THE Texas A&M Architecture STUDENT Publication
AXI - OM ISSUE #16
BACK TO THE D R AW I N G BOARD
X
DIAGRAMS plans sections ELEVATIONS details FABRICATION
2019 1
AXI - OM X
team
a message from the editors
Editor-in-Chief James Hardt
“Back To The Drawing Board” is a publication that tackles the everpresent issue of representation. By calling out separate typologies inside our ontology, AXIOM works to bring more attention to these types that are the building blocks of our discipline and practice. Each series begins to define its importance through students own definitions and the selection of the respective works. Lebbeus Woods paints the best picture of this idea in his saying, “the most important things cannot be said in words or images directly, but must come together in people’s thoughts and feelings.” The publication gives the viewer a tangible catalog that renders all pertinent information of the architectural drawing set in one collection. Please enjoy and share.
Editors
Austin Madrigale
Committee Esteban Armenta Rebekah Bryan Katherine Gesing Marissa Gomez Jared Labus Rebecca Romero
Sponsors
Texas A&M AIAS Chapter Department of Architecture COA ITS COA MakerPlace Arkitex Studio Kahler Slater Boucher Design Group
James Hardt A special thank you to all students who submitted work. Without you, AXIOM would not be possible.
Austin Madrigale
AIAS
CHAPTER UNIVERSITY
2
BACK TO THE DRAWING BOARD I N V E S T I G AT I N G A R C H I T E C T U R A L D R A W I N G T Y P O L O G I E S
digarams
6
X
PLANS
12
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sections
18
X
ELEVATIONS
26
X
DETAILS
28
X
FABRICATION
30
3
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1.1
diagrams di·a·gram /'dīә͵gram/
noun 1. a simplified drawing showing the appearance, structure, or workings of something; a schematic representation.
“Diagrams are some of the most powerful tools an architect has to work with. They are a universal language that can communicate all kinds of design possibilities to clients. They also allow for more in depth understandings of complex designs through the ability to break down the whole into digestible parts. Diagrams can be a method of developing and pushing designs further by manipulating certain elements through series of operations. These diagrams are used as a universally understood method of visually representing various aspects of the project within the realm of architecture, engineering, and construction. This universal “language” of diagram allows the interdisciplinary collaborations that support the discipline and creation of buildings, architecture, and design. The importance of the diagram is
the idea that it can break down anything into visually digestible components. For example, if everything were drawn in perspective, or in full detail, the process of understanding the core ideas or components would be endlessly difficult and confusing. A simple diagram allows for a deep understanding of highly complex ideas in a short amount of time. Diagrams do not have to only be tools of communicating a finished design, but can also be used to quickly develop ideas from a starting point, or to begin to break down ideas and rearrange or reinterpret them.”
- COURTNEY WARD ‘21 & AARON SHEFFIELD ‘21
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2.2
2.1
2.3
1.1
CASE STUDY HOUSE 12 by SEAN NIMMONS ARCH 205, FALL 2018 Indexical Diagram
2.1-2.3
THE CORRIDOR by DANIEL ENYON ARCH 305, FALL 2018 Programming Diagrams
3.1
DOUGLAS HOUSE DISFIGURATION by ALEX ROSENBALM ARCH 205, FALL 2018 Formal Translation
3.1
7
4.2
4.1
5.2
4.1-4.2
CONFOUNDING INTERSECTIONS by MARY ANN BRIGHAM ARCH 205, FALL 2018 Formal Iterations
5.1-5.4
DMCA by ANNA COOK & FERNANDO ROSAS ARCH 405, FALL 2018 Exploded Axonometric & Interiors
5.3
6.1-6.3
SECTION BASHING by ANDREW ATWOOD ARCH 305, FALL 2018 Clipping & Boolean Experiment
7.1-7.3
GENESIS by NICK HOUSER & JAMES HARDT ARCH 405, FALL 2018 Volume Taxonomy & Interiors
EXPLODED AXONOMETRIC
5.1
8
5.4
6.1
6.2
6.3
7.2
7.1
7.3
9
8.1
ATHENEUM TOWERS by SUTTON JOHNSON & BRITTENY MARTINEZ ARCH 405, FALL 2018
10
9.1
SYNTHESIS by HANNAH TERRY & JASPER GREGORY ARCH 405, FALL 2018
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10.1
plans plan /plan/
noun 1. a design and planning for a building, and can contain architectural drawings, specifications of the design, calculations, time planning of the building process, and other documentation. 2. a drawing to scale, showing a view from above, of the relationships between rooms, spaces, traffic patterns, and other physical features at one level of a structure.
“The significance of the plan in the scope of architecture stems from its rich and critical history, from methods of use in the earliest approaches of architectural planning through hand-drawn and analog techniques to today’s heavily articulated illustrations in the post-digital era with technology as a driving factor in how we choose to showcase our work. Beyond the formal meaning and function of a plan lies another discussion in how and why plans are represented in the way they appear, and what translations and operations can be conceived and interpreted. Through the ordering principles exists a natural diversity and complexity in the requirements of the spaces architects design. We recognize elements such the presence or absence of a visual hierarchy, use of an axis/axes and datums, and incorporations of rhythm and repetition. The many transformations that occur
through the design process express the critical moves and renditions that make a plan what it is as a final representation. Whether it be through a shift, cut, scaling, and/or weakening, opportunities for more dialogue acknowledge edge and field conditions, solid-void relationships, and the sternotomy of the poche and elements of figure. The architectural plan is such an essential diagram in how both the discipline and the practice are approached. Architects continue to push the narrative and autonomy of the plan by challenging the standards of how to represent these designs and formulating new aesthetic agendas after carefully analyzing previous means of diagramming from within the respected discipline.” - JARED LABUS ‘21
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11.1
12.1
13.1 10.1
THE CORRIDOR by DANIEL ENYON ARCH 305, FALL 2018
11.1
F&S GALLERY by JEANELLE FERNANDEZ ARCH 205, FALL 2018
12.1
A BILLBOARD by LUIS MUÑOZ, STEPHANIE MADDAMMA, SEPHORA BELIZOR, & BRAZOS PINTO ARCH 206 & 406, SPRING 2018
13.1
F&S GALLERY by ANDREW ATWOOD ARCH 205, FALL 2018
14.1
14.1
SPLICE by HANNAH TERRY ARCH 305, SPRING 2018
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15.1
16.1
15.1
OFF-GRID by CYNTHIA CASTRO & TIFFANY OROZCO ARCH 405, FALL 2018
16.1
VAULT by AUSTIN MADRIGALE & EMILY MAJORS ARCH 405, FALL 2018
17.1
STITCHED IMMANENCE by PAUL MCCOY, DANIEL ENYON, & GRANT PARKER ARCH 206 & 406, SPRING 2018
18.1
GENESIS by NICK HOUSER & JAMES HARDT ARCH 405, FALL 2018
19.1
PATCHING THE AMERICAN PASTORAL by BEN SCHOENEKASE, REUBEN POSADA, JOEY REICH, & STEVEN GIDEON ARCH 206 & 406, SPRING 2018
20.1
PARAMETRIC HIGHRISE by GARRETT FARMER ARCH 305, SPRING 2018
21.1-21.2
18.1203-G-DEC by HANS STEFFES & GARRETT FARMER ARCH 405, FALL 2018
17.1
14
18.1
19.1 20.1
21.1
21.2
15
22.1
IN-BETWEEN by ROXY TREVINO CARC 301, SPRING 2018 BARCELONA STUDY ABROAD
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23.1
CAPITALIST HANGOVER by KATHERINE GESING ARCH 305, FALL 2018
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24.1
SECTIONS sec·tion /'sekSH(ә)n/
noun 1. any of the more or less distinct parts into which something is or may be divided or from which it is made up. 2. a cut through the body of a building, perpendicular to the horizon line to give a view through the spaces and surrounding structures so to reveal the relationships between the different parts of the buildings
APARTMENT SPACE ELEVATION - 230’
“The Section is the most expressive of architectural drawings. A single Section has the potential to communicate practical and abstract ideas about the architectural object technically, formally, and spatially by employing the everfluid poché. Poché liberates The Section from any single appropriation, giving it the capacity to adapt to the representational demands of the practice and the discipline of architecture. Poché’s fluctuating expression is a result of the way in which the architectural object demands to be understood under varying circumstances. In more abstract scenarios, the poché identifies as solid in order to accentuate the profile of a form or demonstrate how a volume becomes activated in section. On the other hand, when the architectural object demands understanding at a technical level, the poché
presents graphic conventions that take on the responsibility of representing construction details, material qualities, or performative aspects of the architectural object. In either case, sectional poché offers the opportunity to confront quintessential engagements within the architectural object such as exterior to interior conditions, object to ground affiliations, ceiling to wall to floor collisions, programmatic relationships, vertical and horizontal circulation, et cetera. These sectional confrontations are fundamental topics of the disciplinary discourse of architecture as well as essential communication strategies in the professional practice of architecture.” HOTEL
SPACE
ELEVATION - 65’
- EMILY MAJORS ‘19 RESIDENT PARKING ELEVATION - 39’
18
CIVIC AND RETAIL AREA ELEVATION - 0’
A
EL
24.1
A BILLBOARD by LUIS MUÑOZ, STEPHANIE MADDAMMA, SEPHORA BELIZOR, & BRAZOS PINTO ARCH 206 & 406, SPRING 2018
25.1
SPLICE by HANNAH TERRY ARCH 305, SPRING 2018
25.1
26.1
PARAMETRIC HIGHRISE by GARRETT FARMER ARCH 305, SPRING 2018
26.1
APARTMENT SPACE ELEVATION - 230’
HOTEL SPACE ELEVATION - 65’
RESIDENT PARKING ELEVATION - 39’
CIVIC AND RETAIL AREA ELEVATION - 0’
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27.1
28.1
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29.1
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30.1
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31.1
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20
32.1
50
Section
Auditorium
Auditorium/Exhibition
Exhibition Space
Exhibition Space Cafe/Lounge
Foyer Private Offices Storage Room
33.1 Rooftop Rooftop
27.1
31.1
G-DEC by ESTEBAN ARMENTA & BENJAMIN HERGERT ARCH 405, FALL 2018
28.1
F&S GALLERY by MICHAEL MARROQUIN ARCH 205, FALL 2018 Floor 3
32.1
33.1
Lounge
Art Shaft
HIAS by NOLAN SUMMERHILL ARCH 305, SPRING 2018 Floor
SYNTHESIS by HANNAH TERRY & JASPER GREGORY ARCH 405, FALL 2018
30.1
Art Shaft
URBANISMO PSICODELICO by JASPER GREGORY, ALEXIA HIX, MICHAEL CARROLL, & JACQUELINEFloor MENDOZA 2 ARCH 305, SPRING 2018
Cafe
THE NEW WELCOME CENTER by AUSTIN MADRIGALE CARC 301, SPRING 2018 ITALY STUDY ABROAD
29.1
Art Shaft
Offices
Stair Circulation
Storage
TAMU GLOBAL DISTANCE EDUCATION CENTER byYASMIN SOLIMAN & MARIANA ECHANOVE ARCH 405, FALL 2018
Foyer
Buffalo Bayou
Site Location 23
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34.1
INTERLOCK by MADISON GREEN, FINN RATTANA, RAY GONZALEZ, & LAUREN MILLER ARCH 206 & 406, SPRING 2018
24
35.1
18.1203-G-DEC by HANS STEFFES & GARRETT FARMER ARCH 405, FALL 2018
25
36.1
“The Architectural elevation operates in an uncanny valley between the render and the section, unrecognisable as either but imitating both. The origin of the 2.5 D movement, the elevation as a theoretical concept attempts to bridge the gap between technical data and artistic composition by presenting the totality of the project as it must exist but as it will never be perceived. The spectre of an architecture that aspires to be realized. Serious attempts to advance the architectural discourse of the elevation are few and far between, making it an area of great opportunity for experimentation and advancement. Unfortunately, both compositional and technical elevations have fallen out of vogue in the theoretical discourse of architecture, which relegates them to the realm of watercolor and only seriously considers them when they are expressed as abstractions. However it is a mistake to consider them this way, the elevation provides a uniquely architectural experience of a project, one that is essential to the the expression of a projects identity.”
“An elevation is a two-dimensional representation of a façade that is used to communicate a number of different features of a building such as entrance, windows, the buildings relationship to its site, materiality, and ornamentation. Along with plan and section, elevation is one of the main tools of architectural representation and is widely used through both the discipline and practice due to its ability to draw emotional reactions from its viewers. People can relate to elevations in a different way than they could to plans or sections because elevations are how a building interacts with its context; allowing the person to picture themselves on a street looking at the building. The purpose that a good elevation is striving to achieve is to create a dialogue between the interior and exterior of the building. Both should inform the other throughout the design process, as they directly influence each other in creating different spaces. In the practice, this dialogue is often achieved by starting with a tentative floorplan and then starting to work on the massing of the building. As the elevation develops further, the floorplan may have to be edited to accommodate the design choices of the exterior and vice versa. In the discipline however, there is a bit more flexibility in how a building’s design should progress, allowing the designer to start with elevation if they should choose. Elevations are often influenced by typologies as they can be a useful tool to relate the exterior of the building to its intended use. Good designers should know how to alter these typological features in order to communicate different meanings with their elevations.”
- HANS STEFFES ‘18
- CHRIS LOOFS ‘20
E L E VAT I O N S el·e·va·tion /͵elә'vāSH(ә)n/
noun 1. is an orthographic projection drawing that shows one side of a building with the purpose being to show the finished appearance and furnish vertical height dimensions
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37.1
38.1
36.1
GENESIS by NICK HOUSER & JAMES HARDT ARCH 405, FALL 2018
37.1
18.1203-G-DEC by HANS STEFFES & GARRETT FARMER ARCH 405, FALL 2018
38.1
OFF-GRID by CYNTHIA CASTRO & TIFFANY OROZCO ARCH 405, FALL 2018
39.1
DMCA by ANNA COOK & FERNANDO ROSAS ARCH 405, FALL 2018
39.1
27
40.1
details de·tail /dәtāl,'dētāl/
noun 1. a zoomed in plan in specific parts of the buildings in order to illustrate the detailed connections between the elements
“Details are the foundation for, not an addition to, understanding the architectural whole. This is not to say that the detail contains within it the idea of the entirety of the whole, but that the comprehension of the whole cannot be separated from the understanding of its detail, and that the role of the detail is not simply to create comfortable familiarities or tasteful devices. One may draw various conclusions of the role and the substance of the detail, first, that details are the vestiges of traditional architectureunnecessary ornament that can be eliminated. Another is that detail and its larger part are not autonomous to one another - that detailing is the extension of the ideas of the larger whole into the part. It is one where the detail holds no true existence in any form of architecture, and it is simply a question of consistency.
The message of a detail lies in its reflection on architectural language and its ordering on proportion, composition, geometry, and presence. The role of the detail in its whole can take various semblance with its various philosophical and formal supports. However, architecture should hold no independent activity that is detailing, but only variations in the scales of design.”
- CYNTHIA CASTRO ‘19
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40.2
41.1
41.2
40.1-40.2
VAULT by AUSTIN MADRIGALE & EMILY MAJORS ARCH 405, FALL 2018 Wall Section & Detailed Rump Cut
41.1-41.2
SYNTHESIS by HANNAH TERRY & JASPER GREGORY ARCH 405, FALL 2018 Tower Chunks
42.1
GENESIS by NICK HOUSER & JAMES HARDT ARCH 405, FALL 2018 Wall Section
42.1
29
43.1
fabrication fab·ri·ca·tion /͵fabrә'kāSH(ә)n/
43.2
noun 1. the action or process of manufacturing or inventing something
“Fabrication as the diagram and drawing.
idea that the process will originate from, and as death, will find itself in the spread of an editorial if it is lucky. The fabricated still stands but can only be understood through drawing when it is not in the presence of sentience. The drawing performs the same purpose in each case, both with the intention of representing an idea in a manner that is intended to be received. Optimistically it would be hoped that the fabricated is represented correctly as to what it is, but sadly the drawing does not occupy all the senses that the fabricated does. The drawing allows us to have partial experience of the fabricated but full understanding of its origin.”
Fabrication is the creature of complex origin as diagram. It, in itself, is not the fabricated until all parts have come together to make the whole. The ambiguity of the origin lies within the aspect that the activators (CAD, CD’s, Components, Construction) have no singular procession to take. The ever changing conditions of the fabrication process call for the activators to be modified accordingly. The activators ability to be omnidirectional with their influence on one another is what facilitates the ability to not be a linear path. Because of the network of method created between activators, the origin can be seen as no set point as Diagram. Fabrication as drawing however, is simple in origin and ultimate conclusion. The drawing as conception deals with the overarching
- NICK HOUSER ‘19
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43.3
43.4
43.5
43.6
43.7
43.1-43.8
HYPERSECTION INSTALLATION by NICK HOUSER, GARRETT FARMER, OZZY VELIZ, IAN SAENZ, CODY SONNIER, MINDY HOAG, HANHUR KIM, CESAR MARTINEZ, ALYSSA THOMAS, & LAUREN LYCAN ARCH 317, FALL 2018 Installation Drawings, Components, Fabrication Process & Final
43.8
31
44.1
STITCHED IMMANENCE by PAUL MCCOY, DANIEL ENYON, & GRANT PARKER ARCH 206 & 406, SPRING 2018 Physical Model
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