Teaching experience 12 14 eduardo benamor duarte part1 by Eduardo Benamor Duarte

STUDENTS WORK

Samples Eduardo Benamor Duarte

4 Situation

Social Interaction

2012 Exchange at RISD Intervention in homeless shelter The Down And Out Door is a collapsible furniture piece made for small size dwelling. The two doors contains a chair and table which folds out and creates a private sphere for working or dining. The piece offers multiple combinations

Typology of mess

•Fall 2012 -INTAR-23ST-02 -Studio Housing Affects, Wonsockett Women’s Homeless Shelter Student works: Magnus Malberg, Roxanna Salceda, Ahana Miller

7                                                                                                                                                                             

•Fall 2012 -INTAR-23ST-02 -Studio Housing Affects, Wonsockett Women’s Homeless Shelter Student works: Magnus Malberg, Roxanna Salceda, Ahana Miller

    

 

•Fall 2012 -INTAR-23ST-02 -Studio Housing Affects, Wonsockett Women’s Homeless Shelter Student works: Magnus Malberg, Roxanna Salceda, Ahana Miller

12 12

PHOTOS OF CURRENT CONDITION OF ROOM

AFFECT

WINDOW

TRIM

VORONOIS ON TOP CAN BE USED FOR STORAGE BOXES OR ITEMS THAT WILL NOT BE USED OFTEN

CREATION OF A VORONOI DIAGRAM -

BED

decomposition of space into family of objects determined by distances to objects in space systematic division of multidimentional space in 3D space they produce convex polyhedra 20 POINTS

RADIATOR

30 POINTS

VORONOIS AT AN ANGLE CAN BE USED FOR ITEMS THAT DO NOT NEED A FLAT SURFACES LIKE PILES OF CLOTHES, BOXES, SMALL BOOKS, DVDS, FOOD

VORONOI AREA

PLAN VIEW

XRAY VIEW

FLOOR PLAN OF THE ROOM

PERSPECTIVE VIEW

SCREEN SHOT FROM VIDEO

REFERENCE IMAGE

FLAT VORONOIS FOR SMALL OBJECTS LIKE TOILETRIES, CLEANING ITEMS, BOTTLES

•Fall 2012 -INTAR-23ST-02 -Studio Housing Affects, Wonsockett Women’s Homeless Shelter Student works: Magnus Malberg, Roxanna Salceda, Ahana Miller

VOIDS FOR CLOSET SPACE

HOW TO ARRANGE OBJECTS ON SHELVING

•Fall 2012 -INTAR-23ST-02 -Studio Housing Affects, Wonsockett Women’s Homeless Shelter Student works: Magnus Malberg, Roxanna Salceda, Ahana Miller

•Spring 2013 -INTAR-SP13-INTAR-2362 Adaptive Reuse Studio, Newport Congregational Church, Soft Interventions Student works: Group project MA Interior Architecture (Adaptive Reuse) class ‘13

19 La FARGE

LOOP

inspired by la farge’s creation of opalescent glass and derived from mapping key elements of the space, the fabric loop indicates the rise and fall of the la farge windows throughout history and as they exist in their current state. clear lines of string pull at the fabric, manipulating through lines of force directly connected to the windows.

mapping 3 B

RISE- origin & invention

A continuation

18 RISERS 17 TREADS

2 1

view point

3 D

fall- time

18 RISERS 17 TREADS

false history

3 C

the visual loop appears to have parallel members, indicating the apparent likeness of the original windows and the false windows. however, in reality the depth changes as the loop recedes in space creating an obvious difference in appearance and spatial experience.

Pear Pantrakul, laasya malladi, amy selvaggio

•Spring 2013 -INTAR-SP13-INTAR-2362 Adaptive Reuse Studio, Newport Congregational Church, Soft Interventions Student works: Group project MA Interior Architecture (Adaptive Reuse) class ‘13

21 SPATIAL ANALYSIS MODELS

ABSTRACT CONCEPTS “Take advantage of the way in which this style favors very large plain spaces as connected with very rich ones” -- John La Farge A minimal installation to highlight the richness of La Farge in a fragmentation of processional project surfaces

FRAGMENTATION

ANALYSIS AXONOMETRIC

PROJECTION

PROCESSION

SITE PLAN

DESIGN PROPOSAL

DANA HAMDAN KRISTEN BENDER S H I VA N I B H A L L A

•Spring 2013 -INTAR-SP13-INTAR-2362 Adaptive Reuse Studio, Newport Congregational Church, Soft Interventions Student works: Group project MA Interior Architecture (Adaptive Reuse) class ‘13

DIMENSIONS

not scaled fabric pattern

CONNECTION AT RAIL HEIGHT

8'-3 41 "

24'-1 43 "

13'-3 43 " 13'-3 43 "

25'-7 41 " 21'-6 41 "

21'-8 21 "

26'-5 43 "

18'-10"

22'-0 43 "

18'-0 43 " 25'-10

25'-3 41 "29'-5"

43'-10

16'-1 41 " 12'-1 41 "

25'-1 43 "

19'-2 21 " 3 4"

11'-3 43 "

20'-6 21 "

13'-3 43 "

32'-11

38'-4 13 16 "

24'-1 43 "

20'-7 21 "

17'-5 41 " 16'-1 43 "

12'-6"

32'-7"

9'-1 21 "

1 " 7'-0 16

1 2"

25'-10

1 2"

25'-10

3 4"

39'-4 41 "

7'-8 21 "

(angled)

TESSELATION

not scaled fabric pattern + tesselation

1 2"

1 " 15'-1 16

18'-8 21 "

47'-1 13 16 "

2 5(s)

43'-8 21 "

32'-0 21 "

19'-11"

25'-10"

36'-5"

25'-10

3 4"

45'-1 43 " 45'-1 41 "

41'-1"

CONNECTION 8’ ABOVE RAIL

27'-2"

18'-9 41 "

fabric pattern south side scale: 1/4”=1’

LEAVE OPEN FOR CIRCULAR AIR CONNECTION

C 4

complete lengths: A (straight) 15’ 1” B (angled) 38’4” C (angled) 47’2” D (straight) 34’4” E (straight) 15’1”

38'-0 81 "

(angled)

46'-11

7" 8

9 " 34'-4 16

ADJUSTMENT ROPE

9 " 15'-1 16

TENSION ROPE

25"w x 77 34_"h CLOSET -

BO SOFFIT EL. 12'-4 1/4"

43'-8 21 "

1 2"

16'-1 41 " 12'-1 41 "

32'-0 21 "

LEAVE OPEN FOR CIRCULAR AIR CONNECTION

25'-10

1 2"

25'-10

1 2"

25'-10

3 4"

1/8"

18 RISERS 17 TREADS

4d 25'-3 41 "29'-5"

43'-10 39'-4 41 "

3/8"

20'-6 21 "

25'-7 41 "

CHANNEL

TO CLOSET EL. 7'-5 1/4"

STAIR -

11'-3 43 "

** add 5 ft to each length for purchasing

SEW THIS EDGE SEEM ON OUTSIDE 2” (TO ALLOW FOR PIECE CONNECTION AND ROPE CHANNEL)

27'-2"

PUMP CONNECTION

FOLD CORNER TO ALLOW AIR FLOW

NYLON WEBBING ATTACHMENT @ ENDS OF CHANNEL FOR ATTACHMENT

CONNECTION 7’ FROM GROUND

CONNECTION 4’ ABOVE RAIL

CONNECTION 8’ ABOVE RAIL

4b 4a

19'-11"

25'-10"

7'-8 21 "

4(s)

5a A

18'-8 21 "

TAG CORNERS WITH LABELS FOR WAYFINDING (SAFTEY PINS AND FABRIC)

fabric pattern south side scale: 1/4”=1’

FLAT PANNEL

FOLD OVER & SEAM @12” TO CREATE TUBE (8”DIAMETER)

•Spring 2013 -INTAR-SP13-INTAR-2362 Adaptive Reuse Studio, Newport Congregational Church, Soft Interventions Student works: Group project MA Interior Architecture (Adaptive Reuse) class ‘13

Sally Gales INTAR 2379: Investigating Interiority “In the Moment”

Interiority is a shared sociological state. Everyone has experienced interiority and for most people, the majority of their lives are spent indoors: they work indoors, live indoors, many recreational activities happen indoors. Of course I acknowledge the fact that people enjoy outdoor activities and pastimes but it has been estimated that Americans, at least, spend 90% of their time indoors. Our lives are composed of a series of progressions from one interior space to the next: destination-centric living. 1 For my thesis, I am interested in exploring the transitional sites. The indoor spaces that occur when people are in process of traveling from A to B; most often the spaces people spend the majority of their day in but due to repetition and complacency the sites that are most overlooked. In particular, I am considering looking into the NYC subway system. According to the US Census Bureau’s 2012 American Community Survey, approximately 62% of New Yorkers take the subway to commute to work everyday. The average time spent commuting to work: 50.9 minutes. This means that in one week the average person can spend a minimum of 11.8 hours on the subway; if they go to work everyday, in one year that will add up to 715 hours underground in the tunnels [please note these numbers are only taking into consideration commuting time and the numbers will increase when considering travel to leisurely activities]. The MTA works to time its trains on an interval to minimize passenger wait time but on average [depending on location] a person can spend anywhere from 5-30 minutes of their commute waiting on a platform. The NYC subway system is a living machine; it is the ultimate transitional space. 2 A person only descends into the underground to get to another destination and the subway with its familiar, unchallenging layouts creates a perfect backdrop to ignore. “Long, shining, showcased passages shoot out […] an interlocking maze of subway lines can carry you all over Manhattan, Queens, Brooklyn, and the Bronx without once endangering you with the ravages of fresh air” (Wing, 22). Anyone familiar with NYC subways knows that they are an assault on the senses: subway performers compete to be heard over rattling subway cars, tightly packed New Yorkers ripen and add to the acrid smells, the smooth tiles are graffitied over, you are pushed and pulled with the tide of riders, etc. 3 Yet despite all the stimuli, New Yorkers become so familiar/complacent with their subway that after a few repetitions the platforms and cars no longer stimulate and they fade into the background. To enter the subway you must descend into the earth, this transition from above to underground seems to create in usual riders a descent into the self and disconnect from space. IPods, tablets, smartphones, books all come out when people arrive at the platform and don’t retreat until they are ready to emerge back into the city; people detach themselves from their experience transitioning to their destination. I want to create a space that causes people to reconnect with their surrounding interiority whether it be in an active space that is overlooked [ie – a platform that is heavily used] or an abandoned space that is forgotten [ie – one of many subway tunnels that have been abandoned]. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !

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The NYC subway system is a complex system of tunnels. A tunnel is “an underground passageway, completely enclosed except for openings for entrance and exit, commonly at each end.” (Wikipedia) Being created underground with no openings, the natural state of a tunnel is darkness. Darkness is an unnatural setting for our heliocentric society. Biologically our eyes are created to function optimally in the light. Sight is one of our most dominant senses; 70% of all the sensory receptors in the body are in the eyes and nearly half of the cerebral cortex is involved in some aspect of visual processing. This being the case, it is no wonder that architecturally Western culture has decided to flood its interiors with light. “There are of course roofs on Western houses too […]it is apparent that they are built to create as few shadows as possible and to expose the interior to as much light as possible” (Intimus 335). Too much light banishes all traces of shade and darkness; it erases variations and creates a flat canvas. Tanizaki’s In Praise of Shadows discusses the way Japanese architects used shade and shadow as a tool when building homes to create a rich atmosphere. They forewent bright colors and over-stimulating finishes for more muted, natural backdrops, and the presence of shadows created an atmosphere within space that allowed the user to perceive the subtle variations present within light. Shadow became an interactive element within architecture; it was an opportunity to use and see light in new ways. “Modern man, in his well-lit house, knows nothing of the beauty of gold; but those who lived in the dark houses of the past were not merely captivated by its beauty, they also knew its practical value; for gold, in these dim rooms must have served the function of reflector” (Intimus, 338). Shadows and darkness were celebrated and light was seen as more than just a means to illuminate other things. I want to manipulate the senses to create new perceptions within my site. I would like to make users less reliant on their eyes and allow them to reconnect with their other senses. The natural darkness of tunnels allows me to really manipulate light and the acoustic properties make it an ideal space for sound. In addition, tunnels can give the user the impression of heaviness4 and claustrophobia due to the substantial mass surrounding and above you, but I would like to use sight, sound, touch, smell (maybe taste?) to create an experience that both embraces and negates the natural state of a tunnel. Already present within NYC subway tunnels is a surplus of artistic expression. Performers can be found at platforms and walking within cars, graffiti is prevalent throughout, and artists are commissioned to create pieces for specific stations. I want to capitalize on this vein of artistry and create a “performance” venue. I do not want to create a traditional space for one genre of performance; on the contrary I would like to have performances for all the senses (ie – culinary, musical, artistic, etc). Additionally, there is a strong tradition present of graffiti within the subway system; the idea of marking space and taking ownership receives varied responses. I would like my space to encourage these ideals. It should be a space that is customizable by each visitor. The Underbelly Project was an artistic endeavor taken on by 103 street artists from around the world. Taking place in the summer of 2010, the street artists created a “gallery space” of their work in a long forgotten, abandoned subway tunnel. The project was focused around negating the traditional gallery space and for this reason the location was kept secret. The tunnel was used to “bury” their art and the artists fully embraced the space. They added no lights to !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! !! ! !! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

•Spring 2013 INTAR-2379-01 Theory: Investigating Interiority Student works: Sally Gales, Hee-kyung Kim

illuminate their work, no fancy frills to make it more “human friendly;” the tunnel remained, as is – a forgotten space to protect art. 5 Of course, I don’t wish to create a space that no one would ever see but I thought it showed how emerging artists are ready to view their art in a different context (away from the sanitary white box). Jon Martin’s “Subterranean Museum” also explores the potential of reusing tunnels as gallery space. Utilizing Antwerp’s Central Station tunnels that have been abandoned since the 1970’s, Martin design fully embraces the natural state of a tunnel emphasizing the heavy, dark spaces that wind as you progress through the museum. He utilizes the pipes and darkness to project videos against walls. The museum emphasizes the horizontality of tunnels by creating lines that outline the space and do not block the view. My two case studies really work with the natural state of abandoned tunnels; I believe this is because in their natural state tunnels are “foreign” experiences to our everyday lives of order and sterility. They are a new “interior.” I also want to capitalize on the tunnels inherent characteristics but in addition I want to negate them to see what kind of space is created. 6 Tunnels are horizontal creatures. 7 It is their horizontality that makes them ideal spaces for movement and flow. The light at the end of the tunnel propels you forward; no alternate direction or options push you to your final destination. There are few interior spaces that posses such a pure horizontal experience. But what if you stop? What happens if the flow is interrupted? Around the year 2000, some of NYC’s homeless citizens chose to inhabit the subway tunnels. They created their own subterranean society in the darkness. Adapting to the flow of train cars rolling past at timed intervals, these individuals interrupted the natural flow of a tunnel to create a destination and yet all around them people in transition continued to flow forward. They created a place of “permanence” in an ephemeral realm. I am looking at the idea of ephemerality to direct my intervention. By definition, ephemeral is “brief, fleeting, momentary.” Transitory space is temporally impermanent (people are only on a platform for a short time) but spatially NYC platforms are stagnant (they don’t change or adjust to time). It is the temporal contrast of space and time that creates a situation where time overtakes space in order of importance. People on a subway platform are more aware of the minutes ticking past than the inert space they are occupying. I want to try to create a more cohesive cohabitation between space and time by creating an ephemeral intervention. Ephemeral architecture is created with the knowledge it will eventually be demolished or abandoned. It goes against traditional architecture that strives for permanence. The knowledge of its impermanence lends ephemeral architecture to creatively use/reuse inexpensive, everyday materials. The temporary nature of ephemeral architecture means it is unbound by the common restraints (ie - building codes, standards, etc) normal architecture is subject to. This being the case, it makes sense ephemeral architecture begins to blur the line between art and architecture. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!Underbelly)Project) !!

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Burning Man creates a perfect context for ephemeral architecture. “Loopcamp” by Stephanie Malka uses common inexpensive materials (recycled paper tubes) to create a temporary spatial experience in addition to an artistic sculpture. The tubes pragmatically shield users from the desert wind while syntax-ically use the same wind to create musical tones. Common materials are adaptively reused to create an element of the unexpected. Malka’s structure creates a moment within a larger context (the desert) but its lack of program draws it more towards the artistic realm and away from the architectural. 8 Another example of ephemeral architecture is Hidemi Nishida’s “Fragile Shelter.” A completely unexpected structure in the middle of the mountains of Sapporo, Japan, the Fragile Shelter is used to bring people together in an unexpected place. In this case study, there is once again a lack of clearly implied program; instead the structure is left blank to allow the users to use it as they need. 9 The fragile shelter is clearly an architectural structure but Nishida purposefully left the program abstract so that every user could make it their own experience. The ephemerality of the project creates a feeling of “magic” around the shelter, almost as if it can appear and disappear at will. The direct reaction to the surrounding environment in the construction and material choices also contribute to the shelter’s atmosphere. All of my ephemeral architecture case studies involve creating shared private moments within a vast public site, while contextually I am looking at the idea of a tunnel. Contextually the two spaces could not be more different, but emotionally NYC subways are vast isolated deserts despite the physical, immediate proximity of other fellow passengers. 10 The NYC subway system is not a delicate, tranquil forest or a vast open desert; it is an unnatural, man made creation that has ingrained itself into the natural fabric of the city. My thesis is not an exploration of “preciousness.” I have pondered the idea of inserting the idea of “nature” within my project but at this point it is just a thought (artificial nature or subterranean Central Park11). I want to create an ephemeral performance space that challenges the way we sensorially interact with space. I want to explore an interior context rarely come across and more rarely utilized.

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•Spring 2013 INTAR-2379-01 Theory: Investigating Interiority Student works: Sally Gales, Hee-kyung Kim

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“Archigram: The Walking City, Living Pod and the Instant City” Victoria & Albert Museum. <http://www.vam.ac.uk/content/articles/a/archigram-walking-city-living-pod-instant-city/>

Tanizaki, Jun ichiro. “In Praise of Shadows.” Intimus: Interior Design Theory Reader. Ed. Mark Taylor and Julieanna Preston. West Sussex: John Wiley & Sons, Ltd. 2006.

Works Referenced

MASSING HEAVY SPACE

“The Subway Poll (Take It!)…And How Much Time Do NYCers Spend On The Subway, Anyway?!” 3 Dec. 2010. <http://jodymousseau.wordpress.com/2010/03/12/thesubway-poll-take-it-and-about-all-that-time-we-spend-on-it/>

“Arne Quinze at Burning Man.” Dezeen Magazine. 1 May 2007. <http://www.dezeen.com/2007/05/01/arne-quinze-at-burning-man/>

AWARE OF MASS ABOVE

Wing, Joe. “New York Subway Riders Spend Time Underground.” Kentucky New Era July 1, 1969. 22.

Clark, James. “Maeklong market railway, Thailand – The train that goes through a market.” Nomadic Notes. 20 March 2010. <http://www.nomadicnotes.com/travel-blog/maeklong-market-railway-thailand-the-t train-that-goes-through-a-market/>

HOME

WORK

<http://www.interactive-architecture.com>

Gissen, David. Subnature: Architecture’s Other Environments. New York: Princeton Architectural Press. 2009

DESTINATION A

DESTINATION B

ETC

DESTINATION ORIENTED

<http://www.interactivearchitecture.org/about>

WHAT HAPPENS IN BETWEEN A AND B? I WANT TO LOOK AT THE SPACE REPRESENTED BY THE RED ARROWS.

Hernandez, Ricardo. “The Invisible Bridge of RO&AD Architects.” Architecture. 28 Nov. 2011 <http://www.yatzer.com/The-Invisible-Bridge-of-RO-AD-Architects> “Hidemi Nishida: Fragile Shelter.” Designboom. 12 June 2011. <http://www.designboom.com/architecture/hidemi-nishida-fragile-shelter/>

DENSITY OF ACTIVITY

“Interactive Architecture: Top Ten.” Architizer. 14 Oct 2010. <http://www.architizer.com/en_us/blog/dyn/9301/interactive-architecture-top-ten/#.UZrN7ZX2hMJ>

ABOVE GROUND: VERY ACTIVE

“Jon Martin: Subterranean Museum.” Designboom. 24 Aug. 2011. <http://www.designboom.com/architecture/jon-martin-subterranean-museum/>

WHITE BOX

“ART” vs ART

“Means Of Transportation To Work By Selected Characteristics For Workplace Geography : 2011 American Community Survey 1-Year Estimates” US Census Bureau. 2011. <http://factfinder2.census.gov/faces/tableservices/jsf/pages/productview.xhtml?pid=ACS_11_1YR_S0804 &prodType=table>

SIGHT IS DOMINANT TEMP: LG VARIATIONS

VERTICAL VS HORIZONTAL

Preuss, Simone. “5 Abandoned Stations of the New York Subway System.” <http://www.environmentalgraffiti.com/featured/abandoned-stations-new-york-subway/10924?image=1>

SENSORY: BELOW

Rees, Jasper. “Street Art Way Below the Street.” The New York Times. 31 October 2010. <http://www.nytimes.com/2010/11/01/arts/design/01underbelly.html?pagewanted=all&_r=1&>

TOUCH/SOUND DOMINATE TEMP: REL CONSTANT

Sinuraibhan, Soranart. “Local Flows:Rom-Hoob’s Phenomenon of Transition.” Architecture in the Space of Flows. Ed. Andrew Ballantyne and Chris Smith. London: Routledge. 2012.

JOURNEY SPACE HAS HISTORY

BELOW GROUND: A NEW CONTEXT TO DISPLAY A NEW ART PURITY OF FORM MAINTAINED

SENSORY: ABOVE

Popkin, Nathaniel. “Labyrinth or Maze, Temporal Architecture to Remember.” 30 Oct. 2012 <http://hiddencityphila.org/2012/10/labyrinth-or-maze-temporal-architecture-toremember/>

SUBTERRANEAN MUSEUM

ABOVE GROUND: ART GALLERIES HAVE CORRUPTED AND DISTORTED ART CREATING “ART”

“Melting men: Thousand ice sculptures left to thaw in the sun to highlight climate change in Arctic” Daily Mail Reporter. 3 Sept 2009. <http://www.dailymail.co.uk/news/article-1210783/Meltingmen-Thousand-ice-sculptures-left-thaw-sun-highlight-climate-change-Arctic.html>

MODERN ART GALLERY “ART”

“ART”

BELOW GROUND: TIMED INTERMITTENT

“Loopcamp.” Malka Architecture. 2012. <http://www.stephanemalka.com/en/2012/09/loopcamp/>

•Spring 2013 INTAR-2379-01 Theory: Investigating Interiority Student works: Sally Gales, Hee-kyung Kim

ABOVE GROUND THE TREES AND BUILDINGS RUN IN A VERTICAL (STACKING) DIRECTION

BELOW GROUND HORIZONTALITY IS DOMINANT

29 10

EPHEMERAL ARCHITECTURE

VAST PUBLIC “UNEXPECTED” MOMENT OF INTIMACY

DIRECTION

ARCHITECTURE

ART MEETS ARCHITECTURE

SUBTERRANEAN CENTRAL PARK

CREATE A NEW NATURE UNDERGROUND

TUNNEL [PHYSICAL]

TIGHT/CROWDED PUBLIC TOO MUCH “INTIMACY”

TUNNEL [EMOTIONAL] INTROVERTED ISOLATED DISCONNECTED

UNITING MODULES

EACH BLOCK CREATES ITS OWN SPACE BUT THEY ARE ALL TIED TOGETHER BY THE AN UNIMPAIRED VISIBILITY THROUGH THE WHOLE STRUCTURE

•Spring 2013 INTAR-2379-01 Theory: Investigating Interiority Student works: Sally Gales, Hee-kyung Kim

Plan

Ceramics in IntAr: Design Charette

Resting / Hanging out

Working / Conference

February 26, 2013

Kitchen

Storage

East wall Section

Scale 3/8” = 1’-0”

Floor Plan

Scale 3/8” = 1’-0”

West wall Section

Scale 3/8” = 1’-0”

North wall section

ceramic tile wire mesh

C: Foam + Tile

South wall Section

Scale 3/8” = 1’-0”

Block C:

Tiles on top of “mesh wire+foam”.

foam spray

ceramic block by press mold

Exploded Axonometric Not to Scale

Scale 3/8” = 1’-0”

b: Hallow Block a: Solid Block

Block B: Consists of four same hallow block to reduce the weight. The hole in the center allows Pipe and wire go through.

Construction Principle

1/ ” = 1’ 0”

Compression

Block C: \

Solid Block in order to bear the weight up.

Pull Phase 0:

Making blocks.

1/ ” = 1’ 0”

•Spring 2013 INTAR-23ST-02-CER-4131 Ceramics in Interior Architecture - Academic Enrichment Fund course Student works: Group project Ceramics + Interior Architecture

Phase 1:

Phase 2:

ground.

steel wire.

Anchor Block A onto the

Combine PVC pipe to install

Phase 3:

Pile Block B up.

1/ ” = 1’ 0”

•Spring 2013 INTAR-23ST-02-CER-4131 Ceramics in Interior Architecture - Academic Enrichment Fund course Student works: Group project Ceramics + Interior Architecture

Phase 4:

Connect Block with PVC pipe.

Pull the wire tightly and fix to the grond.

•Spring 2013 INTAR-23ST-02-CER-4131 Ceramics in Interior Architecture - Academic Enrichment Fund course Student works: Group project Ceramics + Interior Architecture

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

•Spring 2013 INTAR-23ST-02-CER-4131 Ceramics in Interior Architecture - Academic Enrichment Fund course Student works: Group project Ceramics + Interior Architecture

•Fall 2013 INTAR-2367-02 Advanced Computing: Digital Fabrication Student works: Dane Clark, Nick Taylor, Rory Stevens, Tanatsha Tosayanond, Soomin Lee

â&#x20AC;˘Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

Axonometric Drawings 1/8” scale

55 Claverick Street Providence,RI

Orientation of the sun Plan of the site for intervention

Exploring Spatial Occupation

Rhino Model Perspective views.

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

Plans and Sections 1/8” scale

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

63 - FLOOR PLANS/ ELEVATIONS

A -2 B -1

B -2

A-2

A-1 C LEVEL B LEVEL

B -1

A-1

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

65 - AXONOMETRIC VIEW

Madison Kim INTAR-2302-01 Continuity and Discreteness: Performance Hub Drawings: Axonometric Perspective

C LEVEL

FLOW = FORM + BUILDING IN CONTEXT B LEVEL A LEVEL

NORTH EAST VIEW

Axonometric Drawing (1/4”=1’0”)

- 3D MODELING WITH PERFORMERS

Cli

ffo rd

rk Pa

t Lo ing

St (A no

ild

ing

)

Frie

St (B

n la

(H St. ck

)

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

ri ve Cla

ark y, P wa igh

ing

t) Lo

Site Analysis

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

Madison Kim INTAR-2302-01 Continuity and Discreteness: Performance Hub (1/4” = 1’0”)

First Floor + Stage

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

Second Floor

•Spring 2014 -INTAR-2302-01 Sophomore Studio, Continuity and Discreteness: Performance Hub Student works: Nicole Cheng, Irene Kim, Madison Kim

HOTEL IN THE DOURO VINEYARDS

ILLEGAL MAKEOVER OF A REDUNDANT SIGNAL BOX

HOTEL IN THE DOURO VINEYARDS RICARDO CARVALHO + JOANA VILHENA ARQUITECTOS

KHBT/OSA OFFICE FOR SUBVERSIVE ARCHITECTURE

This building is located at London, East End, near Shoreditch tube station beside the tracks of the railway. It is a little house on stilts, formally used as a signal box but without access. There are many different ways to read this building. The most direct method is to understand its architectural expression through primary and secondary functions. It is an old refurbishing house which seemed completely out of place in a rough and poor environment. However, if we look closely, this building stands for the idealized perfection of everybody’s dream property in London. It stands high up in the air, untouchable, unreachable. The expression is carried through the entire ruining exterior finishes and details, such as white wall, artificial geraniums, typical flower boxes fixed to the windows. Hanging basket with artificial geraniums alongside the front door reflects very well the way British decorate their house. Besides, door is painted gloss black and conventional suburban ironmongery was installed. Without any supplied electricity a car battery, suitable for any small family car was installed with a light hooked up to a timer. The timer was set for 2100hrs each night, sunset. Khanh Luu

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

Abstract

Textile

Tectonics/Carpentry

Effect

Fabric

Metal

Pattern of mild, stell handrail

Vertical handrail

Vertical long tubes

Wood

Pattern of wooden floor

Wooden floor

Brighten space

Turf

Glass pattern

Clay

Ceramic roof

Stone

Stone walls / partitions

Walls / partitions

Reflection on water

Laminate

Furniture / bed head

Bed / bed head

Brightening space

Relates to nature

Characters of roof

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

Hotel in the Douro Vineyards

PROPORTION OF DIFFERENT ROOM TYPES

Hotel in the Douro Vineyards

Ricardo Carvalo - Joana Vilhena Arquitectors

Room type 1

Ricardo Carvalo - Joana Vilhena Arquitectors

Symmetrical Symmetr r

Room type 2

vs Assy y Assymmetrical

Room type 3 Grid Room type 4

SMALL SQUARE > URBAN PUBLIC SPACE

Architects: Ricardo Carvalho + Joana Vilhena Arquitectos Location: Vineyard village, Douro region, Portugal Area: 1600sqm

The house has a regular and symmetric displacement, drew according the 16th century scholar architecture.

Characters: small square but plays an important role in the village. They are abandoned stone buildings, converted into hotel rooms. The objective is to create an opened new space within cluster of buildings, review the beauty of the new use within the old ruins, merging new material among old stones.

INSIDE OUT AND OUTSIDE IN Door and window opening allow the interaction between the inside and the outside view

Room type 5

SWIMMING POOL One of the features in this site is the reflective swimming pool

AIR CIRCULATION THROUGH ROOF SYSTEM

Room type 6 ROOF SYSTEM

Room type 1

Room type 2

Room type 3

All the rooms are in rectangular shapes and similar sizes. However, the partitions and openings distinguish their appearences and operation sequence.

Site plan MORNING G SUNLIGHT

VER RNACULA AR STONE WALLS VERNACULAR This s building consists in a group of sma all vernacular old stone walls, small placed arou und a small patio next to around the main ho ouse house

Room type 4

INT TERIOR C IRCULATION INTERIOR CIRCULATION

Room type 5

Room type 6

MA AIN EXTE ERIOR CIRCULATION MAIN EXTERIOR

EXISTING STRUCTURE

AFTERNOO ON SU UNLIGHT AFTERNOON SUNLIGHT SURROUNDING SURROU UNDING VINEYARD The property prope erty was the seat of a wide range of vineyard vineyard acres, punctuated by small several sm mall buidlings of agricultural character. character r. SYMMETRICAL SYMMET TRICAL ORGANIZATION

Plan

WITHIN CITY WITH HIN A CITY

Khanh Luu

EXISTING STRUCTURE

First floor - Plan

Second floor - Plan Khanh Luu

Plan N

Khanh Luu

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

Khanh Luu

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

Restoration of

the house “El Bosquet” Arcadi Pla i Masmiquel, Nuria Pla IIIa Location: Montagut, La Garrotxa, Spain

Porch House Arcadi Pla i Masmiquel, Nuria Pla IIIa Location: Montagut, La Garrotxa, Spain

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

77 Location: Winterslag, Genk, BE 2010

C-MINE EXPEDITIE

L’Arsenale

Location: Milan 2013

L’Arsenale

extrusions

C-Mine experience: !

Reem Al-Thani

BASTARD STORE

Location: Milan, Italy 2009

Semper chart

Under ground tunnel to the tower

!! !! !

Form: Playing on the memory of the coal mine industry !

The tunnel: Physical aspects! • Concrete walls, lights, and hexagon to various contrasting shapes, under ground. The tower: Physical aspects! • Metal, wood, concrete !

Perception of space: ! Disorientation, exploring, informative, sensory experience ! Going from underground tunnel through a series of contrasting shapes that break the context and out to the high tower over looking the area adding to the sense of disorientation. !

Originally designer: Mario Cavallé Year: ’s Original use: Cinema theater Overall surface: 1.400 m² Overall volume: 6.600 m³ Intermediate use: Car dealer Current use: ComCert s r l clot in store

! !

Abstract procedures

Textile

Ceramics

Tectonics

Wood

Floor paneling

Bowl curved shapes

Lattice frame construction

Stone

Mosaic,marble ﬂooring

! ! ! !

Concrete

Meaning: ! Primary function: travel through, passage way! Secondary function: Provide disorientation, entrance, symbolic of underground life, promoting movement. !

Steel

Sense: ! Sensory experience of old mining facility to educate people of function using space receptors and perceptual space!

Metal wall

Stereotomy

Lattice grid tiles Vaulted ceilings

Grooving, structure grid

Riser steps

Shaped metal frame

Lattice frame construction

Metal structure creating space

Visual space:!

! !

• • •

Disorientation through contrast, high and low, light and dark, open and closed, old and new. Making visual connection and playing with framing and proportions in the space. ! Symbolic construction !

Olfactory space:! • Smell of coal • Experimentation lab,(ouder culture generator) ! • Outdoor ! Auditory space: !

! ! !

• •

Refraction of sound within the tunnel (from visitors and sound) Audio information !

Tactile Space: ! • • • •

Prompting people to more tactile through experiences Contrasting material ! Activity passed spaces ! Motion: going through, going up, going in, going under

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

original warehouse

79 Location: Venezia (VE), Italia 2010

Punta della Dogana

Centro d’arte contemporanea François Pinault Foundation

Glass in the desert Working with the public alienating detachment of existing architecture to create more public engaging architecture. through a new typology of public spaces within all the glass architecture taking over the city center. Dealing with existing buildings or future buildings to implement construction based on actual context and create more human spaces within the glass city through a vernacular guide to qatari architecture. The rapid growth of the country starting the late 60’s to today has brought about a lapse between architecture based on context and the glass architecture that came out of no where and disregarding the context. The cities on an architectural scale has a become a divers collection of different style and movements of architecture. From historical buildings, central glass metropolitan to utopian cities for an increasing number of population that doesn’t exist yet.

nder round

MÅLØV AXIS

andscape open space

ransitional le el ormal use

Historically architecture was based on two models of construction that serve the context and environment. One was nomadic tent construction,used for mobility, using cooling fabric and construction, reaction to wind and sand storms, providing shelter.

Second are the mud brick houses that are mainly located by the water for people working in water trades. Houses where built with mud bricks created from soil available onsite, openings in the created to make the best use of wind for cooling and ventilation. Water in the mud bricks created a more moist environments accompanied by the cooling system wind towers where constructed. Plans of the house were laid out around the needs of the family and a court yard for privacy and safety. Houses served for multi family units and different public, private and semiprivate set up (hospitality). The same way of construction was used in public and community gathering spaces, like mosques or majlis (semiprivate/public space for men to meet for discussion and hospitality) This vernacular construction was developed based on need built for climate and cultural gestures. owe er with the disco ery of oil and the in uence of globali ation started to explode, the change was to rapid to for memory preservation in traditional architecture. This opened the door for the over take of the city for new construction creating a disconnect in connection of existing architecture to development of global architecture. The city started to have a central growth of the city with stand alone architecture that are in competition between each other with no connection other than ty ology. he metro olitan came out of a need for moderni ation and change with no context consideration on all scales, environmental, cultural. Mostly politically and commercially driven. Affecting the urban fabric of the city and identity.

Location: Venezia (VE), Italia 2010

Punta della Dogana

Centro d’arte contemporanea François Pinault Foundation

Location: Venezia (VE), Italia 2010

Punta della Dogana

Centro d’arte contemporanea François Pinault Foundation

Glass in the desert

Growth and multiplication

Rotate 20 degrees

Glass tower construction is a direct outcome of commercial need and growing to global commercial standards. This didn’t consider the environmental effect or considerations that need to be taken for the weather and context of the city,resulting in over heating the center of the city.

Pedestrian life has no consideration and use is only inclosed within buildings with no connection to the outside or the adjacencies giving a not made for humans impression.

98% of the design was outsourced by foreign architects and contractors, with now knowledge of the site context, in the urban or cultural fabric. Master architects and architecture became a must and the new symbolic financial tool and business. Visual expression, only incorporating pattern into design to justify the context existence but not the method of construction or the programing function of culture existing.

Creating a new typology public spaces within the glass utopia, by building upon the understanding of each phase or typology .There are different factors to consider in creating a new typology that are challenges of context for architecture. Human scale is one of the major considerations that have to be addressed. Climate control and energy efficiency considerations in construction and programing. Cultural gesture, constraints and human behavior factor greatly in the understanding the acceptance level in designing spaces. Public spaces and social spaces that allow for more comfortable interaction and activation of junkspace.

With the growth of commerce and foreign population the need for housing within the metropolitan grow and started to split the skyscrapers to both residential, commercial, and hospitality. however this still made it more complicated by adding the layers of uses in a fabric initially designed for one use. Resulting in the sense of alienation of architecture to the different ways use spaces.

The building works on the theory of growth and multiplication of the same trapezoidal shape to create the full triangular form

Full triangular form

Trapezoidal shape

Full triangular form

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

Trapezoidal shape

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

81 UPPER LEVEL

PICTURE HOUSE

GALLETTI & MATTER Transformation of a Barn with Stables Satarma, Switzerland

Ascoli Piceno, Italia

Fabio Barilari, Alessio Barilari

SECTION CUT 5

TEXTILE

CERAMICS

TECTONICS

STEREOTOMY

FABRIC CLAY WOOD EXTERIOR

GROUND LEVEL PHOTO DETAIL

STONE

SECTION CUT 4

UPPER LEVEL PHOTO DETAIL

EXTERIOR CLADDING

CLADDING, STAIRS TILE

ROOF

This project embodies the use of wood and masonry. Typically wood is used as a structural medium, but in the exterior facade of this structure the wood is used as a protective cladding or marquetry. This expresses elements of stereotomy, as it mimics how stone is applied in masonry. Additionally, this exterior cladding also recalls many textiles, resembling the undulation of the threads as they weave over and under one another. Although the wood doesn’t actually intertwine, by considering the processes of textiles and masonry, a new facade is created.

GROUND LEVEL

In addition, play with different materials throughout the case study emphasize the use of different material processes as inspiration. This can be seen in the tiles along the wall as they appear to alternate as well as in the stairwell where the stairs overlap each other.

CORINN HANSON | ASSIGNMENT 2

SECTION CUT 3

5 4 SECTION CUT 2

3 2 1

SECTION CUT KEY TYPOLOGICAL COMPARISON: VIEW CREATION

SECTION CUT 1

PICTURE HOUSE Ascoli Piceno, Italia

SECTION A

SECTION B

SECTION C

SECTION D

SECTION E

SIGHT LINES

Fabio Barilari, Alessio Barilari HALLWAY

4’-7”

2’ -2”

4’-3”

4’-1 1/2”

5’-6 1/4”

TRANSFORMATION IN CHARRAT CLAUVIENROSSIER ARCHITECTS (house)

UPPER LEVEL

BEDROOM BATHROOM

DEN

PLAN

ELEVATION

ELEVATION | SHARED BOUNDARIES

SECTION A

LOWER LEVEL

SECTION B

SECTION C

SECTION D

ELEVATION | GRID CREATION

SECTION E

PROGRAM

BATHROOM BEDROOM

BATHROOM

HALLWAY

DEN

LIVING ROOM

STANDING

LAYING

SITTING

STANDING

SITTING / STANDING

STANDING

UPPER LEVEL

LIVING ROOM

E JONAS BARN A2F ARCHITECTS (house)

PLAN

ELEVATION

LOWER LEVEL

HALLWAY

BODY POSITION

UPPER LEVEL

DEN

LOWER LEVEL LIVING ROOM

ELEVATION

PICTURE HOUSE FABIO BARILARI (house)

PLAN

ELEVATION

1/4

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

1/2

1/1

GRID PROPORTIONS KEY

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani

GENETIC COMPONENTS: SHARED BOUNDARIES

83 SCALE 1: building DECONSTRUCTIVE PROCESS: REPOSITION

Corinn Hanson

SCALE 4: wall DECONSTRUCTIVE PROCESS: FLIP

Thesis Interest Summary

1 COMPONENTS

As humans we have developed specific mindsets about how the space around us should be, which in

C LEVEL 2

turn determine our approach to the design of our environment. These mindsets are defined by how we

2 B

180° FLIP

perceive space individually and as individuals within a larger culture. Our definition of space has

LEVEL 1

determined our precedents, which have in turn determined the typologies that influence how we build

WALL ORIENTATION NEW

EXISTING

LEVEL 0

3 1 F

BUILDING POSITION SCALE 1 - EXISTING

GENERATIVE

EXISTING

repeated reference of these precedent typologies.

SCALE 2: floor DECONSTRUCTIVE PROCESS: REARRANGE

Through the scope of a single typology, I hope to examine the ways we design space that have influenced that typology and its precedents. The cultural determiners that affect our relationship to

structures and design environments today. In this way our environment has adapted to us through adherence to our definitions of space, but we continue to adapt to our environment through the

space and to each other within that typology describe how the characteristics of that type have been

LEVEL 2

2 B

LEVEL 2

LEVEL 1

C LEVEL 1

LEVEL 1

LEVEL 0

3 1

E LEVEL 0

LEVEL 0

GENERATIVE

FLOOR ARRANGEMENT

SCALE 2 - EXISTING

established. The ways we have adapted to our environment can be discussed in detail through expression of these characteristics, and in turn the ways our environment has adhered to this set of characteristics can also be outlined. Using this research I aim to suggest new methods of defining space that could free the design of our environment from the constraints of our current mindset, opening up new possibilities for built structures and how they influence our ways of living.

GENERATIVE

A possible focus for this investigation entails the typology of the house. Cultural definitions detailing SCALE 3: room DECONSTRUCTIVE PROCESS: ROTATE

the spatial arrangement of the interior, the shape and scale of the interior and the exterior of the structure, as well as the penetration of light and visibility throughout the space have created a set of characteristics that describe today’s house. These characteristics arise from cultural opinions regarding

LEVEL 2

LEVEL 1

LEVEL 0

time—the definition of a family no longer has to include mom, dad, two kids and the dog. This is one example of an opportunity to question the typology of the house and consider how to redefine this

90° COUNTER-CLOCKWISE

ROOM ORIENTATION SCALE 3 - EXISTING

opinions arise and change over time, but our response to specific typologies continues to reference precedents instead of focusing on current needs. For example, family dynamics have changed over

LEVEL 0

90° CLOCKWISE

one’s relationship to the space around them. Yet, the typology of the house is outdated. Cultural

GENERATIVE

typology to meet these new needs instead of continuing to reference old typologies and precedents for the design of today’s houses.

•Spring 2014 INTAR-2379-01 Theory: Investigating Interiority Student works: Khanh Luu, Corinn Hanson, Reem Al-Thani