cornell university
cornell university Department Of Architecture
Master of Architecture Elective Seminar Work
EL
2013
department of architecture
spring 2013 _fall 2011
faculty name
cornell university Department Of Architecture
Master of Architecture Elective Seminars amber bartosh (spring 2013 ) Jordan Berta Allan Chhav Hong Yeol In Elizabeth Kang Siobhan Lee
amber bartosh (spring 2012 ) Xiao Xiao Li & Alison Nash mark cruvellier (spring 2012 ) Juan Carlos Artolozaga & Mia Kang Jordan Berta & Ning Fei Gao Jason Freedman & Elizabeth Saleh Greg Guylai & Simin Wang Feng Lin & Zhongtian Lin Mary Esther Palumbo & Dillon Pranger
nikole bouchard (spring 2013 ) Heriberto Rodriguez Valenzuela inaqui carnicero (spring 2013) Mia Miyoung Kang ivan perez-rossello (spring 2013) Bradley Kinsey Jr.
& leah white
kevin pratt (fall 2012) Charles Cupples Lucas Greco Hong Yeol In Apexa Patel Yifei Yang
(fall 2012 )
jenny sabin (spring 2012 ) James Blair, Mia Miyoung Kang & Ida Tam Clifford Chan Runsheng Lin & Yoonjee Koh (BArch)
aap
srdjan jovanovic weiss (fall 2012) James Blair, Jason Freedman & Heriberto Rodriguez Valenzuela Mia Miyoung Kang Feng Lin Alison Nash
spring 2013 _spring 2012
student name
matthew bannister James Blair Mia Miyoung Kang
alex mergold (spring 2012 ) Tiffany Arakaki Aditya Ghosh Eric Johnson Rachel Kaplan Tzara Peterson William Smith Julia Weiss
jordan berta
amber bartosh
left
01_Analysis of Eda Apartments by Ryue Nishizawa right
01_Surface model 2013
Constructed Drawing II
amber bartosh
2013
allan chhav
Constructed Drawing II
amber bartosh
Amber Bartosh Constructed Drawing II (Seminar)
elizabeth kang
critic:
left
01_Elizabeth Kang (SANAA Zollverein School of Management and Design Analysis) right
01_Hong Yeol In (Aqua Pavilion Constructed Drawing) 2013
Constructed Drawing II
amber bartosh
2013
hong yeol in
Constructed Drawing II
hong yeol in
amber bartosh
2013
Constructed Drawing II
amber bartosh
01
02
03
04
siobhan lee
left
2013
01_Aqua pavillion digital model right
01-04_Pavillion digital and physical models
Constructed Drawing II
siobhan lee
amber bartosh
left
01_Analysis of The Ducth Embassy by OMA 2013
Constructed Drawing II
amber bartosh
2013
siobhan lee
Constructed Drawing II
nikole bouchard
student: Heriberto Rodriguez Valenzuela
heriberto rodriguez valenzuela
critic:
Nikole Bouchard Cross Cuts: Cinematic Strategies of Representation (Visual Representation Elective Seminar)
01
02
03
left
01_Original image 02-03_Photoshop actions applied to original image right
01_Final mosaic of tiles from which an animation is made 2013
Cross Cuts: Cinematic Strategies of Representation
nikole bouchard
2013
heriberto rodriguez valenzuela
Cross Cuts: Cinematic Strategies of Representation
inaqui carnicero
student: Mia Miyoung Kang
mia miyoung kang
critic:
I単aqui Carnicero Concrete Sense (Building Technology Seminar)
INTRODUCTION: Subtractive Concrete
Subtractive concrete was investigation into creation of void space through removal of found object. In this scheme, paper was used as formwork, where concrete was poured over. Removal of formwork (paper) was also great interest in this investigation. Paper was set on fire in order to be removed. Because paper was densely packed in order to maintain its form as concrete was poured, various methods to remove paper was further investigated. Due to its lack of structural stabilty with moisture, material tend to cave in.
2013
Concrete Sense
inaqui carnicero
2013
mia miyoung kang
Concrete Sense
inaqui carnicero
01
02
03
04
REMOVAL OF MASS: Dense Brown Paper
mia miyoung kang
Subtractive concrete with dense brown paper mateiral was investigation into creation of void space through use of found material that was inserted and pulled from concrete after concrete has been poured. Rigidity of formwork was studied through density of packed material through folding and twisting. It was stronger form work than that of earlier iteration with paper. Void/ occupiable space was able to be created. However, due to its density, it was diffi cult to remove form work. It was also ignited, however, it had diffi culty in overall removal. REMOVAL OF MASS: Earth
In order to dive further into subtractive concrete through removal of mass, I’ve decided to look into materials that could be easily removed and readily available. Natural material, such as soil and trees were used as form work. Study of its natural resting state of material was observed first followed by accentuating form/ structure to create stablity. Four diff erent formwork was studied through density of packed material through packing and mix of material with clay. It resulted in structually stable inhabitable space and objects. left
01-04_Process of burning dense brown paper right
01_Resulting product of earth removal
2013
Concrete Sense
Natural material, soil was used as form work. Study of its natural resting state of material was observed fi rst followed by accentuating form/structure to create stablity. Four diff erent formwork was studied through density of packed material through packing and mix of material with clay. It resulted in structually stable inhabitable space and objects.
inaqui carnicero
2013
mia miyoung kang
Concrete Sense
inaqui carnicero
02
03
04
mia miyoung kang
01
left
01-02_Casting of inflatable material 03-04_Casting of dense brown paper right
Concrete Sense
2013
01_Casting of dense brown paper
inaqui carnicero
2013
mia miyoung kang
Concrete Sense
ivan perez-rossello
Design of Ecological Sensitive Products | Bradley Kinsey + Shuping Liu | bjk87 + ssl94
Assembly
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2
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6
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ITEM NO. 1 2 3
A
4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
B
PET DACRON SAILCLOTH
C
21 22 23 24 25 26 27 28 29 30
D
7
PART NUMBER connection v2 shaft v2 Bearing Ring Bearing Ring Outside2 Ball Bearing Bearing Ring Inside Motor cap bottom cap arm2 Wire Wire Hold Wire Hold Clip sail2 sail3 arm sail test sail3 arm2 tripod tripod base tripod base bottom piece tripod long arm tripod short arm HX-SHCS 0.2528x0.625x0.625-N Regular LW 0.25 MSHXNUT 0.250-28-SN footing teather tie off teather cord Stake
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MATERIAL 6061 ALUMINUM PET PLASTIC 304 STAINLESS STEEL
QTY. 2 1 2
304 STAINLESS STEEL
1
304 STAINLESS STEEL 304 STAINLESS STEEL VARIOUS METALS PET PLASTIC 6061 ALUMINUM PET PLASTIC 304 STAINLESS STEEL 304 STAINLESS STEEL 304 STAINLESS STEEL PET DACRON (TM) PET DACRON (TM) PET DACRON (TM) PET PLASTIC 6061 ALUMINUM 6061 ALUMINUM
5 1 1 1 1 4 2 2 2 1 1 2 1 2 1 1
6061 ALUMINUM
1
6061 ALUMINUM 6061 ALUMINUM
3 3
A
B
C
12 12 12 3 1 3 3
6061 ALUMINUM 304 STAINLESS STEEL 304 STAINLESS STEEL 304 STAINLESS STEEL
D
UNFOLDED SAILCLOTH E
UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR: NAME
DEBUR AND BREAK SHARP EDGES
FINISH:
SIGNATURE
DATE
TITLE:
DRAWN
bradley james kinsey jr.
& shuping liu
F
CHK'D
SolidWorks Student Edition. For Academic Use Only. 1
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students: Bradley James Kinsey Jr. & Shuping Liu critics: Ivan Perez-Rossello
Digital Modeling and Fabrication for Industrial Design of Sustainable, Ecologically Sensitive/Informed Products (Visual Representation Seminar)
We looked at sail manufacturers to identify a viable waste or discarded material. Visiting Haarstick Sailmakers in Rochester, we were shown the manufacturing process for making a sail. The process involves: sail cloth testing, CNC cutting, and stitching. Through this process, the main waste product is offcuts of sailcloth from the initial cutting, however, the offcuts were often very small pieces—at largest 3 x 2 ft. As we were told, the manufacturers themselves try to make use of offcuts to make duffel bags, but this process proved to be too labor intensive and therefore, the majority of the material is thrown away and not recycled in any way.
Sails wear down through use and are generally considered obsolete when they lose a certain amount of rigidity. In the wind, the sails are exposed to constant distributed wind load, so the stretching and wear to the sail is likewise distributed. Tears and rip are repairable, but a sail which has loosened too much becomes less effective and thus thrown away. Discarded sails are worn but are still usable as a material considering their high performance qualities. Sailcloth is very durable, performs very well in tension, and is often very lightweight. Our initial invest gation into the sailcloth, promoted futher interested in Polyethylene terephthalate—otherwise known as PET. We were
Digital Modeling and Fabrication for Sustainable Industrial Design
2013
We were also shown the various types of sailcloth, each with specific performance qualities. The most common sailcloth is called Dacron (Polyethylene terephthalate), which is intended for casual and long term use, as it is relatively heavyweight and is resistant to UV. The higher-end sailcloths are intended for racing. These materials are super lightweight and are composed of multiple materials, in-
cluding kevlar and carbon fiber, in weave patterns. All the materials have given tensile strength properties, but vary in moisture resistance, and UV resistance. They also greatly vary in price, from $10/ yd to $30/yd or more.
ivan perez-rossello
Design of Ecological Sensitive Products | Bradley Kinsey + Shuping Liu | bjk87 + ssl94
Assembly
1
2
4
3
ITEM NO. 1 1.1 1.2
CAP
5
A
6
5
1.3 1.4
TRUE R1.50
1.5 1.6 1.7 1.8
4.3 TRUE R1.00 TRUE R1.09
B
4.2
.15 TRUE R1.25
2
BALL BEARING RING
2.1 2.2 3 4
4.1
4.1 4.2 4.3 5
.30
C
7
PART NUMBER Arm Connection connection v2 arm2 HX-SHCS 0.2528x0.75x0.75-N Regular LW 0.25 MSHXNUT 0.250-28-SN Wire Hold Clip Wire Hold Wire Rotating Casing and Motor Rotating Magnet shaft v2 Motor Bearing Ring Assembly Bearing Ring Outside2 Ball Bearing Bearing Ring Inside cap
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DESCRIPTION
QTY. 1 1 2
A
4 4 4 2 2 2 1
B
1 1 1 1 1 6 1 1
C
1.1 TRUE R1.25
TRUE R1.00
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.50 TRUE R1.15
3 COILED COPPER WIRES (FOR GENERATOR)
TRUE R1.40
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2.1 MAGNET (FOR GENERATOR) UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR: NAME
TRUE R1.50 F
2.2 PET PLASTIC CASING
SolidWorks Student Edition. For Academic Use Only. 1
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FINISH:
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DATE
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STRUCTURAL ANALYSIS: Connections & Parts
2013
Our design concept came from our initial interest in wasted sailcloth. We sought to take advantage of the high tensile strength and lightweight qualities of the material. In a similar use as the materials original design intention, we decided to use the cloth as a basis for designing a collapsible/transportable wind turbine with the thought that it could be easily shipped and set up as a means of providing power in post-disaster locations. Set up in key locations, a series of these turbines could provide power for a large amount of people for necessities such as charging phones or other helpful electronics that could be of aid.
Digital Modeling and Fabrication for Sustainable Industrial Design
& shuping liu
interested in PET because it is greatly recycled, and is noticeably much stronger than many other plastics. As bottles and other food containers are commonly made from PET, there is a large amount of post-consumer waste available. We wanted a material with the possibility of being somewhat flexible while retaining strength, largely available, and highly recycleable. The versitility of PET allows.
bradley james kinsey jr.
7
ivan perez-rossello
Design of Ecological Sensitive Products | Bradley Kinsey + Shuping Liu | bjk87 + ssl94
Assembly
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3
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ITEM NO. 1 2
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3 4 5 6 7 8
3 DETAIL C SCALE 1 : 1
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PART NUMBER connection v2 arm2 HX-SHCS 0.2528x0.75x0.75-N Regular LW 0.25 MSHXNUT 0.250-28-S-N Wire Hold Clip Wire Hold Wire
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DESCRIPTION
QTY. 1 2
A
4 4 4 2 2 2
TRUE R12.49 7
C
B
8
4 B
6
20.00 5 C
C
1 2
13.65 D
D
CAST PET PLASTIC ARM, BEFORE STRESSED IN TENSION
E
UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR: NAME
DEBUR AND BREAK SHARP EDGES
FINISH:
SIGNATURE
DATE
DO NOT SCALE DRAWING
TITLE:
DRAWN CHK'D
SolidWorks Student Edition. DETAIL B For Academic Use Only. SCALE 1 : 1
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1
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APPV'D MFG MATERIAL:
Q.A
3
REVISION
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ARM CONNECTION DETAIL
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A3
SHEET 3 OF 7
bradley james kinsey jr.
& shuping liu
9
Design of Ecological Sensitive Products | Bradley Kinsey + Shuping Liu | bjk87 + ssl94
Assembly
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DEBUR AND BREAK SHARP EDGES
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DRAWN
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SolidWorks Student Edition. For Academic Use Only. 1
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TITLE:
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Digital Modeling and Fabrication for Sustainable Industrial Design
2013
12
ivan perez-rossello
Design of Ecological Sensitive Products | Bradley Kinsey + Shuping Liu | bjk87 + ssl94
Assembly
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STAINLESS STEEL STAKE
PET SHAFT
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ALUMINUM POLE E
UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR: NAME
DEBUR AND BREAK SHARP EDGES
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DO NOT SCALE DRAWING
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SolidWorks Student Edition. For Academic Use Only. 1
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bradley james kinsey jr.
Design of Ecological Sensitive Products | Bradley Kinsey + Shuping Liu | bjk87 + ssl94
Assembly
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& shuping liu
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UNLESS OTHERWISE SPECIFIED: DIMENSIONS ARE IN MILLIMETERS SURFACE FINISH: TOLERANCES: LINEAR: ANGULAR: NAME
DEBUR AND BREAK SHARP EDGES
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SolidWorks Student 3.00 Edition. For Academic Use Only. 2
MFG MATERIAL:
WS - 07
DWG NO.
6061 ALUMINUM 3
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2013
1
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TITLE:
Digital Modeling and Fabrication for Sustainable Industrial Design
matthew bannister
01
& leah white
02
critic: Matthew Bannister & Leah White
james blair
Special Topics in Visual Representation
ASSIGNMENT 02: Sidewalk Shooting
ASSN 2A: set up a NYC composition and set up a tripod. shoot (at least) 40 images over (at least) 3 hours. changes in time and light should be evident in these shots, so choose a time such as sunrise or sunset to capture the most dynamic light changes. camera settings (focal length) and tripod location and height should be recorded. compose and present these images in a single image that shows time as a gradient. ASSN 2B: create a single image compositing your photos of the site that contains no people
ASSN 2C: create a single image with a narrative of people, time and light, taken from several of the images. consider the lighting in this image, and how and where shadows are falling, people are stepping, etc. ASSN 2D: using the information recorded about the camera settings and tripod height the images were shot with, create a 3D model with a matching camera in 3D studio max. in the space of this camera, render planes. in photoshop, create alpha channels for these planes. let each one of these channels become a masks for your photos, and layer these elements together into a visual collage. 2012
Time Frames: Exposures in Visual Thinking
matthew bannister
01
& leah white
02
2012
james blair
Time Frames: Exposures in Visual Thinking
matthew bannister
& leah white
01
mia miyoung kang
02
2012
Time Frames: Exposures in Visual Thinking
matthew bannister
& leah white
01
2012
mia miyoung kang
Time Frames: Exposures in Visual Thinking
matthew bannister
& leah white
critic: Matthew Bannister & Leah White
rachel kaplan
Special Topics in Visual Representation
ASSIGNMENT 03: Derivatives: Oliver Boberg + Philip-Lorca DiCorcia
ASSN 3A - compose and shoot photos that emulate the lighting and composition demonstrated in the work of Oliver Boberg and Philip Lorca DiCorcia. 12 total photos, 6 emulating the work of each artist. ASSN 3B: find a site, or revisit one from 3A, in order to create 2 images of the exact same composition, one in the style of PLD, one in the style of OB. ASSN 3C: material library on site, photograph all materials in the scene. take orthagonal shots of all surfaces, and create tiled, non repetitive square jpgs for each material. take contextual shots from within your scene so that you have visual information for reflections you create in 3D.
ASSN 3D: interventions in virtual space (3D max or other) match the camera from assignment 3B. create an intervention within your scene which changes the landscape of the site. use the material library (3C) to map scene materials onto the object(s) you create. render these objects and composite them into the scene for your OB derivative image. ASSN 3E: narrative sketch a narrative for your PLD shot that incorporates the intervention. make decisions about where people will be situated, and how they will be interacting with your intervention. carefully consider how light will be used to tell a story, how it will coincide/compliment/contrast the lighting of the scenes. capture images of choreographed people by shooting them in studio with orchestrated lighting, and begin to composite foreign elements into the scene, in the style of PLD. 2012
Time Frames: Exposures in Visual Thinking
matthew bannister
& leah white
01
02
2012
rachel kaplan
Time Frames: Exposures in Visual Thinking
kevin pratt
200’
180
160’
140’
120’
Vertical Scale: 1/16”=1’
charles cupples
100’
55
80’
42
60’
CONCRETE ASPHALT PAVEMENT SECTION OF BUILDING
40’
SOIL AND FOLIAGE ROCK WATER
20’
SOUND PRESSURE : DECIBEL (dB)
0’ 0’
20’
40’
60’
80’
100’
120’
140’
160’
180’
200’
220’
240’
260’
280’
Ho
2012
Site & Sustainability
kevin pratt
Site and Sustainability ARCH 5611
Transect Drawing: 2012.11. 14 Horizontal Scale: 3/64”=1’ Vertical Scale: 1/16”=1
MILSTEIN
Charles Cupples / crc238 Iroha Ito / ii48 Ning Fei Gao / ng358
73
68
300’
320’
340’
360’
380’
400’
420’
440’
460’
480’
500’
520’
540‘
560’
2012
orizontal Scale: 3/64”=1’
Site & Sustainability
580’
charles cupples
48
600’
kevin pratt
02
03
04
charles cupples
01
critic: Kevin Pratt
Site & Sustainability (Building Technology Seminar)
LAB 01: Climate Visualization
This lab is designed to teach you how to visualize climate data and how to access climatic data sets for use in both visualization and building and site analysis. We are going to do a comparative analysis of climate. Therefore we need to pick two locations to
look at. One will be a location you are familiar with – use your hometown. If you can’t find weather data for the exact location, pick somewhere nearby. The second location will be a different place that has a very different climate. 2012
Site & Sustainability
kevin pratt
02
03
04
charles cupples
01
left
01_Elmira (air use) 02_Dallas (heat use) 03_Elmira (humidity) 04_Dallas (humidity) right
2012
01_Elmira (temperature) 02_Dallas (temperature) 03_Elmira (wind) 04_Dallas (wind)
Site & Sustainability
kevin pratt
critic: Kevin Pratt
Site & Sustainability (Building Technology Seminar)
hong yeol in
ASSIGNMENT 02: Odum Diagram
Odum remarks that a good model deals with the following issues: 1) how the system is bounded 2) subsystems (components) 3) time scale Often, the boundaries of a system are chosen arbitrarily in order to produce a continuous “control volume� for a model. Define a control volume and the inputs (sources), outputs (sinks) and internal processes and subsystems, in the notation of Odum for one of the following: a. your person b. Milstein Hall c. the City of Ithaca d. Collegetown Bagels e. your dorm room f. a greenhouse that grows tomatoes
Site & Sustainability
2012
kevin pratt Apexa Patel (asp232) 9/17/12
Carbon Dioxide Nose (Sinuses)
Nitrogen
Air
Supraglottis
Lips
Glottis
Oxygen Trachea
Water vapour
Vocal chords/folds
Subglottis
Larynx
Argon
Carbon Dioxide
Diaphragm contracts and relaxes
Lungs
Chest
vocal tone
Conversation
Resonance
Bronchus
Sun
Skin
Mouth
Speech
Pyloric Sphincter
Esophagus
Saliva Lips
Water
Louie’s Truck
1
Drinks
GDP
ADP
2
Fatty acids & cholestral
Energy
Inorganic Phosphate
Food
Small intestine
Maltose
Glucose Colon
Bladder
Urethra
Hunger
5
9
Brain
Receptors in muscles
Thoughts & Ideas
Fats
soluble
Fiber
insoluble
NREM sleep
Vitamins
Axl3 Rose
Education
Fat soluble - A, E, K
Stress
D
Water soluble - B, C
Dreams Eyes
Retina
Optic Nerve Optic Chiasm
Optic Tract
Work
6
Fatigue REM sleep
Stupidity
Cognition
4
Image
Posterior Speech Area
Anxiety & Irratability
Art
Kidneys
Large intestine
Starch & Sugar
Carbohydrates
Amino acids
Diffusion Osmosis
Lymphatics
Protein
MilsteinHall (Cornell)
Pancreas
Stomach
Gallbladder
GTP
The Green Dragon
Ghrelin
Liver
ATP
Primary visual cortex
Rectum Anus
Lateral Geniculate Nucleus
Primary Motor cortex
Wernicke’s Area
Solid Waste
7
Broca’s Area
]
[
Liqiuid Waste1
8
apexa patel
left
01_Odum Diagram
2012
right
01_Odum Diagram
Site & Sustainability
kevin pratt
critic: Kevin Pratt
Site & Sustainability (Building Technology Seminar)
LAB 03: Solar Geometry 1 – The Gnomon
Lab 3 begins the process of understanding solar geometry, shadows and shading. The first part of the assignment is relatively straightforward. Your task is to build a Gnomon that we will be using to test shadowcasting and shading techniques described in class.
hong yeol in
The gnomon is the part of a sundial that casts the shadow. Gnomon is an ancient Greek word meaning “indicator”, “one who discerns,” or “that which reveals.” It has come to be used for a variety of purposes in mathematics and other fields.
2012
Site & Sustainability
kevin pratt
02
03
04
hong yeol in
01
left
01_Gnomon (top)
2012
right
01_Gnomon (perspective D) 02_Gnomon (perspective C) 03_Gnomon (elevation A) 04_Gnomon (elevation B)
Site & Sustainability
kevin pratt
critic: Kevin Pratt
Site & Sustainability (Building Technology Seminar)
yifei yang
LAB 02: Climate Data Visualization
Use one of the locations that you chose for your climate analysis. Your goal is to try and describe how the climate will change in this location over the next sixty or so years. 1. First use the IPCC AR4 data sets to take a look at what different models predict will happen to your particular location. You will have to choose how to look at the data, which scenarios to use, and which models to pull data from. Please look at least two variables (temperature and rainfall, for example). 2. Second, search the web for finer grain data for your area. See if you can find predictions of what will happen according to these data sets. Ask yourself – when were the forecasts made? Do they agree with the latest model runs contained in the relatively new 4th assessment report? Keep in mind that you may not find much specific data for some places. 2012
Site & Sustainability
kevin pratt
2012
yifei yang
Site & Sustainability
srdjan jovanovic weiss
students: James Blair
Jason Freedman Heriberto Rodriguez Valenzuela
critic:
Srdjan Jovanovic Weiss (Spcial Topics in the Theory of Architecture Architecture vis-a-vis Ideology: The Reappearing Acts of Spatial Practice
james blair, jason freedman
& heriberto rodriguez valenzuela
Monument to Cold War Victory Propaganda Projections : Manipulating the Consensus for Victory, NYC
As the competition description makes clear, the impact of half a century of sustained ideological conflict still reverberates through all forms of public and private experience. To explore the idea of a monument to Cold War victory, the project began with two important questions; where exactly is the ideological conflict occurring, and how can the experience of an ideological conflict be exploited to memorialize the Cold War? The answers to these questions are multifaceted and complex. This, in part, is due to the visual lexicon of Cold War imagery having been so widely absorbed into contemporary culture that it now reads as either an aesthetic misnomer, such as in advertising, or is attached to a Cold War iconography that is framed in terms of destruction and kitsch. On the contrary, a monument to the Cold War should be striking and thought-provoking, evocative of the strange cycle of history, and indicative of the fact that notions of victory are largely defined by the collective psychology of the populace. The objective of the scheme is to utilize the imagery of the Cold War, namely the visual propaganda that has become so prevalent, in order to reframe the conflict in contemporary terms and accomplish the reintroduction of ideological propaganda into the public consciousness. An important concept is the notion of public vs. private space (drawing on how the two opposing systems that fought conflict interpreted these notions) and how utilizing private space in a place like New York City influences the psychological power of ideological propaganda. Through this exploration and the introduction of Cold War signifiers into the architectural realm, unique notions of victory are evoked and induced in the minds of the viewers. The manifestation of the scheme visually articulates these ideas as photographs of iconic propaganda projected in light onto architectural surfaces, and into the urban architectural spaces of Manhattan. While contemporary propaganda is largely broadcast through new media such as the Internet and online social networks, the
iconographic nature of this project harkens back to the legacy of the Cold War in the complex material, social, and cultural forms of signification and indexicality that the traditional idea of a monument still clings to. On the other hand, the medium used challenges those notions. If a monument is not a permanent and grandeur gesture but rather a temporal and intimate one, it better reflects the true nature of the Cold War conflict and the effect upon the victims of the War. The projected images attempt to break down the traditional, formal structure of the monument in order to redefine the way one addresses the introduction of propaganda into everyday life. The link between Soviet propaganda and the city of New York is rooted in fascinating and little known history. The Soviet aesthetic, both in architecture and propaganda translated into print, was inspired directly by Stalin’s fascination with lower Manhattan in the early 1930’s. In particular, Stalin saw McKim, Mead and Whites’ Municipal Building, 1914, as an example of how the entirety of the Soviet Union could be rebuilt. Stalinist architecture refined these forms, originally the result of New York’s 1916 Zoning Resolution, and often placed a mark of Soviet propaganda such as an image or icon at the apex of such structures. Stalin would eventually commence his ambition to construct the ideal Soviet city through his commissioning of ‘The Seven Sisters’ skyscrapers of Moscow in the 1940’s and 1950’s. This project, a monument to Cold War victory, reintroduces and reinforces the tie between propaganda and the architecture of New York through the simple yet striking introjections of iconic imagery, projected onto the apex of ordinary buildings. Consequently, the outcome is arresting and provocative, reminiscent of the strange cycle of history, and indicative of the fact that indeed a retroactive commemoration utilizing propaganda has the power to alter collective psychology and the consensus for victory. 2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
james blair, jason freedman
2012
& heriberto rodriquez valenzuela
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
james blair, jason freedman
& heriberto rodriguez valenzuela
srdjan jovanovic weiss
2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
james blair, jason freedman
2012
& heriberto rodriquez valenzuela
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
james blair, jason freedman
& heriberto rodriguez valenzuela
srdjan jovanovic weiss
2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
james blair, jason freedman
2012
& heriberto rodriquez valenzuela
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
01 students: Mia Miyoung Kang critic:
Srdjan Jovanovic Weiss (Spcial Topics in the Theory of Architecture Architecture vis-a-vis Ideology: The Reappearing Acts of Spatial Practice
mia miyoung kang
Ink Ice
A visitor encounters an object. An object unlike any others he/she has seen before. As visitor approach the object, he/ she feels the coldness of its energy being exuded into the atmosphere. With curiosity, the visitor approaches the object and places his/her body near its dense charcoal black ice surface, where he could only sense the silent solitude. Within its silence, visitor drifts into deep thought… As the time pass, the object slowly melts away into its surrounding, where once foreign, becomes part of ‘whole’. Other visitors, similar to one before, join the object. As visitors emerge to observe this powerful silent object, they become part of the ‘whole’. Their meandering footsteps marked with residue from the object migrate near by leaving imprint on the ground… More time pass, the object has slowly transformed. As its original solid charcoal black ice form diminish, its liquid counterpart emerge leaving black imprint on the ground. The object has vanished, and a space for imagination is all that remains. A visitor encountered an object. An object unlike any other he/she has seen before. The Cold War and its events have left a significant legacy in the United States and Russia. With its ‘non-physical’ existence of the war, Monument of Cold War Victory is created as abstract form as an expression of hope for peace in the state of mind for those directly involved in The War and those who were greatly influenced. As the ice slowly transform from solid to liquid it will eventually leave imprint on the paper that lie underneath the ice. The abstract symbols vanished, and imprinted print for imagination is all that remains. The remaining imprinted print takes on new form of life and meaning as a form of existence of the event. Through this abstract symbol, visitors become ‘one’ with Cold War and simultaneously
find sense of peace and tranquility as the ice transform. Once thought as ‘War’ now is transformed into peace and victory in the minds of beholder. INSTALLATION Ink ice is to be installed at Union Square in NY and Red Square in Moscow both as an important intersection, a place of unity. It is allowed to melt under the sun and wind. As the ice fights for its survival, it surrenders to its warming surrounding. Sense of negotiation emerges through conflict. Depending on the atmospheric temperature, ice will melt at various rates, leaving different imprint on the paper that lie underneath the ice. As visitors interact with ice and surrounding liquid ice ink, they will also contribute to the outcome of the imprint. The abstract symbol of ice vanishes but the remaining imprinted paper is left for imagination, a symbol of peace and victory. INK ICE The ice block is in the form of plinth and tower, symbolizing the structure once dominated by Russia borrowed by rest of the world. Ice is made from smoke ink of various densities. As the temperature warm up, the staked ice plinth and tower melt into its context, dissolving into pools of still dark water. As days go by, the solid entity will disappear, the residue left behind are only ink imprint on the ground. The original trace to plinth and tower is still visible with overlay of unpredicted imprint of ink, surrounding, and atmosphere. The abstract symbols vanished, and a space for imagination is all that remains. A symbol of peace and victory remains. 2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
left
01_Ink Ice meltdown drawings right
01_Ink Ice meltdown rendering
2012
mia miyoung kang
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
left
01_Ink Ice meltdown rendering right
mia miyoung kang
01_Ink Ice prints
2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
2012
mia miyoung kang
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
student: Feng Lin
feng lin
critic:
Srdjan Jovanovic Weiss (Spcial Topics in the Theory of Architecture
Monument to Cold War Victory : Fictional Underground
The proposal for the Cold War Victory Monument locates the commemoration site at a fictional underground space which used to operate as be the cold war missile launch site. It is invisible, but powerful just like the hidden power of cold war.
War, that it was a hidden power in the past (1st image), then forgotten by during the development time (2nd image), and eventually, it may be revealed to the public in the future (3rd image).
Since Cold War was not an official war between the United States and the Soviet Union; therefore, the victory of the war remains uncertain and has never been clarified. A monument is always built to represent the victory or commemorate the victims; however, in terms of the Cold War, the result has never been known. The proposed monument is for neither the US nor the Soviet Union, but to represent the fact of the Cold
The first image represents the past of Cold War while both the above ground and underground are for military use; in the second image the above ground is the image of its economic development while the underground space is being forgotten by people just like Cold War. The third image shows the idea that Cold War may finally revealed to the public, just as the space can be claimed for public use like a station or an exhibition. 2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
left
01_Fictional Underground sectional perspective right
01_Fictional Underground sectional perspective
2012
feng lin
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
posse
/ power, activity / having power / what body and mind can do
telos
networked form
/ constructing a much more networked form of power, a network of control… a network that of course includes the United States, but also includes the other dominant nation states, the capitalist corporations, various multinational institutions, plus a variety of non-governmental organizations
/ end or purpose / goal
at io n
self-organization se lfor ga niz
biopolitical connection between the power of life and its political organization
lit ic
al
emergence
machine + technology hybridization of human and machine is no longer a process that takes place only on the margins of society experience general right to control its own movement is the multitude’s ultimate demand for global citizenship
m ult itu d
e
is
bio
po
/ idea of emergence of new contemporary reality
communication general right to control its own movement is the multitude’s ultimate demand for global citizenship
power
time + body
control
/ time is a collective experience that embodies and lives in the movements of the multitude
multitude
/ conceptualization as a new model of resistance against the global capitalist system mult itud e ha s to con trol mov eme nt / movements of the multitude designate new spaces, and its journey establish new residence
structure
endless paths
globalization
imperialism
movement
general right to control its own movement is the multitude’s ultimate demand for global citizenship
/ the power of a nation state to impose its sovereignty over foreign territory
no longer the ruling form of power / post 911 US. Imperialism / attempting to control foreign territory and potentially the whole globe / remake the Middle East, rule over the world, etc
mobile multitude
empire
US as imperial power
US
/ global multitude / global citizenship
/ de-centered / a new logic of global control or domination
autonomous movement / self - assembly
dominant nation states blurred “boundaries” a variety of non-governmental organizations
capitalist corporations passport / will become obsolete
multinational institutions
the general right to control its own movement is the multitude’s ultimate demand for global citizenship
global citizenship is the multitude’s power to reappropriate control over space and thus to design the new cartography
new geography / established new rivers and ports / locomotives for circulation / temporary residences and networks of the mass distribution of living humanity
uncontainable rhizomes / new path of destiny / constructed new freedoms
empire does not really know how to control these paths and can only try to criminalize those who travel them
mia miyoung kang
& alison nash
empire must restrict and isolate the spatial movements of the multitude to stop them from gaining political legitimacy
01_Elastic Ideology (class presentation)
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
2012
left
srdjan jovanovic weiss
Multitude
singular power of a new city
Self-Organization
global order arise from local interaction
Emergence
complex system arise from multiplicity of simple interactions
Hard Line
Erosion
changes through time, streching landscape
wall, rifts
Shifitng Borders indeterminate
Coexistence
parallel regimes of identities and power, union opposites
Evolving Future
locked in present, anticipating shifts, fictions
mia miyoung kang
2012
& alison nash
right
01_Elastic Ideology (class presentation)
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
soc
iali
sm
’s s
tor
y
ele
na
kag
mia miyoung kang
& alison nash
new 190 yor 0 - k ci 193 ty 3 rift s per “en cepti o fut ding ns ure ”
of
ide
an,
198
1
olo
gy
01_Elastic Ideology (class presentation)
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
2012
left
srdjan jovanovic weiss
protocol of peace
1915
the great divide
1925
2012
“lessons for american radicals�
right
01_Elastic Ideology (class presentation)
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
& alison nash
1935
mia miyoung kang
1930
strike failure
1920
the new deal
1910
WW I
1905
new york city
a portrait of the NY SP
1900
dissension within the SP
what happened to socialism in america?
srdjan jovanovic weiss
1915
1920
1925
1930
1935
Ideology
1940
1945
1950
Red Urbanism
1955
utopia
SHE NZHE N CHI NA
1960
1965
1980
1919-1977
* CCP
1959 Fammine
1949-1956 l a nd reform
Zone1
1972+
American Dream
Capitalist M arket
Deng Xi a opi ng
1958 Soviet Union fall out
*crea te communes
1976-1979 Economic Zone
Antiurbanism
*Uni ty
Zones
Infrared 1957-1977
1934 Mao Zedong
Events
1975
1919-1957
De-Urbanism Actors
1970
1919.1978
1963 Middle man campaign 1970 decline of Red ideology
INDUSTRIALIZATION CITIES COUNTRYSIDE Cities reorganized around self industrial neighborhood communes countriside focus /autonomy form cities / city center of consumption not production CITY IS CENTER * s oci a l i s t ci ti es /i l l us i on of future: Expa ns i on- Overs ta tement - “a es thei ci s i m of numbers ” CITY IS COUNTRYSIDE factories of red / surreal ghost factories * i dea l communi s t ci ti es / hous i ng s ta nda rdi za ti on, control i i ng ci ty s i ze, pol i ti ca l /a dmi n centra l i ma ge
Revers a l of Ma o a nti -urba n s tra tegi es / us es metropi ol i s & ma rket
*"des tructi on for cons tructi on" / "i ndus tri a l i za ti on wi thout urba ni za ti on" *doubt a bout centra l pl a nni ng
1915
1920
1925
1930
1935
Ideology
1940
1945
Red Urbanism
1950
1955
utopia
SHE NZHE N CHI NA
1960
1965
1980
1919-1977
Zones
Infrared
Economic Zone
1959 Fammine
1949-1956 l a nd reform *crea te communes
1976-1979
1957-1977
Antiurbanism
* CCP *Uni ty
1975
1919-1957
1934 Mao Zedong
Events
1970
1919.1978
De-Urbanism Actors
*shift from factories to freeways and highrise
Zone1
1972+
American Dream
Capitalist M arket
Deng Xi a opi ng
1958 Soviet Union fall out 1963 Middle man campaign
1970 decline of Red ideology
INDUSTRIALIZATION CITIES COUNTRYSIDE Cities reorganized around self industrial neighborhood communes countriside focus /autonomy form cities / city center of consumption not production CITY IS CENTER CITY IS COUNTRYSIDE factories of red / surreal ghost factories PRESENT TIME LAPSE FUTURE obsession with future / refussal of present Cured of future INDIVIDUAL vs. MULTITUDE Loss of individual significance / freedom from individual and tradition Specialization pol i ti cs vs . profes s i ona l s / TECH & SCIENCE
Market vs. Class struggle
CONCEALMENT
representation vs. Perception
& alison nash
REPRESENTATION PERCEPTION
mia miyoung kang
Concea l ment of Communi s m
01_Elastic Ideology (class presentation)
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
2012
left
srdjan jovanovic weiss
1915
1920
1925
1930
1935
Ideology
1940
1945
1950
Red Urbanism
1955
utopia
SHE NZHE N CHI NA
1960
1965
1980
1919-1977
1959 Fammine
1949-1956 l a nd reform
Zone1
1972+
American Dream
Capitalist M arket
Deng Xi a opi ng
1958 Soviet Union fall out
*crea te communes
1976-1979 Economic Zone
Antiurbanism
* CCP *Uni ty
Zones
Infrared 1957-1977
1934 Mao Zedong
Events
1975
1919-1957
De-Urbanism Actors
1970
1919.1978
1963 Middle man campaign 1970 decline of Red ideology
INDUSTRIALIZATION CITIES COUNTRYSIDE Cities reorganized around self industrial neighborhood communes countriside focus /autonomy form cities / city center of consumption not production CITY IS CENTER CITY IS COUNTRYSIDE factories of red / surreal ghost factories TIME LAPSE PRESENT FUTURE obsession with future / refussal of present Cured of future *forced to bury promise of the future
1915
1920
1925
1930
1935
Ideology
1940
1945
Red Urbanism
1950
1955
utopia
SHE NZHE N CHI NA
1960
1965
Zones
Infrared
Economic Zone
1959 Fammine
1949-1956 l a nd reform *crea te communes
1976-1979
1957-1977
Antiurbanism
* CCP *Uni ty
1980
1919-1977
1934 Mao Zedong
Events
1975
1919-1957
De-Urbanism Actors
1970
1919.1978
Zone1
1972+
American Dream
Capitalist M arket
Deng Xi a opi ng
1958 Soviet Union fall out 1963 Middle man campaign
1970 decline of Red ideology
INDUSTRIALIZATION CITIES COUNTRYSIDE Cities reorganized around self industrial neighborhood communes countriside focus /autonomy form cities / city center of consumption not production CITY IS CENTER CITY IS COUNTRYSIDE factories of red / surreal ghost factories PRESENT TIME LAPSE FUTURE obsession with future / refussal of present Cured of future INDIVIDUAL vs. MULTITUDE Loss of individual signiďŹ cance / freedom from individual and tradition Specialization pol i ti cs vs . profes s i ona l s / TECH & SCIENCE
Market vs. Class struggle
CONCEALMENT
representation vs. Perception PERCEPTION Concea l ment of Communi s m
mia miyoung kang
REPRESENTATION
2012
& alison nash
right
01_Elastic Ideology (class presentation)
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
the introverted monument final review
srdjan jovanovic weiss
2012
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
srdjan jovanovic weiss
2012
the introverted monument final review
Architecture vis-a-vis Ideology: The Reappearing of Spatial Practice
amber bartosh
left
01_Crumped image rendering right
xiao xiao li
& alison nash
01_Crumped image study
2012
Constructed Drawing II
amber bartosh
xiao xiao li
2012
& alison nash
Constructed Drawing II
mark cruvellier
left
juan carlos artolozaga
& mia miyoung kang
01-02_Blur Building (DSR) Model details
2012
Structures 3603 | 6603
mark cruvellier
juan carlos artolozaga
& mia miyoung kang
right
2012
01_Blur Building (DSR) Wood model
Structures 3603 | 6603
jordan berta
& ning fei gao
mark cruvellier
01
2012
Structures 3603 | 6603
mark cruvellier
jordan berta
& ning fei gao
left
2012
01_ White Forest Building (Junya Ishigami) soldered model right
01_White Forest Building (Junya Ishigami) soldered model
Structures 3603 | 6603
jason freedman
& elizabeth saleh
mark cruvellier
2012
Structures 3603 | 6603
mark cruvellier
left
01_German-Chinese House (Markus Heinsdorff) Model detail right
01_German-Chinese House (Markus Heinsdorff) Wood, metal and plexi model
jason freedman
2012
& elizabeth saleh
Structures 3603 | 6603
simin wang
& greg guylai
mark cruvellier
01_Metropol Parasol (J端rgen Mayer-Hermann)
Structures 3603 | 6603
2012
left
mark cruvellier
simin wang
2012
& greg guylai
right
01_Metropol Parasol (J端rgen Mayer-Hermann)
Structures 3603 | 6603
feng lin
& zhongtian lin
mark cruvellier
left
01_Cathedral of Christ the Light (SOM) model 01_Cathedral of Christ the Light (SOM) model detail
Structures 3603 | 6603
2012
right
mark cruvellier
feng lin
2012
& zhongtian lin
Structures 3603 | 6603
mary palumbo
& dillon pranger
mark cruvellier
2012
Structures 3603 | 6603
mark cruvellier left
01_Bird Watching Tower (GMP Architecture) Model interior detail right
01_Bird Watching Tower (GMP Architecture) Wood model
mary esther palumbo
2012
& dillon pranger
Structures 3603 | 6603
rachel kaplan
aleksandr mergold
2012
Making Prints
aleksandr mergold
2012
eric johnson
Making Prints
tzara peterson
aleksandr mergold
2012
Making Prints
aleksandr mergold
2012
julia weiss
Making Prints
aleksandr mergold
02
elective seminar
01
left
2012
01_Clay print stamp 02_Clay print
Making Prints
aleksandr mergold
01
02
elective seminar
2012
right
01_Clay print stamp 02_Clay print
Making Prints
elective seminar
aleksandr mergold
01
02
03
left
2012
01-03_Clay print stamps
Making Prints
aleksandr mergold
02
03
elective seminar
01
2012
right
01-03_Clay print stamps
Making Prints
elective seminar
aleksandr mergold
left
2012
01_Rubber print
Making Prints
aleksandr mergold
elective seminar
2012
right
01_Rubber print
Making Prints
james blair, mia miyoung kang
& ida tam
jenny sabin
2012
Digital Ceramics
jenny sabin
james blair, mia miyoung kang
& ida tam
left
01_Ceramic mold, components & wall configuration right
2012
01_Ceramic components
Digital Ceramics
james blair, mia miyoung kang
& ida tam
jenny sabin
left
Digital Ceramics
2012
01_Ceramic component wall configuration
james blair, mia miyoung kang
& ida tam
2012
jenny sabin
Digital Ceramics
jenny sabin
02
03
clifford chan
01
Digital Ceramics
FRONT ELEVATION
2012
04
jenny sabin
clifford chan
left
01_Pre-bloom (woven stage) 02_Mid-bloom (concentric stage) 03_Full-bloom (reductive Stage) 04_Front elevation right
2012
01_3D print prototype
Digital Ceramics
runsheng lin
02
03
2012
Digital Ceramics
04 6.00
5.00
4.50
4.00
& yoonjee koh (barch)
4.25
4.00
3.75
3.50
6.00
5.00
4.50
4.00
2.75
3.00
2.75
2.50
6.00
5.00
4.50
4.00
jenny sabin
8.50 inch
01
05
jenny sabin
runsheng lin
& yoonjee koh (barch)
left
01_Component catalogue 02-05_Elevations right
2012
01_Final prototype
Digital Ceramics
runsheng lin
& yoonjee koh (barch)
jenny sabin
left
01_Final prototype right
01_Usage diagram 02-04_Vegetation growth phases
2012
Digital Ceramics
jenny sabin
runsheng lin
& yoonjee koh (barch)
2012
01
02
03
04
Digital Ceramics