RISD Int/AR Projects Review Summer semester 2013
Rhode Island School of Design 2
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Content
Foreword: Markus Berger Editor: Eduardo Benamor Duarte Editor Assistant: Khanh Dieu Luu Graphic Design: Khanh Dieu Luu Printed in Providence by XXX ISBN xxx-x-xxxxxx-xx-x ISSN xxxx xxxx 2014 Rhode Island School of Design Department of Interior Architecture No part of this book may be reproduced in any manner whatsoever without written permission from the publisher. RISD Publications are initiated by the Department Head of Interior Architecture, Liliane Wong and produced through the XXX Print Studio.
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Foreword
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Introduction
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Studio
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Studio
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Studio
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Studio
Spatial Investigation Week 1 Spatial Investigation Week 2 Existing Construct Week 3 & 4 Transformations week 5 & 6 113
Drawing
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Making
Abstraction to Actuality Diagrams Designing details Making - Method - Materials
Final Review
RISD Int/AR Project Review - Summer 2013 are available from: Rhode Island School of Design Interior Architecture Department Center for Integrative Technologies (CIT) 169 Weybosset Street, Providence RI 02903
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foreword The Department of Interior Architecture (INTAR) at the Rhode Island School of Design has focused its teaching, research and design work to a field at the intersection of architecture, conservation and the design of the interior, following an innovative approach to the reuse and transformation of existing buildings and spaces. Buildings and structures, at the end of their programmatic use or lifespan, eventually face three possibilities: demolition, preservation or adaptive reuse. INTAR has focused on the latter since 1947, when Ernst Lichtblau an architect, designer and student of Otto Wagner assumed leadership and changed the name and professional orientation of the department from Interior Design to Interior Architecture. This shift of focus from the application of surface materials to understanding the design of “a building from the interior to the exterior” was developed and established since then by the departments faculty and students as a leader in the education, the research and the design on adaptive reuse and interior studies. This leadership in the field is further established through the Department’s internationally recognized journal Int|AR, the Journal on Interventions and Adaptive Reuse. The domain of writing, research and design work in the department encompasses issues of preservation, transformation, alteration and interventions in the field of architecture, interior studies and practice, but also in the realms of urban and landscape design, and their repercussions in the history and theory of architecture, urbanism, art and design. The discipline of Interior Architecture is based on interventions in existing structures that allow new design to be imbued with social material, cultural, economic, and technological agendas. The scale of an intervention can be measured according to its site specificity, programmatic purpose, and the building resources. The term “existing structures” is broadly defined as: urban infrastructure, public spaces, existing buildings, and existing spaces within buildings. Unlike other accredited courses of study in Interior Architecture and Adaptive Reuse, INTAR is offered in the context of one of the best art and design schools. Students join an inspiring community of artists and designers that includes approximately 350 faculty members and curators, along with 2,000 undergraduates and 400 graduate students from around the world. This wide access to people, courses, conversations and a multiplicity of opportunities give a deep grounding in the symbiotic relationship between art, architecture and design. 6
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introduction The core curricula, next to advanced studios include the study of history, theory, drawing, structures, materials, lighting and technology, all of which ensure that students fully understand the concerns of professionals in the building industry and allied fields. In order to create such a unique and stimulating specialist design education at both undergraduate and graduate levels INTAR is build upon RISD traditions to provide a series of options that are designed to guide students toward an appropriate career path based on their individual talents, interests and aptitudes. INTAR establishes a clear aesthetic, ethical and technological framework for the study of design and gives its students the awareness of global issues in design, enables them to develop strategies in their work which recognize the importance of social and environmental responsibility. Our graduates are clear about the distinctive nature of the subject, i.e. how the subject relates to both architecture and interior design, and therefore they are able to interact confidently with fellow professionals and members of design teams in the various related fields. Markus Berger Acting (INTAR) Department Head
The summer program is the Introduction to the Master of Design (MDes) in Interior Studies (Adaptive Reuse). This discipline is based on interventions in existing structures that allow them to be imbued with social material, cultural, economic, and technological agendas.The scale of an intervention can be measured according to its site specificity, programmatic purpose, and the building resources. The term “existing structures” is broadly defined: urban infrastructure, public spaces, existing buildings, and existing spaces within buildings are all available for repurposing. An introduction to Interior Architecture and Adaptive Reuse offers incoming MDes students the opportunity to explore the fundamentals of adapting existing environments through multiple scales of intervention in the RISD campus in Providence, Rhode Island. The 6 week immersive Summer Program is structured in an integrated pedagogy developed in three courses – Studios, Making and Drawing – that nurture a rigorous culture of experimentation, documentation, analysis, and implementation. All courses promote the development of two dimensional and three-dimensional investigations through model making and orthographic representation in relationship to the studio assignments. The incoming MDes graduate students take all three modules in sequence and are assigned to one of three sections, each lead by one studio instructor. Eduardo Benamor Duarte MDes Summer Program Coordinator
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MDes faculty
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MDes class
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MDes faculty assistant
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Faculty and Faculty assistant members: 1. Jeffrey Katz 2. Skender Luarasi 3. Eduardo Benamor Duarte 4. Woflgang Rudorf 5. Jung Eun Lee 6.Yugon Kim 7.Yuki Kawae (MIA’13) 8. Dana Hamdan (MA’13) 9. Ann Hurt (MDes’13)
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MDes Class: 10. Xiaoxi Li 11. Anna Joseph Kurian 12. Ece Ertunc 13. Mallory Newton 14. Zhuang Tian 15. Jeffrey Carroll 16. Corinn Hanson 17. Reem Al Thani 18. Simin Zhu 19. Sumi Nam 20. Ananta Sodhi 21. Jessica Lynne Swida 22. Dachamont Kaewet 23. Kirby Benjamin 24. Khanh Luu
25. Chuanyan Wu 26. Xiao Han 27. Chantal Birdsong 28. Hee Jung Son 29.Yiling Chu 30.Yuanjianchuan Tian 31. Katherine Porter 32. Fumi Yamao 33.Yi Xu 34. Hannah Liongoren 35,Yao Ding 36. Hannah Kim 37. Heyi Wang 38. Hayden Shin 39. Sumi Nam
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studio Spatial
There are two assignments with distinct approaches for understanding the experiential and dimensional qualities of a space in drawing sand models.
Investigations
Week 1
Intuitive Shoe-box This is an exploration based on the model scale translation of spatial attributes from the combination of a list of verbs, or actions, and qualifying adjectives, or characteristics. Working with models that are roughly the size of a shoebox, the project investigates spatial modulation methods through the insertion of components in an abstract, empty, generic space.
Instructors
Teaching faculty assistants
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Eduardo Benamor Duarte Jeffrey Katz Woflgang Rudorf Yuki Kawae Dana Hamdan Ann Hurt
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to.split.to.wrap
to.bend.to.support
student : Kirby Benjamin
student : Kirby Benjamin
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to bend.to scatter
disorienting
student : Corinn Hanson
student : Corinn Hanson
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of.tension student : Katherine Porter
Material tension
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Tension of masses
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clustering student : Fumie Yamao
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to.float.to.spread student : Khanh Dieu Luu
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delicate.graphic
to.shave. to swirl
student : Jessica Lynne Swida
student : Jessica Lynne Swida
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to.fold.to.bend student : Reem Al Thani
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to.hang.to.reflect student : Hanna Kim
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modularise.cut
to.slice.to.twist
student : Dachamont Kaewet
student : Dachamont Kaewet
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studio Spatial Investigations
Instructors
Teaching faculty assistants
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Week 2
Survey, Classify, Display This project encourages the understanding of the spatial dimensions of an existing retail space, and the distinct categories that define the objects in its inventory. The project will comprise a drawing survey of the existing space, the creative re-classification of the inventory in the space, and a full-scale physical installation – a spatial intervention that will be the result of the findings of the first two parts of the exercise. Eduardo Benamor Duarte Skender Luarasi Woflgang Rudorf Yuki Kawae Dana Hamdan Ann Hurt
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At the end of students’ works Photographer: Woflgang Rudorf
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At the end of students’ works Photographer: Woflgang Rudorf
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material.matrix student : Jessica Lynne Swida
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material student : Khanh Dieu Luu
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material.effect student : Corinn Hanson
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material.analysis student : Kirby Benjamin
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to.shift.to.extract.to.extrude student : Reem Al Thani
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matrix.diagram student : Dachamont Kaewet
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material.matrix student : Eun-Kyoung Shin
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material.matrix student : Katherine Porter
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material.study student : Xiao Xi Li
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difficulty.purpose student : Heyi Wang
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mapping.materials student : Yao Ding
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studio Existing Construct
Week 3
Dim & Transform: Spatial Manipulations While the “Intuitive Shoebox” is an investigation of intuitive qualities and characteristics generated within an abstract space, week 3 focuses on spatial manipulation based on an analysis of the experiential qualities of an existing space. It aims to engage students in learning to carry out an analysis of the experiential qualities of a space in two ways: first, with a thorough set of orthographic drawings of the existing space and second, using drawings to “dim” or “enhance” physical aspects of the space, leading towards a manipulation of precise experiential phenomena. This week also helps students develop a personal critique in the selection and manipulation of spatial attributes of an existing structure and to further understand experiential qualities within the discipline of Interior Architecture.
Instructors
Teaching faculty assistants
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Eduardo Benamor Duarte Skender Luarasi Woflgang Rudorf Yuki Kawae Dana Hamdan Ann Hurt
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to cut.to rotate student : Khanh Dieu Luu
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to extrude.to scatter student : Fumie Yamao
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to extrude.to scatter student : Sumi Nam
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reminiscent.curves student : Xlao Xi Li
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to move.to lift student : Hanna Kim
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to flow student : Yiling Chu
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to bend.to connect student : Yao Ding
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studio Transfor -mations Instructors
Teaching faculty assistants
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Week 5 & 6
Design and Prototyping Students are be encouraged to combine and rationalize their experimentations that began as individual projects in week 4. Students will work in teams of 3 to incorporate the programmatic requirements of RISD 2nd Life and the fabrication resources available. An invited jury will select 1 to the 10 schemes to be fabricated during the Fall semester. Eduardo Benamor Duarte Jeffrey Katz Woflgang Rudorf Yuki Kawae Dana Hamdan Ann Hurt
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interlocking.interacting team members : Heyi Wang Hanna Kim
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rotatable.shelf team members : Dachamont Kaewket Khanh Dieu Luu
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Mock-up Detail model
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angular.masses team members : Jeff Carroll Corinn Hanson
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angular.masses modular.connections team members : Katherine Porter Reem Al Thani
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strength.of.frames team members : Anna Joseph Kurian Sumi Nam
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flowing.space team members : Ananta Sodhi Yiling Chu
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flowing.space team members : Hee Jung Son Yi Xu
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flexible.modular team member : Chantal Birdsong
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drawing
abstraction to Actuality
Week 1
diagram
Week 2
El Lissitzky.”Proun” is a series of abstract, geometric paintings. The exact meaning of “Proun” (pronounced “pro-oon”) was never fully revealed, with some suggesting that it is a contraction of proekt unovisa (designed by UNOVIS) or proekt utverzhdenya novogo (Design for the confirmation of the new). Later, Lissitzky defined them ambiguously as “the situation where one changes from painting to architecture”. The students observe, imagine and revisualize “Proun” o be an actual architecture, space or object without losing its concept. They are asked to observe and analyze one of the “Proun” by using their sensitivity and draw to visualize.Visualized drawing should be a re-interpretation of the “Proun” and should not be literally recreated. Students express through their own interpretation and exploration.
Diagram.Instruction.Disassemble.Unfol Draw instruction diagram, axonometric diagram of disassembled or unfolded ““plane model” showing procedure of paper cube in Making Project
designing
details
Week 3
Detailing Process.Detail Drawings.Design Students are encouraged to work out the structure of form by making a sketch, outline, pattern, or plans. They will draw and understand the page orientation, line weights according to line types, drawing title and scale. Week 4 . Week 5 . Week 6 Student produce a series of drawings in colaboration with Making Class and Studio Class.
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Jung Eun Lee 115
untitled (abstracted Proun)
instructional.cube student : Katherine Porter
student : Katherine Porter
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structural student : Anna Joseph Kurian
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drawings student : Mallory Newton
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drawing
bend
student : Heyi Wang
student : Heyi Wang
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directional
twisting
student : Khanh Dieu Luu
student : Khanh Dieu Luu
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inserting student : Eun Kyoung Shin
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making making method
materials
“Unlike the artist, who interacts directly with his or her palette, the architect is one step removed from the physical substance that makes architecture. This synapse often breeds ignorance about what materials are available or what properties they possess…” (Blaine Brownell,Transmaterial)
Compare architects today to those practicing in earlier periods and we are at a disadvantage in terms of hands on knowledge of materials. Consider that Michelangelo sculptured for fifty years before setting out to design a façade for St. Peter’s Basilica in Rome – a half century of wisdom and understanding regarding the material he would employ in one of his most significant architectural works. As Blaine Brownell stated above, the architect (of today) is removed from the materials with which he builds. It is no longer the job of the architect to make buildings. We now create information about the making of buildings (drawings, models and specifications), and our hands-on understanding of the materials we employ may be limited more today than possibly any time in the history of our profession. This class focuses on the basic materials that architects use to make both representational models as well as the built environment of today. The goal of this class is not only to strengthen student’s making skills but also to teach how critical making can further develop a design concept. Hands-on exercises will play a significant role in the understanding of the material. The class is divided into three material explorations investigating issues of plane, line, and mass.
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Yugon Kim
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inserting
revolving
student : Eun-Kyoung Shin
student : Katherine Porter
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twisting student : Khanh Dieu Luu
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twisting student : Kirby Benjamin
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Field trip
MDes Summer 2013 class in Ray and Maria Stata Center Boston, MIT Photographer: Woflgang Rudorf
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Final Review
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2014 Rhode Island School of Design Department of Interior Architecture
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http://www.risd.edu http://intar.risd.edu/
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