CYNTHIA GEORGE ARCHITECTURAL PORTFOLIO SYRACUSE UNIVERSITY SCHOOL OF ARCHITECTURE FALL 2016
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TABLE OF CONTENTS
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EXERCISE 1: FORM AND MAKING
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EXERCISE 2: ELEMENTS AND OPERATIONS OF FORM
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PAGE 5 PAGE 6 PAGE 7 PAGE 8-10
2.1: LINEAR / TWIST 2.2: PLANAR / FRACTURE 2.3: VOLUMETRIC / TWIST 2.4: LINEAR AND VOLUMETRIC / INTERLOCK AND TWIST
EXERCISE 3: SCALE, MOVEMENT AND CONTEXT
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PAGE 12 PAGE 13 PAGE 14-15
3.1: CASE STUDY OF ERNIE DAVIS HALL 3.2: THE APPLICATION OF SCALE AND MOVEMENT TO ABSTRACT FORM 3.3: REACTING TO AND ACTING ON CONTEXT
EXERCISE 4: CASE STUDY ANALYSIS OF LOUIS KAHN’S ESHERICK HOUSE
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EXERCISE 5: A PUBLIC/PRIVATE HOUSE
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EXERCISE 1: FORM AND MAKING
The first exercise is developed to introduce the three major types of forms in architecture: line, plane and volume. With this emphasis on the physical creation of each formal category, each form is required to be made of only one of two given materials, respectively. More importantly, the material chosen must remain in its same form. Planar elements cannot be changed into linear or volumetric elements, and vis versa. The final requirement of this assignment pertains to the restrictive quality of the cube. Each of the three forms is to be used to create a three-inch cube, and everything must remain within the cube’s parameters. The purpose of the exercise is to enforce not only singularity in form, but also in the perfection of craft of each cube. The first of the three cubes I designed relies heavily on the prominence of a line. It is made to be a single line that defines the form of the cube without ever breaking inside of the implied form. The second cube, which is made of only museum board, focuses on the gradual transformation of a single angle, bending the plane from 90-degrees, out to a flat line, and back to the inverse of its original form. The third, volumetric cube emphasizes the reductive quality of the foam, which is used to create the cube. Appearing as if its faces have chipped away, the small cubes that are compiled to create the full form highlight the negative space untouched by the foam. 3
EXERCISE 2: ELEMENTS AND OPERATIONS OF FORM
Exercise 2 is designed to introduce formal operation of architectural vocabulary. Using Anthony Di Marci’s book, Operative Design, formal operations are chosen out of the book to base the design of each cube off of. Within exercises 2.1 through 2.3, each design is restricted to one material, which must maintain its basic form, similarly to exercise one. Only one operation can be used within each subset of exercises. These restrictions help to focus each design on learning how to use formal operations in different ways for each basic form, which sets a specific end-goal in mind. Through each study of one material, by crafting three 3-inch study models and one 6-inch final model, the design process becomes cumulative and self-analytical. WIthin 2.4, the restrictions are elevated to two materials of two different basic forms and two different operations. Study models at a 3-inch scale are made, as well as larger 6-inch scale models, and the final cube expands to a 9-inch scale. Within exercise 2.4, drafting skills are also introduced, requiring one unfolded elevation plan and two section cuts to be hand drafted based on the final model of 2.4.
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FIGURES:
FINAL 6-INCH MODEL
2.1: LINEAR / TWIST For the most basic form, the set of cubes are focused on the contour lines of the formal operation of twist. Within the cube in the image above, these contour lines of the twist imply two simultaneous movements, one of which is a 22.5-degree twist, the other of which is a 112.5-degree twist. These two interconnected twists become most apparent from the top view of the cube, as seen in the image on the right. 5
2.2: PLANAR / FRACTURE This set of models focuses on the fractures created between separated parts of a cube, and how each part creates space. Within the preliminary models, differentiations are found in the scale and shape of the fracture within each cube. These translate into the final model, which interacts similarly to the first study model (pictured on top left) because of how spaces are separated from one another. However, the final model pushes further to create a distinct, enclosed inside with thin fissures to separate itself from theopen, fractured components.
FIGURES ON LEFT:
PRELIMINARY MODELS
FIGURE ON RIGHT:
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FINAL 6-INCH MODEL
2.3: VOLUMETRIC / TWIST These four cubes focus on the solid form of a twist, unlike how it is explored in 2.1. At first, the preliminary models focus mainly on filled, solid form. However, by differentiating between how the foam is used to imply the twisting operation, the models increase in complexity.
FIGURES ON LEFT:
FINAL 6-INCH MODEL
FIGURES ON RIGHT:
PRELIMINARY MODELS
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FIGURES ON LEFT:
LINEAR & PLANAR / FRACTURE & PUNCTURE
FIGURES ABOVE: 8
PRELIMINARY SKETCHES FOR 2.4
2.4: LINEAR & VOLUMETRIC / TWIST & INTERLOCK Based off of models from exercise 2.3, this model combines two different forms to represent two operations within a single cube. The basic twisting shape seen in previous volumetric models is used as the foundation of the volumatric form. The linear elements follow the same basic shape of the volumetric elements, but emphasize the two interlocking forms through differentiation in materiality.
FIGURES 6 & 7: (above)
2 SECTIONS OF FINAL MODEL (1:1 SCALE)
FIGURE 8: (right)
UNFOLDED ELEVATION (1:1 SCALE)
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FIGURES:
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FINAL 9-INCH MODEL FOR 2.4
EXERCISE 3: SCALE, MOVEMENT AND CONTEXT
Through three sections within the exercise, scale, movement, and context are introduced into spatial thinking and understanding. Movement and scale are introuced within a case study of a building on campus in 3.1. Paired with one other student in class, the building assigned is then analyzed in relation to the two areas of formal analyses: scale and movement. Perspectival drawings are constructed to create a spatial sequence, as well as a set of orthographical drawings that emphasize the structure that allows for movement throughout the space. What is learned from the casy study on the two new topics introduced is then applied to abstracted design in 3.2. Working off of previous models from exercise 2, simple cubes are translated into “real space� in scaled models. Not only is division of space part of the design process, but movement through each space is also incorporated. These practices are then applied to 3.3, in which context is also introduced. As part of a group project with three other people, the scaled model is placed into the ground strategically to relate itself to the other surrounding models. Context is integrated in terms of model/site relationship, public/private space, and relationship to other models. Throughout exercise 3, more drafting techniques are introduced for perspectives and basic orthographic drafts.
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3.1: CASE STUDY OF ERNIE DAVIS HALL
FIGURES ON LEFT:
ORTHOGRAPHIC DRAWINGS OF ERNIE DAVIS HALL (ELEVATION, PLAN, 2 SECTIONS)
FIGURES ON RIGHT: 12
PERSPECTIVAL DRAWINGS OF ERNIE DAVIS HALL (coutresy of Adam Liu)
Ernie Davis Hall’s most prominent feature within its main entrance is the massive concrete ramp, as shown in plan on the left, that carries over the dining section and leads to the fitness center. These two sections of the building are split by the ramps that lead to each section. This separation is apparent in the first perspective, which emphasizes the distinction between space to eat and space to exercise. The main ramp is emphasized in the main facade of the building through the large metal lines that cut diagonally along the ramp into the glass wall. The ramp also becomes the main connection between the two main entrances to Ernie Davis Hall: the entrance to the dining hall and the entrance on the second level to the gym and dorm. Rather than a staircase tucked away into the design, the ramo becomes the focal point of the entrance.
3.2: THE APPLICATION OF SCALE AND MOVEMENT TO ABSTRACT FORM Within exploratory models, a single pathway is applied to the basic twisting operations used previously throughout exercise 2. Developed from the design of the final model of 2.4, the linear elements are replaced with a large planar twist that interlocks into the foam volumes. The four twists created with foam are hollowed out to create space for enclosure and movement. The staircases coincide with each type of form, following along the outer edges of the twists to incorporate the formal operation into the physical movement of people throughout the space. The incorporation of the site also becomes part of the design, but still only in terms of movement.
FIGURES ABOVE: 2 PRELIMINARY SECTIONS FIGURES ON RIGHT: PRELIMINARY MODELS (3/16”:1’ SCALE)
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3.3: REACTING TO AND ACTING ON CONTEXT Now fully integrated into the ground, the design from 2.2 is changed to guide movement from under the cube (as shown on bottom left) towards the set of foam stairs, which twists up to the top of the space. The planar stairs then bring movement back down to the opposite side of the site, which becomes a public, open space.
FIGURES: FINAL MODEL WITH SITE (3/8”:1’ SCALE)
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FIGURES ABOVE: PERSPECTIVAL DRAWINGS REPRESENTING MOVEMENT TO TOP LEVEL FIGURES BELOW: 2 SECTIONS AND PLAN
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EXERCISE 4: CASE STUDY ANALYSIS OF LOUIS KAHN’S ESHERICK HOUSE
Given a specific house, the assignment guides the case study to analyze and document four to five major components of the house, all of which are integrated into each exercise throughout the term: formal elements, formal operation, scale, movement, and context. Each area of focus is broken down into four reductive diagrams of the house, as well as a combined axonometric drawing of three components displayed in the diagrams. The exercise is designed to teach and enforce drafting techniques and use previous knowledge from the term, applied to a specific building. Analyzation through research becomes an integral part of the case study in order to gather legitimate information to better understand the basic components of the design.
FIGURE ON TOP:
PHOTO TAKEN BY JEFFREY TOTARO
FIGURE ON BOTTOM: 16
PHOTO TAKEN BY BRADLEY MAULE
Louis Kahn’s Esherick House, built in 1959-61 in Chestnut Hill, PA, is a singleperson house designed for Margaret Esherick. While the movement patterns of the house are fairly simple, the remaining four analytical elements of Kahn’s design become the core of the functioning of the house both in relation to the public and within the house itself. While there are many formal operations at play within the house’s structure, the most prominent becomes the fracturing of the initial rectangle, which becomes the first main division of space and along which runs the staircase to the second floor. The two separated volumes created from the fracture account for the dividing wall that runs throughout the space on the left of the fracture (as shown in the formal operation diagram on page 18). The specific placement of the wall creates two identical rectangular forms on either side of the fracture. This major dividing wall, along with the second floor that only runs through that same left portion of the fracture, defines the division of space and the scale of each room, thus defining its purpose. The scale of each room circulates from the most public space, the main living room on the right with a double height ceiling, to the kitchen and bathroom on the main floor, as well as upstairs to the bedroom. While these three analyses define the interior division of space, the context of the house in relation to the street defines the treatment of the exterior walls of the house. To keep the house closed off to the street, windows are placed only on the second level so that passers-by cannot see into the house. With the door tucked away into the side of the fracture, the entrance becomes privatized from the road. However, the back facade of the house is covered with open windows from floor to roof to connect the interior of the house with the backyard and forest behind. Louis Kahn also controls the temperature throughout the house by placing shutters along the first floor at the front of the house, which let cool air in without allowing the public to see inside. These shutters are also placed along either side of each window to cool every space within the house.
FIGURES ON RIGHT:
PRELIMINARY SKETCHES OF EACH ANALYTICAL FOCUS
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FIGURE ON LEFT:
EXPLODED AXONOMETRIC DRAWING ARTICULATING FORMAL OPERATION, SCALE, AND CONTEXT
FIGURE ON RIGHT: 18
DIAGRAMS SHOWING FORMAL OPERATION, FORMAL ELEMENTS, SCALE, AND CONTEXT (CLOCKWISE FROM TOP LEFT)
EXERCISE 5: A PUBLIC/PRIVATE HOUSE
The final cumulative exercise combines what has been taught through the previous exercises to design a studio, gallery and living space for an artist. The design is restricted by a designated site and limitations on maximum height of space. The studio must be designed to fit the needs of an artist that practices within a certain medium of art. The design deals with the five issues introduced previously throughout the term: formal structure, formal operation, scale, movement and context. Public and private space must work dynamically together to create one cohesive spatial layout. The site provides the design with contextual awareness of light and publicity based on the different conditions of each street.
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FIGURES ON LEFT:
PRELIMINARY SKETCHES OF SPACE AND DESIGN
FIGURES ON RIGHT:
STUDY MODELS OF DESIGN (1/8”:1’ SCALE)
FIGURES ABOVE: 20
STUDY MODELS 2 & 3 IN SITE MODEL (1/8”:1’ SCALE)
The design is based off of the spatial needs of an artist who creates large scale sculptures and installations. This size of artwork defines three major driving forces that carry through my entire design, the first of which is a large open space for the studio as well as the main gallery. This openness is especially important in the gallery in both floor and ceiling space to provide the artist with freedom in installing the work. However, the scale of the work also develops a second, more dynamic need in the connection between studio and gallery. In order to keep the studio privatized and separated from the public entrance and gallery, as shown here, as shown in the context diagram, the movement of the sculptures from one floor to another had to be largely integrated into the design. To accomplish this, the interior walls are carved through along the party wall to create a gap, as shown in the scale diagram in which art could be lifted through the storage space in the basement and the studio on the main floor to the gallery on the top floor. As these pieces for installations would also need to be moved out of the building to be transported to other locations, the studio is placed on the main floor so that pieces could be taken out through a large garage door directly from the studio. The final driving force of my design is defined by the relationship between solid wall and light. Within the studio, sufficient wall space needs to be given for the installation process. This need defined the major formal operation of the design, in which each floor seems to be sinking into the one below itself, shown in the diagram of formal operation. By doing this, light could be let in from the ceiling down into the studio from the south, and into the living quarters, which is located in the basement, thus providing it with eastern light in the morning. This formal operation is emphasized further in the placement of windows in the gallery as well as the walls of glass on the main floor. The placement of glass, in turn, also allows the most light into the most public space in the morning, which is the entrance on Main Street, constant light into the gallery throughout the day, and the most light into the studio during the afternoon while the artist is working.
FIGURES:
PRELIMINARY & ANALYTICAL SKETCHES OF DESIGN
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FIGURES ABOVE: FINAL MODEL (1/4”:1’ SCALE) 22
WEST VIEW, EAST VIEW, & VIEW FROM PARTY WALL (CLOCKWISE FROM TOP LEFT)
FIGURES ON LEFT: FINAL MODEL IN SITE (1/4”:1’ SCALE)
FIGURES:
TOP FLOOR PLAN 2 SECTIONS
5 PERSPECTIVES
AXONOMETRIC 4 DIAGRAMS
2 FLOOR PLANS 2 SITE SECTIONS
(CLOCKWISE FROM TOP LEFT)
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