to have the same meaning and influence in his project, which also works as the base of his idea of creating studio spaces that constantly relate back to each other. Schinkel’s structural system also makes the offsetting of the center essential for the development of his ideal which drives the project to be a confusing “factorylike” style building with a variety of activities taking place simultaneously in it.

A crucial point of difference between this ideal city and this architecture school lies in the position of the two projects with respect to the site in which they are located in. On the one hand, Saline has an obvious interaction with it’s site, the project perfectly aligns with the underlying system of the city of Chaux

Fall 2016

a city within a city that seem to work together in a reciprocal way. On the other hand, Bauakademie seems to have no interaction with the site, consisting of a squared shape placed in a city where there is no reciprocity with the outer elements surrounding it, but there’s a more evident relationship happening on the inside, creating an inner world with a series of objects interacting with each other.

The role of the facade condition of each project is ano ther aspect of comparison between them. In the case of Saline, the facade columns of the director’s house challenged the orders of the classical ideals by creating columns never seen before that contained two contrasting geometrical shapes in one. As a project consisting of a series of elements within a field Ledoux managed to develop a specific facade for each one of this according to their function. In the Bauakademie’s case, Schinkel used the facade material, the brick, to reflect the building construction technique of the emerging Prussian industry as well as following the idea of fitting prefabricated panels produced in an industrial and commercial manner.

According to Lebherz, “The Bauakademie displayed dual virtues: it very obviously observed functional requirements yet, simultaneously, was clad with a layer of decorative details and symbols…

Schinkel bridges the gap between functionalism and symbolism in one building and facade” . The facade in both projects respond and challenge the ideals and orders of their time periods pushing the architectural discourse forward.

As Saline is based upon the ideal city for workers to live and practice in, while Bauakademie is based upon the emergence of a new architecture school for people to be educated in a radically different way, both attached to completely different programs and concepts they challenge the ideals of the time period in which they are part of.

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