Mojica Portfolio Vol 2: Architectural Explorations

VOL 2: ARCHITECTURAL EXPLORATIONS

DAVIE JAVIER MOJICA | Contact | 407.9298694 | Email: davmoj@gmail.com | Complete Work Available at http://issuu.com/davmoj

vol 2: architectural explorations University of Florida | Gainesville, Florida Vicenza Institue of Architecture | Vicenza, Italy Paris Research Center | Paris, France ETH | Zurich and Basel | Switzerland

professional work samples

DAVIE JAVIER MOJICA Contact | 407.929.8694 | davmoj@gmail.com | 144 N. Beacon St. Brighton, MA 02135 Davie Mojcia is an award winning Architectural Designer with six years of experience in architecture firms, two years in architectural pedagogy, and six years of retail interior design consultation. He work includes residential, healthcare, higher education, retail, and financial commercial sector design. He is experienced in all phases of architectural project document production and is currently gaining experience in construction administration. Full CV available upon request.

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vol 2: ARCHITECTURAL EXPLORATIONS 6 | THE RELATIONSHIP OF SPACE & LIGHT Dome of Shadow and Light : Meditative Natural Light Illuminated Ground of Seasonal Light: Meditative Artificial Light Variegated Light : Luminaire Installation Märchen : Children’s Library Ethereal Junction : Natatorium and Recreational Park 44 | EVOLUTION OF FAMILIAR FORMS Anthropomorphism : Cache Sexe Display Amalgamation : Bookstore and Cafe Permutations : Library of Contemporary Art 62 | SYMBIOTIC RELATIONSHIPS WITH NATURE Reflection : Pavilion Arbitrate : Agritourism Complex Amphibious Promenade : Garden Walk Symbiotic Dwelling : House in the Wilderness 84 | THE SHAPING OF SOCIAL SPACE Urban Capillaries : Social Revitalization Connective Constructs : Urban Development Everyday Enlightenment : Cultural Center Activating Community : Roxbury Community Center 110 | WITHIN CONTEXT Downtowns, Plazas, and Voids : Research Publication Paradigms in the Historic Fabric : Essay 122 | ARCHITECTURAL TRANSLATIONS Enveloped Intersection : Special Collections Library Detour though Mimetic Action : Essay Complete Work available at http://issuu.com/davmoj 5

the relationship of

Space & Light

“There is no space without light.� Architecture as an art of spatial control and spatial making has inherently been aware of this relationship since the first primitive hut. However this relationship is constantly evolving. Valued both for its utilitarian qualities as well as its phenomenological ones, the character of light has been a silent yet active character in the shaping of architectural narratives. This set of works explores the character of both natural and artificial light at a variety of scales as a way of understanding the relationship between space and light.

architectural explorations

45°33’N

11°33’E

Vicenza, Italy

Dome of Shadow and Light

Meditative Natural light Vicenza, Italy Fall 2011 Critic: Prof. Giovanni Traverso

Recognizing both the utilitarian and phenomenological qualities of light, this exercise experiments with the intersection between both roles of light. In order to test light as a material the constructed space is minimal in form but intricate in its light responsive detailing. This space accepts natural daylight and transforms it into a meditative light responsive to particular times of the day and the year. The light controlling mechanism utilizes a familiar form, the dome, to to create a mutative space of meditative light.

Sun Analysis Summer Solstice 21.07

Equinox 21..09 and 20.03

Oculus of Light and Coffered Shadows Pantheon. Rome, Italy. 126 AD.

Plinth of Light Revealing Ornamentation Selimiye Mosque. Edirne, Turkey. 1569.

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Winter Solstice 21.12

Transparent Dome Embracing the Sky Reichstag Dome. Berlin, Germany. 1993.

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Equinox - 1200 9

architectural explorations

Meditative Space

Diffusing Dome

Shading Dome

Light and Shadow Model A Layered System of Light

This dome utilizes an open oculus to keep direct contact between the exterior world and enclosed space. However, a densifying diagrid system is distributed across the remainder of the dome. By allowing the grid system to be adaptable to varying sun levels the shading dome can vary the quality of light throughout the day and year. To enhance the changing qualities of light, the shading dome is paired with an inner diffusing dome. The qualities of the diffusing dome are adapted to amplify the light qualities of the Vicenza sky. Combined with the Shading Dome they create a layered system of light.

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The Shading Dome Sun Analysis Results

Densifying Grid and Shading Devices

Shading Devices applied to Dome

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The Diffusing Dome North - Semi Opaque 1

North East and North West - Semi Opaque 2

South East and South West - Semi Transparent

South - Transparent

The semi opaque 1 panels allow the tones of the sky above to come through but also provide a surface for direct shadows to be projected on.

The semi opaque 2 panels diffuse light entering the dome. The surface mimics and amplifies the natural diffuse morning light and late afternoon light.

The semi-transparent panels allow direct light and structured shading into the space. Creating an effect similar to the sun breaking through the clouds.

The transparent dome allows for direct beams of light to enter the space. This bright light is tempered by the density of the shading dome.

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Teseting of Critical Dates

Summer Solstice

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Winter Solstice 21.12

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The summer solstice is the longest day of the year. It is also when the sun is at it’s highest.

Because of this the light filtered though the dome is a diffuse light wall washing in the early morning and late afternoon and a sharper projected patter on the floor at midday.

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Due to the angel of sun during the spring and autumnal equinoxes, the light projections primarily move across the curved back wall except at noon. The sharpness of the midday pattern on the back wall is only revealed with this quality on the equinoxes.

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The shortness of the day during the winter solstice calls for maximum daylight in the space.

Although the sun is low in the sky, the diagrid is most open in these areas to allow maximum daylight from dawn unitl dusk.

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architectural explorations

The mutative dome

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The inner diffusing dome serves two purposes, to diffuse daylight and to receive the shadow cast from the shading dome. This secondary role allows the dome construct to not only be a light controlling device, but to also to be an integral part of the mutative space within.

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architectural explorations

Light Source from below

Patterned Layer

. . . has the potential to completely illuminated the space from below creating a dynamic ground.

. . . is inspired by the dome above, but only revealed at night.

Opaque Back Wall

Semi-Opaque Front Wall

. . . provides and secondary vertical surface to accept mutative light.

. . . allows light to pass both in front and behind creating two spaces for light alteration.

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Semi-Opaque Top Layer

. . . provides a uniform surface which masks the subsequent layers beneath during the day.

Retinal Response (% max.)

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Blue Cones

Illuminated Ground of Seasonal Light

Green Red Rods Cones Cones

Meditative Artificial light Vicenza, Italy

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Fall 2011 Critic: Prof. Giovanni Traverso

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Spatial Perception at Night (Rods)

Illumination Dome

. . . captures the mutative light within the space and presents it to the exterior.

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Contrast - Increase Artificial Light

Wavelength Amplified Colors (Cones) of Light

This project reinvestigates the space created for meditative natural light. Rather than illumination coming from above this night time artificial light is created through an illuminated surface below.

Illuminating surfaces allows the minimalist form to be preserved while allowing the space to be dramatically adaptable.

The sequencing of light is determined by the parts of the eye and their relationship to visual perception. The rods of the eye allow for spatial perception at low levels of light. By increasing the contrast between light and dark spaces in a close space, a higher degree of attention can be given to particular zones. Areas of increased illuminance allow for cones of the eye to perceive color.

Though understanding the visual preceptors of the eye a narrative of seasonal light was designed.

architectural explorations

Moving Light in the Vento Region

The lighting sequencing corresponds to seasonal color changes in the Veneto Region while the movement of light references a variety of moving light sources in nature. Circadian light is referenced in perimeter illumination, bioluminescence is embraced in smaller elements, while central light refrences primitive fires as gathering points.

Spring

Winter

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Summer

Autumn

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architectural explorations

The mutative dome Inside and out

The spatial alteration through the illuminated ground is equally dynamic on the exterior though the illumination of the dome. Depicted here is the winter to spring lighting sequence of horizon light.

This moving light breaks through the darkness calling attention to the horizontally of surfaces as it rises within the space. It references the day to welcome the nighttime usage of this meditative space.

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architectural explorations

Variegated Light

LUMINAIRE INSTALLATION Atelier Brancusi: Paris, France Environmental Technology II, Fall 2010 Critic: Prof. Thomas Smith

Bird in Flight (various versions)

Opening of the streamlined form

This luminaire installation explores artificial light at a smaller scale.

Rather than using hidden sources of light this project explores a sculptural light vessel. The luminaire is designed for the recreated outdoor dining space at the Atelier Brancusi at the Pompidou.

Although the space itself is not is use; this reproduction of Brancusi’s Parisian apartment in Montparnasse provided a platform to explore the relationship between sculpture, architecture, and light. Three luminaire’s were utilized to illuminate the entire length of the table.

This series of vessels reinterpret the form of Constantin Brancusi’s “Bird in Flight” sculptures. The luminaire opens the streamlined form of the sculptures to create two interlocking wings. These wings envelope the light fixture to create a pool of light below. The variegated glow emitted from the wings of the luminaire strive to bring the aura of the interior sculpture galleries from the interior to the exterior.

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architectural explorations

Märchen

CHILDREN’S LIBRARY Gainesville FL

Advanced Design II, Spring 2011 Critic: Prof. Nancy Clark

The Märchen Library houses a collection of German Fairy Tails and select hand crafted 19th century toys. It is composed to two interlocking L shaped volumes which capture an introverted garden between them. The larger volume from the exterior is a carved monolith intersected by a smaller mass which is completely open to the street.

The contrasting treatment of the two opposing stereotomic components allowed for the exploration of a wide range of luminous qualities carved within. The itinerary of the human experience begins at the joint between the two volumes which form a carved notch between the mass quietly hinting at the garden beyond.

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architectural explorations

Section through Garden and Main Reading Room

Garden Section looking west

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The conditioned northern structure is anchored by three levels of books screened with translucent onyx serving as a backdrop to the interior reading gallery. Opposite the book stacks the structure opens itself to the gardenscape.

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Entry Notch Circulation Desk Main Reading Room Book Stack Wall Outdoor Reading Space Garden

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architectural explorations

Section through Entry, Quiet Reading, and Garden

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The open air structure to the south holds the garden edge while framing the exterior and interior reading spaces for sidewalk spectators. In contrast to the large reading galleries, the second story contains a small series of intimate reading spaces which overlook the central garden and rooftop garden. This multiplicity of varied reading conditions playfully move between gloomy pockets to bright and vivacious spaces; crating a story telling stage as varied as the places which exist between the fairy tale and the imagination.

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Interstate - 4 divides downtown Orlando, socially and economically.

City Beautiful

Green space in this area is sparse, decorative, and under used.

City Divided

Many of the businesses in this area have abandoned this area due to lack of commerce.

Neglected Green Space

The transitional west side of Orlando is characterized by the dominant road system and fields of asphalt parking which double as a gathering place.

Bankrupt Boulevards & Streets

Asphalt Territories

architectural explorations

The east side of Orlando is in striking contrast to the west - embodying the cities ideal image and vision.

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Ethereal Junction

NATATORIUM AND RECREATIONAL PARK Orlando FL

Business on the east side of Orlando is thriving and prosperous.

Urban Canopies

The porosity of the ground is embraced here and utilized as gathering points for parks and recreation.

Prosperous Streets

Occupation of the Porous Field

Advanced Design I, Fall 2010 Critic: Prof. Michael Kuenstle

The Natatorium and Recreational Park explores the claiming of urban voids due to sprawl. The creation of a large scale park on the west side of Orlando acts as a counter part to the existing Lake Eola Park on the more prosperous east side. The Natatorium and its neighboring structures act as the jointing edge between Orlando’s urban core and the landscaped park. Both the park and the Natatorium investigate the qualities of the natural Florida landscape through subtle ground shifts, the porosity of surfaces, and the relationship between tree canopies. The building is situated along a north south axis creating a constantly changing environment within through the interplay of natural light. The connection between the landscape and the building becomes one of experience rather than form. In turn, the urban condition seamlessly folds into an ethereal structure and back out into a constructed landscape of activity.

The streets here are lined with greenery providing ample shade for pedestrian gathering.

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Site KEY North 1. Natatorium (w/ Speedo store and restaurant) 2. Car/ Bus Drop off and Pickup 3. Pavilions 4. Basketball Courts 5. Kids Pool 6. Hot Tub 7. Cold Tub 8. Recreational Pool 9. Open Field 10. Tennis Courts 11. Existing Tennis Club House 12. Sculpture Gardens 13. Community Gardens 14. Community Center (w/ street level retail) 15. Recreation Center (w/ street level retail) 17. Nap Ford Community School 18. UCF Center for Emerging Media

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Site Section A - The large reflecting pool anchors the Natatorium on the east but also holds a series of recreational pavilions as well as recreation pools within it.

Site Section B - An existing parking structure across from the Natatorium is reused to provide parking for the site. As visitors move from the parking structure to the Natatorium they descend into the reflecting pool prior to entering the building.

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architectural explorations

Ground Level - Lobby, Competition Pool, Speedo Store, Cafe

Level 2 - Spectator Seating, Gymnasium, Offices

Programmatic organization was dictated by the wet/ dry requirements of each space. However; this organization placed spaces which have drastically different thermal and luminous qualities adjacent and at times within one another. In turn, the building was designed as three bars of space connected by two environmental controlling walls with a series of isolated insertions. This strategy allows for the individual environmental control of adjacent spaces with variable environmental requirements.

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Recreation Pool within

Pool Lobby

Etherial Light Assembly

Offices

Speedo Store Gymnasium

Environmental Control Bar

Spectator Seating

Locker Rooms Competition Pool

Level 3 - Recreation Pools

Cafe

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architectural explorations

Thermal Range

Luminous Range

Therapy Pool Recreation Pool

Spectator Seating Reception Spectator Entrance Pool Lobby

Break Room

Sauna

Recreation Pools

Locker Rooms

Cafe

Therapy Pools

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Competition Pool Locker Rooms Break Room Cafe

Spectator Entrance Pool Entrance/ Lobby Recreation

Gymnasium

Cold Water Bath

Gymnasium

Competition Pools

Spectator Seating

Cold Water Bath

The thermal and luminous diagrams show the wide range of desired qualities in adjacent spaces. The unitization of the three bars of space were also designed with smaller scaled volumetric insertions for added control. Despite these variations in requirements, visual openness is always preserved as well physical spatial openness when possible.

Exterior Temp.

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Section through Spectator Lobby, Competition Pool, and Gym Space

Section through Cafe, Exterior Gathering Space, and Lobby

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architectural explorations

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The ethereal light qualities within the Natatorium are primarily controlled by the overhead skin which folds down the south side of the building. Inspired by tree canopies within the Florida wetlands, the skin allows beams of light to penetrate the building. The qualities of this light constantly change throughout the day as the sun moves across the short axis of the building as demonstrated within the physical study model.

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architectural explorations

Section through reflection pool, recreation pool, and competition pools

Ultimately, the human narrative both approaching the Natatorium and the experience within is the focus of this project. Programmatic organizational methods and control of natural daylight help shape this experience.

Recognizing two primary itineraries, the spectator and the swimmer, the spatial journey of each was responsive to its occupants. This section and vignette show the movement of both competitive swimmers and recreational swimmers from the north side of the park into the canopy of the interior pools.

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Indoor Recreational Pool and Garden

Gathering Space under Natatorium cantilever

Main Lobby

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architectural explorations

The approach from the east side of the city welcoms spectator to a brightly lit lobby. Occupants then vertically ascend a staircase with an aquamarine glow from above which references the pool space within.

The spectator seating utilizes low levels of natural light from behind in order to create contrast with the adjacent pool space in order to amplify the experience of the etherial light.

Spectator Entry

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davie Ethereal javier Junction mojica

Competition Pool and Spectator Seating

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architectural explorations

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evolution of

Familiar Forms

The history of the evolution of architecture is cyclical. From the beginning humankind has studied, interpreted, and been inspired by natural forms. It is in the DNA of architecture to respond to these forms, to embrace them, to understand them, and to make them our own. However, architecture does not only reference natural forms, it more commonly references itself. Architecture is continually responding to forms of the past, evolving them to present time, and inferring future mutations. The following set of works explore the reinterpretation of familiar forms to create new architecture.

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architectural Familiar explorations Forms

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Torqued pedestal study

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Anthropomorphism

CACHE SEXE DISPLAY Downtown Design Center: Gainesville, FL Advanced Design II, Spring 2011 Critic: Prof. Tod Williams and Prof. Nancy Clark

Study of Cache-Sexe positioning on the female figure

Architecture is always a response to the human body. This project reexamines the human form to create a relationship between object, form, and viewer. The object is an iron cache-sexe (literally - “to hide the sex�) which was commonly worn low around the waist of women of rank from the volcanic Mandara mountain tribes of Northern Cameroon and Eastern Nigeria. Regardless of materials, the skirts measure approximately twelve to eighteen inches in length and twenty to twenty-two inches in width, excluding the cord. This particular style of cache-sexe was commonly worn during the early to mid-20th century. The beads creating the full ring presented here is most likely a collection of beads from several cache-sexe and possibly traded as currency. In turn, the pedestal display elevates the cache-sex to convey value and wealth while the torquing of the display implies the female figure. The positioning of the Cache-Sex accurately depicts the natural draping of the object on the hips of an average Cameroon woman. The materiality of the concrete references the texture of the volcanic plugs present in the Mandara mountains to complete the relationship between the viewer the object and the originating context.

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architectural explorations

Bookstacks and Reading Tables

Level 1 Cafe and Lounge

Vertical Circulation

Amalgamate

BOOKSTORE AND CAFE Savannah, SC Core 4, Spring 2010 Critic: Prof. William Tilson

The Savannah Bookstore and Cafe intervenes a small scale commercial structure within a residential street creating a point of amalgamation fronting Monterey Square. It showcases a common form, the wall, and reinterprets it into an occupiable partition which unites and divides the programs and encloses the vertical circulation. The partitions semi-permeable skin contrast to the monolithic folding planes creating an architecture which invites the local community within yet promotes the use of the public square by providing a vessel to observe and contemplate ones place within the small scale urban landscape .

Cafe Entry

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Level 1 Cafe and Lounge

Level 2 Bookstore and Reading Spaces

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Permutations

LIBRARY OF CONTEMPORARY ART Charleston, SC Core 4, Spring 2010 Critic: Prof. William Tilson

The Charleston Library of Contemporary Art addresses the perpetual need for permutations of the mind, with respect for the past, in order to facilitate new possibilities in architecture and life. The library responds to the spirit of the commercial street of East Bay yet formally references forms of historical large scale public structures. The scale and volume of the structure as well as the garden square in front reference the U.S. Custom’s House while the central core reinterprets baroque forms and Charlestonian staircases.

The project is situated between two minor side streets and fronted by the commercial street of East Bay. Here the Library of Contemporary Art is able weaves itself into the city fabric as a modern thread within an enduring Charlestonian history.

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architectural explorations

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LEVEL 3 6. Circulation Lobby 7. General Collection 1 8. Office 9. Conference Room 10. Office Storage

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LEVEL 5 14. Roof Garden 15. Special Collection 16. Gallery/ Lounge

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The garden ground plane folds into a facade undulating from the movement of individuals within a baroque building core stretching a series of spaces taut around a rigid framework.

Cross Section through building core Looking North 57

architectural explorations

The transparency of the exterior enclosure system allows for the display of human experiences to the city. This unfolding drama dissolves the barriers between the performers and the voyeurs of everyday life.

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Longitudinal Section through communal spaces - Looking West 59

architectural explorations

THE MEANDERING PATH Analysis of Charleston’s Urban Construct

The human understanding of the urban fabric is formed through the compilation of sequential experiences in which each phenomenon reveals a new and essential thread. An analysis of this set, through the meandering path of the individual, reveals a labyrinthine system which builds upon a pyramidal city formulation. Large scale public volumes organize space and time to imprint a primary circulation defined by a systematic grid. Yet as the scale of the spatial volumes decreases in residential zones, an arrangement of dynamic facades create a porous surface which is continuously penetrated to move within residential volumes and between masses to green spaces. Although the hierarchy of grids organize and connect individual experiences, the meandering paths which exist off the grid are of equal importance. This set of shifting phenomena create an understanding of an urban fabric whose construction is deeply rooted in the history of a city relentlessly responding to a multiplicity of individual meandering paths throughout time. The Library of Contemporary Art emerges from these itineraries as its familiar form folds and torques vertically to unite individuals.

Library of Contemporary Art

U.S. Custom’s House

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Entry from East Bay

architectural explorations

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symbiotic relationships with

Nature

Today architecture accepts the responsibility to nurture the symbiotic relationships with our environments. It is recognized that these relationships are not incidental, but rather carefully tended to. Yet a conceptual separation exist in the discourse of this subject as the world is referred to in two parts, the human made and the natural. This set of work only recognizes one world and accepts that humans are active characters within nature. These projects offer ways of looking at untouched landscapes and analyzing them to infer architectural responses. They also explore the reintroduction and propagation of productive landscapes in symbiosis within the urban context in order to bridge the conceptual gaps between the human made and nature.

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Marjorie Rawlings Park

Long Leaf Flatwoods Reserve

Newnan’s Lake

The Jones Restaurant

architectural explorations

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Reflection

PAVILION Long Leaf Flatwood Reserve, FL Core 3, Fall 2009 Critic: Prof. Bradley Walters

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Newberry Road

Dudley Farm

Paynes Prairie

Lake Wauburg

Thinking of the everyday human from various walks of life as the modern nomad, this intervention strives to bring attention to both the current conceptual separation of the human made environment while emphasizing human dependency on the natural environment. The intervention is sited in Long Leaf Flatwoods Reserve; however, the spatial generation of this pavilion comes from an analysis of a much larger context. By analyzing the landscape relationships from urban Gainesvlle, Fl to the natrure preserves, the interconnectness between two seemingly different environments is revealed.

architectural explorations

The entry from the east moves the occupant through layers of compression both inside and outside natural and human built corridors culminating in a sequence of masses which push and pull to create spaces which direct the individual to varying vignettes within the site.

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The openings under the high overhead conditions allow for cross ventilation while its massive walls on the east and west and large overhangs assist in cooling the space. At night these same moments allow the intervention to become a beacon of light, which focuses attention on human activity. The geometry of the intervention is a language almost exclusive to humans, yet its place within the reserve along with the cultivated land along its way, gives us the shelter we need to observe and appreciate the vastness of nature.

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architectural explorations

Arbitrate

AGRITOURISM COMPLEX Long Leaf Flatwood Reserve, FL Core 3, Fall 2009 Critic: Prof. Bradley Walters

This project is a continuation of the exploration of Longleaf Flatwoods Reserve.

The process of studying a multiplicity of life forms calls for a consideration to building design which concerns life beyond humanity. The initial analysis of the site proposed areas for honey production and the reintroduction of bees. The hives were diagramed as concentrated datums within the site that wave and echo across the landscape. Although we have a symbiotic relationship to this process the specific site was chosen away from the waves of honey production so that human activity would not disturb the reintroduced bee hives. In turn, the intervention was stitched at the northern tip of the Sandhill at the edge of the Flatwoods.

Sheering mass studies generated from the curviture of the flatwoods edge and the waves of honey production.

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Analysis of the Honey Bee Field 69

architectural explorations

The intervention is mirrored as a hive for humanity and promotes argritourism by creating a place for the aggregation of humanity and nature. In the same way the bees radiate from a hive to tend the land; humans echo from the intervention for the cultivation of crops and recreational activities. In turn, the shearing masses of the structure send vibrations across the sandhill. The datum of the structure is the exterior space which binds the two masses. Together interior and exterior spaces house areas for work, storage, cooking, dining, communal gathering, and rest. Each space is directed and focused on a specific moment within the productive landscape and create the setting for a variety of human experiences.

The intervention of human activity within Longleaf Flatwoods Reserve creates a destination within the site where humans and nature are constantly sheering and creating a endless echo of possibilities.

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Main Entry 71

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Current River Occupation

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Parking/ Bus Station to Piazza Matteotti Dog walking Path through Community Gardens Residential (east) to School Running Path from Piazza Matteotti to Monte Berico 5a - 5b Touristic Path from Piazza Matteotti to Roman Bridge viewing area 72

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Piazza Matteotti

Amphibious Promenade

Garden Walk Vicenza, Italy

Advanced Design III, Fall 2011 Critic: Prof. Martha Kohen

Site

Amphibious Promenade addresses the connectivity between three parallel entities in Vicenza, Italy. The natural entities, the Fiume Bacchiglione and the Fiume Retrone, are separated by urban entity Viale Giuriolo.

Each of these linear promenades encourages specific actions from the surrounding community. Despite this constant activity within a relatively narrow strip, the parallel structure also acts as a series of isolating thresholds. If these parallel frameworks can be reformed as unifying thresholds perhaps an integrated promenade can create a larger urban space which address the relationship between the individual and the fluctuating nature of the rivers. This project explores how the swelling of the rivers can serve as a catalyst for unifying spaces that can welcome new activities and bridge existing ones.

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all activity

Existing Condition

. . . has the pedestrian the automobile sharing the same space.

Existing Viale Giuriolo

Fiume Bacchiglione

Fiume Retrone

An Extended Promenade

. . . widens the path beyond the tree line creating a pedestrian space defined by the natural line. This repositioning of the pedestrian is also the first step in strengthening the relationships with the rivers.

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It also encourages a pedestrian promenade into the city from the parking/ bus structure to the heart of the city

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Contra delle Barche

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Contr a della Piard a PROMENADE PLAN 75

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honey bee garden

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basil

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Water Garden

tomatoes

Wild Flower and Grasses Garden

Community Botanical and Vegetable Garden

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Seasonal Promenade

The two rivers fluctuate in height depending on the season. Although this may initially seem problematic, occupation of exterior spaces also fluctuates through the seasons.

The garden walk is designed to be occupied most during the late spring and summer, when community gardens can be cultivated and when warm weather encourages outdoor gatherings. In the autumn and winter months the water level rises, but adjustable floating platforms and walk paths at the highest levels maintain pedestrian connectivity.

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Open the Monolith

Extend the Natural Environment

Fold in the Fertile Green Plane

Bridge the Basin Vertically

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An open air room isolating the fluctuating qualities of the sky and the air.

An enclosure defined by the folding fertile plane (of vegetables and fruits) overlooks the seasonally changing valley.

Symbiotic Dwelling

House in the Wilderness Svartifoss Waterfall Skaftafell National Park, Iceland in collaboration with Ali Can Atabe and Steven Albert Advisor: Prof. Mark McGlothlin Summer 2011

The opening of the natural volcanic rock highlights the elements of fire and water from which it was formed.

Symbiotic Dwelling is a set of metamorphose spaces splicing within the Skaftafell basin positioning the individual between the severity and serenity of the wilderness. The brutality of the basin’s volcanic rock is tempered by the surrounding seasonal vegetation. The shelter utilizes these opposing features by pushing and pulling the monolithic face of the basin to create protection from the elements while folding in the fertile green plane into the core of the shelter. This dwelling is an extension of the natural environment, lightly reflecting its context on a finished volcanic stone exterior and warming its interior with indigenous birch wood. Each of rooms within focuses on specific qualities of the natural environment heightening the relationship between humanity and the essence of environment.

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Introduction of programmatic spaces begin with exploring traditional Icelandic houses.

Defined programmatic use restricts occupation to single activities. In turn multi use spaces are implemented and program is determined on occupant needs and external conditions throughout the year

Volumes are stacked to reflect verticality of context

Rather than allowing program to dictate human activity, open adaptable spaces function as places of meditation, sustenance, and rest. This flexibility allows for a single individual to commune with nature, or for a group of people to reflect on their cumulative relationship with the environment. Symbiotic Dwelling provides a place for the modern-age human to rediscover the juxtapositions within nature and their symbiotic relationship within its complexity.

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Using the intervention as a way to bridge the earth and the sky, the design begins to relate to a cosmic, more sacred dimension. It transforms the dwelling to one of a more primitive and nomadic in nature. The intervention takes on a form of imago mundi, reestablishing its domains, orientation and axis yet not tying itself to a single place. Openings in the overhead conditions communicate with the sky directly, thus becoming axis mundis that harmonizes the relationship of structural systems and cosmic ones.

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the shaping of

Social pLACE

Architecture is the shaping of space for people. Therefore it undoubtably plays an important role in the shaping of the social conditions of culture. This set of work looks at social context and the roles of architecture in the development of these places. This set of work approaches the issue at a variety of scales and offers a wide range of architectural responses. The shaping of social conditions is an architectural responsibility which must be addressed from the urban plan, the implementation process, and the thoughtful urban gestures. Together these actions create the places for communities to flourish.

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Urban Capillaries

Social Revitalization through Multiplying Interventions San Paulo, Brazil

in collaboration with Sabrina Boykin, Simone Cavallo, Francesco D’Alessio, and Michele D’Amico Advanced Design III, Fall 2011 Critic: Prof. Prof. Ettore Vadini, Universita’ di Matera and Prof. Martha Kohen, University of Florida

Culture

Residences

The strategy implemented for the urban project of Caucu’s Favela addresses the duality between community and state, the relationships between several contexts, and a project vision which extends multiple generations. In addition it adopts a methodology of direct participation of the inhabitants. Through the inception of micro-interventions in a complex mesh, similar to an arterial system, it provides opportunities which originate from the needs of the Cabucu community. The strategy is not a dependency on culture, but a focus on improving the existing conditions through cultural evolution.

Relationship Neighbohoods

Relationship Street

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Road Access

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Residences in flood risk zones

INTERVENTION DONE WITH PUBLIC INITIATIVE

Over saturation = low quality of life

Lack of access = lack of clean water and necessities

INTERVENTION DONE WITH PRIVATE INITIATIVE

Faces

Infra - structure

Links

STATE INVOLVED STATE SUPERVISION Arranging

Ro-ads

STATE INVOLVED

STATE SUPERVISION

Relations

PEOPLE INVOLVING IN WORK

Merging

STATE INITIATIVE

Services

Evolving

STATE SUPERVISION

PRIVATE INTERVENTION

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ACCESS

Phase I

Phase II

1. Micro interventions at road access points 2. Implement flood overflow containers at high risk flood zones

1. Micro interventions along developing interior access arteries 2. Revitalize larger open spaces at favela entrances 3. Implement flood overflow containers in secondary flood zones

MICRO FOR ACCESS MACRO MICRO FOR MACRO

Implementation Strategies

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MORE SATURATION ARTERIES MORE SATURATION LESS QUALITY OF LIFE Reduce density = UrbanARTERIES capillaries = LESS of QUALITY higher quality life OF LIFEconnective culture

ACCESS FOR Micro MICRO Increase acess =MICROACCESS interventions FOR connectivity to MACRO for Macro results MACRO San Paulo

Micor Interventions: Clinics, Public Baths, Laundry Mats, Grocery Stores, Small Libraries, Educational Facilities. . . while provided necessities to the community these interventions also prduce jobs and the social interaction necessary for MORE SATURATION ARTERIES community value.

MORE SATURATION ARTERIES LESS QUALITY OF LIFE LESS QUALITY OF LIFE

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Phase III

Green Network

New Mico-Plazas formed around interior Micro-Interventions

Arterial Connectivity formed between Micro-Interventions

Micro-Interventions along major roads and arteries

Favela Residences

Favela Boarders and Road Accessibility

River and Overflow Containers

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Choose abandoned favela sites for mico-intervention implementation.

Micro public intervention generated community interaction.

Public actions generate private responses with state support to create legal revitalized living conditions.

Overflow containers also restructure the river edge and create new open spaces for pededstrins to stroll the river.

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Community Features

Integrated within residential blocks fronted to public residential green space

Commercial/ Business

Small Scale office space integrated within west side retail and residential Large scale office space in the east anchoring Orlando’s current business district

Residential Housing

# of units: Approx. 460 Units in the west neighborhoods

Approx. 240 Units in the east multi-use tower

Approx. 40 assisted living Units with roof top agricultural gardens connected by small scale community green space and continuous green paths

Retail

Small scale retail in the west arranged along both sides of W. Amelia St. on the first and second levels of residential buildings. Large scale retail located in the east within the multi use tower and integrated into the central transportation hub.

continuous Green

Space connecting Civic, Public, Entertainment

Green space is the foundation of the Livable Community.

It unites the east and west sides of Orlando and provides the framework for layered programming. Large public green space unites Civic, public, and entertainment structures while smaller community parks and green walkways link residential neighborhoods, retail, and community features.

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Connective Constructs

URBAN DEVELOPMENT AIAS/ AARP Livable Communities Honorable Mention Orlando, FL in collaboration with Thomas Keiper and Christopher Fernandez Summer 2010 Critic: Prof. Martin Gold

We are a constantly changing demographic. By 2030 Generation Y, now 20-30 years of age, will be 50-70, making more than half of Americans over the age of 50. With this demographic shift comes a shift in cultural values. Gen Y marks the first generation who will primarily live within city limits rather than rural neighborhoods. A focus of community health and environmental stability as well as social and economic concerns call for a shift in city planning to a create a place where multiple cultures merge to develop innovative solutions. Connective Constructs mends the divide created by Interstate 4 by linking the east and west sides of Orlando, FL through a much needed green space. Anchored by the existing downtown on the east and a new livable community on the west, the heart of the development is the central public transportation hub consisting of the Lynx Bus Station and the future Sun Rail Station. Built on the soon to be demolished Amway Arena the new development encourages the relationship between culture, technology, and nature as integral components of a Livable Community.

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architectural explorations ARCHITECTUAL EXPLORATIONS

Large Scale Connectivity

Connected by Florida High Speed Rail Tampa, Orlando, Miami Population 15 million $430 billion / yr.

Orlando, FL

Phase 1

Smart Location Infill Lot Previously Developed 60 West Amelia St. Population 2 Million $40 billion / yr.

Bridging the East and West 1.1 Public Green Space - initial increase in land value to attract occupants. Unite east and west Orlando.

1.2 Retail and Entertainment - Develop the destination 1.3 Civic and Public - promote culture 1.4 Commercial/ Business - promote commerce 1.5 Residential Housing - Bring residents to complete the Livable Community

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Phase 2

Resulting Impact 2.1 Revitalization of Parramore Ave. North and South 2.2 Revitalized connection to exist green space and civic centers

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architectural EXPLORATIONS explorations ARCHITECTURAL

Agricultural Gardens

on the roofs of all housing types. Made possible by freeing up roof space from mechanical equipment by using geothermal heating and cooling.

Typical Housing Section - Owner occupied and Rental are intermixed to promote diversity within neighborhoods 96

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Retail streets become gathering spots for the community. The promotion of choices encourages community interaction not realized within big box stores and the internet.

Civic spaces and green spaces become multi-use community features utilized at all times of the day. Such space gives identity to new and existing neighborhoods establishing economic and cultural value both for the present and the future.

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Florida’s Center for Emerging Media, by providing spaces for exhibits focused on technology as a part of daily designed life. Located above the central transportation junction, this bridge encourages interaction between diverse demographics from the local community as well as the greater Orlando area. It is a celebration of technology fused in everyday life with a focus on keeping the America’s ageing population educated with technological advancements.

The relocation of Amway Arena in Orlando, FL leaves over 29 acres of land open for redevelopment.

This infill lot is disconnected from the thriving portion of downtown due to Interstate-4 cutting directly through the city, resulting in transitional neighborhoods on the east and thriving developments on the west.

Furthermore the new Amway Arena has relocated the city civic center south of the site.

West of the interstate, is the Lynx Central Bus Station, soon to be adjacent to a commuter rail traveling north to Deland and south to Poinciana, with connections to the airport and theme parks. Additionally, the High Speed Rail will link Orlando to the urban centers of Tampa and Miami. To the east of the central bus station is a vacant lot adjacent to the Orange County Court House. This lot combined with the infill lot, provides land for a series of connective constructs which reestablish this place as a destination within the cityscape.

Connective green spaces and alternative transportation, enable all destinations within the community to be within 15 minutes of one another. Bus routes stop at every major public destination and every block in dense neighborhoods. Uninterrupted green space and green paths promote a walkable and bike friendly community linking affordable and diverse housing. Housing is intermixed in order to prevent social segregation and promote interaction across income classes. No program within the community is isolated, including work spaces. Although the traditional business spaces are provided, they are also integrated into the daily streetscape, with the idea of transportation hubs as meeting points, park spaces serve as conference rooms, and coffee shops as offices, as a strong focus within the development.

This series of constructs explores the question - What must we do now to create value in the city of 2030?

Ascertaining public green space as the foundation of community, a bold park bridges over the interstate uniting Orlando. As the green space trickles and divides westward, a framework for layered programming emerges. Large green spaces unite civic, public, and entertainment structures while smaller community parks and green walkways link residential neighborhoods, retail, and community features. These flexible urban spaces provide a sense of place where diverse cultures can evolve and coexist. Retail streets and community parks have been given just as much attention as larger civic spaces in order to facilitate chance encounters between residents as a method of promoting community life.

These layered constructs bound by continuous green space form a series of interactive community meeting points encouraging the relationship between culture, technology, and nature as integral components of a Livable Community.

Recognizing America’s aging demographic, public programs within the park focus on community health through the promotion of recreational activities. The Digital Walkway incorporates University of Central

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15 minutes to everything

Walk, Bike, Ride - Streetcar, Bus, Sunrail Alternative modes of transportation prevent the need to expand Interstate 4 and promote a sustainable way of life 99

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Everyday Enlightenment

Cultural Center Chioggia, Itlay

in collaboration with Sabrina Boykin Advanced Design III, Fall 2011 Critic: Prof. Martha Kohen

Everyday Enlightenment reveals a hidden potential in the maritime Chioggia industrial zone. In order to create a place of cultural value, site accessibility was first restructured to establish a stronger pedestrian relationship with the main land. This new civic center utilizes everyday programs focused on intellectual development in various formats to encourage a cross generational place.

Library

This civic center integrates with the history of Chioggia by utilizing, revitalizing, and framing the existing context. To the west, historic buildings are revitalized with new interventions both adjacent and within.

This spatial arrangement houses intellectual exchange through three integrated formats: the cafe, the library, and the technology cafe. To the east, a new school fronting the Venetian lagoon houses open educational spaces specifically detailed for the younger generation. Together the two intellectual structures form three flexible civic spaces designed for the natural interaction of multiple generations. The mixing of diverse minds of various ages creates a place of exchange where old and new contribute to the expanding cerebral society.

Vehicular Edge

Edge Demolition

Cafe

School

Modes of Intellectual Exchange

Cross Generational Exchange

Revitalized Edge

Building Renovation/ Reuse 100

New Buildings

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1. Renovated Residence 2. Cafe Dining 3. Open Kitchen 4. Lounge 5. Cafe Bar 6. Garden 7. Lobby 8. Maritime Patio 9. Lounge 10. Technology Cafe 11. Multimedia Space 12. Bookstacks 13. Multiuse Space 14. Lobby 15. Reception 16. Locker Room 17. Restroom 18. Gymnasium 19. Flexible Gathering Space 20. Offices

architectural explorations

New Electricity

Illuminated Surfaces

New Plumbing

Wi Fi Access

Illuminated Frames

Caffè and Library

New Tech Wall

. . . provides multi-level access to the Cafe and exterior programs on btoh leves.

. . . provides an area for community gardening for residences who live in the upper floors.

Lounge

. . . stitches the Maritime Patio entrance to the library circulation area and open square.

Roof Garden

. . . provides an entry point to the Cafe allowing for an alternative interior route though the building rather than around it.

Technology Caffè

Elevated Platform

Maritime Patio

Existing Structure

. . . utilizes and existing structure with a new technology wall to provide contemporary necessities.

A New Piazza . . . is formed between two intellectual structures, providing a place for crossgenerational exchange.

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Playground

Atrium

Cafeteria

Classrooms School

. . . organizes all the classroom around it and provides an interior multipurpose space

Classrooms

. . . is connected to cafeteria on the upper floor and overlooks the Venitian lagoon.

Atrium

Circulation

Roof Playground

Court

. . . overlook the atrium and the canal between Chioggia and Sotomarina.

A New Park . . . reintroduces greenery in Chioggia and provides a gathering place overlooking the Venitian lagoon.

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Activating Community

Roxbury Community Center NOMAS Student Competition 1st Place

Boston, MA in collaboration with Sabrina Boykin, Justin Fong, Anastasia Hiller, Jourdana LaFate, Ingrid Molliner, Mu Mudenda, Stanley Ng, Jessica Pace, and Peter Sprowls Fall 2010 Critic: Prof. Mark McGlothlin and Prof. Martin Gunderson

Preservation & Enrichment

Community is the core from which culture is grown. Roxbury is a community that is deeply influenced by jazz, literature, dance and food. By encouraging communal activity and interaction with ones neighbors, the community center retains the balance between urban and rural conditions and preserves the historic identity of the area. By pulling the green house away from the existing structure, the interstitial space shapes the landscape and creates an urban scale streetscape that serves as an open market and gathering space.

Drawing from the existing structure allows for the registration of spatial conditions as well as the opportunity to develop a contrasting materiality and form that celebrates the historic quality yet still embraces the introduction of the new. The constantly changing qualities of spaces reflect the temporality of the environment where the building becomes an adaptable environment for community activity.

Smart Glazing & Natural Light

Permeable Pavement

Sustainable Finishes

Volume

x 2!

Compress Organic & Water Saving Practices

Reveal

Shift

Pollinate

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Due to harsh winters, the exterior green house allows for an extended growing season and revaluates the conventional approach to farming by utilizing the vertical plane. By relieving the ground of its role as farm space an urban landscape is constructed in which an open market and gathering space can coexist. This public space is extended from the adjacent park in order to invite the community in. Similarly the market space can extend into the atrium space, blurring the edge of building and market. The green house acts as a gateway to the rest of the community. Located near neighborhood parks the community center draws residents in from all sides. Since community gardening is encouraged, the green house becomes a landmark for Lower Roxbury.

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Greenhouse

Classroom Rain water collection Retail Space

Plaza

Kitchen/ Secondary Greenhouse and Classroom

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While the buildings and their open spaces highlight agriculture production, its purpose and program reach further to include all aspects of the Roxbury culture. The spaces are not only about an exchange of food but also about an exchange of activity. By changing the building orientation and opening the interior to the exterior gathering space is maximized. Giving the building flexible spaces to hold multiple programs allows for its changing use throughout the day, the seasons, and the year. At night, the green house acts as a projection screen where movies can be shown, further extending the buildings usefulness and integration with the community as an anchor in the park.

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Performance Space

Small Meeting Space

Large Meeting Space

Outdoor Event Space

11 am Open Market, Celebrations, Outdoor Performances

7pm Outdoor movies in the Park. Transparent structures illuminate open public spaces

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Architecture is consistently measured against the quality of its contextual responses. In turn, an understanding of context and methodologies for responding to context are fundamental. The following works offer ways of analyzing context. They look at historical developments of urban fabrics as well as the historic and contemporary architectural responses which have contributed to formation of these places.

The focus of this work is not to establish methodical formal responses, but rather to establish ways of understanding context in order to facilitate appropriate architectural interventions.

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Downtowns, Plazas, and Voids

Downtowns, Plazas, and Voids

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Downtowns, Plazas, and Voids

RESEARCH ABSTRACT Chapter X of Florida: Crossing the Territory of the Sunshine State Central Florida in collaboration with Ali Can Atabey and Andrea Smith and ETH Studio Basel Spring 2012 Critic: Prof. Donna Cohen Territorial Expansion of the Orlando Metro Area

The Great Freeze and slow recovery, 1895-1920

The Great Florida Land Boom, 1920-1930

The Depression and war years, 1930-1950

The Space Boom, 1950-1965

Suburbanization and Disneyfication, 1965-2011

Downtowns, Plazas, and Voids investigates places of daily activity and the residual vacancies between them.

Tampa and Orlando are distinct conurbations joined by Interstate 4 and sprawling pockets of development.

Tampa’s role as an import- export city has shaped an urban space very different from the tourism support center of Orlando. The formation of these territories reflects a variety of economic stimuli and the pervasive middle class suburban movements of the past sixty years. The impact of the resultant sprawl and its relationship with downtown cores is inseparable. The term “Downtown” has traditionally implied a high concentration of business, government, commerce, and leisure spaces, yet these components are no longer centrally located in Tampa or Orlando. Although the city cores still house significant business and governmental agencies, places of commerce and leisure have extended far beyond the city proper. Isolated self-governing utopias have emerged within the fabric, such as Disney World, and even Downtown Disney. If components of the Downtown formula are de-emphasized or removed what is the new definition of “Downtown”? Is the form, location, and function of “Downtown” temporal?

How are they independent yet intrinsically connected? The second portion identifies isolated utopias, within this megalopolis, which function as independent downtowns, most notably occurring in Walt Disney World.

Considering the high concentration of business, government, commerce, and leisure, are these utopias Downtowns in themselves or are they part of a greater notion of downtown that socially and economically reaches beyond its physicality? This isolation is compared to the evolution of traditional downtown centers in Tampa and Orlando. These transformations are examined in tandem with the sprawl and mutation of commerce and leisure centers. If these centers abandon the traditional downtown format and move to the suburbs, does the territorial area of downtown increase? Can downtown sprawl exist? Does the function of downtown change and in turn the definition? Finally, the resultant physical, social, and economic voids are presented in conjunction with the transient prosperity that brings them into being. Are the voids necessary?

Are there positive and negative voids? Is the void inherently part of the creation and evolution of downtowns?

What is the definition of downtown in the megalopolis of Interstate 4?

One of the most significant changes in animated space can be seen in the mutations of Plazas. From the traditional open civic space to indoor shopping malls and outdoor strip malls anchored by grocery stores, the values and tendencies of local culture physically manifest themselves in these variations of Plaza. The tension between the traditional Downtown form and the new Plaza has resulted in abundant finely grained communities outside of the center and vast void territories close to the core. This urban void is a special kind of absence that carries the weight of what is missing and can manifest itself physically, socially, and economically.

The Downtowns and Plazas of Tampa, Orlando, and Disney were chosen with an interest in Disney World as related to the Orlando area. Focusing on downtowns as the composition of government, business, leisure, and supply, our site studies aim to reveal a spirit within the animated spaces of daily life. The case studies asked how these places are formed? Who are they for? How do they adapt? And what are the residual effects?

The case studies integrated into Downtowns, Plazas, and Voids reflect those that are most pertinent to these questions.

Research on site

Research in larger scale The research begins with an investigation of territory. Using Orlando and Tampa as the end caps of an emerging megalopolis, it examines the political and economic beginning of these cores and their continual expansion through the merging of smaller centers. What is the organizing framework of these two cores?

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Delineating Territory Linked by Interstate 4 Orlando and Tampa form territorial end caps to a rapidly growing megalopolis of interconnected suburbs. The Orlando Metro area is the hub city of the Orlando-Kissimmee area. This territory includes portions of Orange, Osceola, Seminole, and Lake Counties with an estimated population of 20,032,496. The evolution of this metropolis was not a centrally concentric growth but rather an amalgamation of multiple towns and city centers. This multiplicity of cores was established in the pioneer era and amplified through the Citrus Boom, culminating at complete integration during the Disney and suburban movements of the past 50 years. Tampa, Florida is the 54th largest city in the country, located on the western coast of Florida. Tampa is the largest city within Hillsborough County, with a population 300,000 residents. Tampa was established because of the development of the shipping port, cigar manufacturing of Ybor City, and the coming of the railroad. Since Tampa has had a long history of moving and producing goods, the development of transportation has shaped the city. Two major highways intersect in the city of Tampa, I-4 and I-275, and connect the city to the rest of the state of Florida.

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Supply and leisure spaces are two important components which delineate downtowns. The form, location, and frequency of these spaces have significantly mutated in response to the needs of the inhabitants of Orlando and Tampa. Tot he right is an example of this transformation. Both are photos of the same location in Winter Park, FL. The one on the left is of Winter Park Shopping Mall taken in 1966, the one on the right is Winter Park Shopping Village taken in 2010. They were/ are places of supply and leisure; however, the format of each is reflective of changing tendencies in urban planning both in Orlando and Tampa. Air conditioning in the late 60’s moved supply centers from outside to inside in the format of shopping malls.

The 90’s reversed this thinking in an attempt to animate streets through walkable sidewalks and streets within open-air shopping villages. Perpetual mutations of the form, location, and density of commerce and leisure spaces is characteristic of the development of these places in Central Florida. Since commerce and leisure are significant components of a downtown, the case studies investigate both the downtown core as well as the places which have stretched commerce and leisure across metro areas.

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The identification of downtowns with business, government, leisure, and supply generates an odd paradox when Orlando is examined in relation to Disney World. The coming of Disney World in the 60’s had a significant impact on the economy of Orlando and its surrounding areas, socially binding the two territories together. This interconnected relationship is most visible in the expansion of roadways which connect the areas of high tourism with Orlando’s current city proper. Yet this connective infrastructure has simultaneously created utopias isolated from the city proper. These utopias are significant in the delineation of downtowns for they are primary and inseparable contributors to the economics of the greater Orlando area. Curiously, they have simultaneously secured the right to govern their territory autonomously.

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Manifesting themselves in both tangible and intangible forms, voids in the urban fabric are a natural occurrence, the by-product of an evolving city. These voids do not become problematic until they are so pervasive as to present a risk to the city’s continued health. This is a very real risk for Orlando, whose downtown area is riddled with infrastructural divides and the enormous surface parking lots that large venues require. Physical voids amplify the deteriorating socioeconomic condition of the city center, accelerated by the recent trend towards suburban development that has decentralized the city’s economic base.

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To see the compete research from Chapter X of Florida: Crossing the Territory of the Sunshine State please send www.davmoj.com

Green Space/ Leisure sprawl moving outside the urban core

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Top: Winter Park Mall 1966 Bottom: Winter Park Shopping Village 2010

Suburban growth over agriculture in Winter Park, FL

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Paradigms in the Historic Fabric ANALYSIS Paris, France Paris Research Center: Paris: City - History Theory, Summer 2010 Critic: Prof. Nancy Clark

INTRODUCTION: the Historic Fabric The sharp aesthetic and theoretical changes within contemporary architecture has kept the question of integration within historical cities at the forefront. The image of historic European cities is more than ever, the property of global culture. This culture has fabricated an idea of what these places should be, feel, and look like, in turn shaping their future, but at times stalling their advancement. The problem of integration begins with layers of cultural determinates defining the value of the existing context. At its most basic level, context is the set of accepted circumstances which precede the new. Yet at some point the new becomes the old, the old is later replaced, causing the form of context to exist in perpetual flux.

Since the form of context is an idea of cultural values weighed against the tangible built thing, the shape of historic European context is initially crafted by its indigenous societies and later adopted and eventually owned by global society. Unfortunately, the multitude of cultural determinants makes for the acceptance and advancement of the new problematic. In the contemporary era, like epochs before, a split exist between the idealization and nostalgia of the past and the excitement and vigor for the new. In the case of Paris, France, the embracing of both ideologies can been seen progressing simultaneously within one urban fabric.

The city of Paris oscillates between its medieval moments, Neoclassical boulevards, modern and contemporary interventions. Contal stated in 1990, “Fifteen years ago new construction in a town was seen as a calamity by the population. The expectation was that a new building would inevitably be worse than the old. Today taxi cab drivers use the Grand Projects as landmarks and comment, as concerned and informed citizens, about the new projects. . . nothing demonstrates more clearly how architecture has once again become part of res publica� (Lowe, 5 Promotion).

Paris has been an important settlement for over two millennia and the form of Parisian context exist first within the culture of its residence and secondly within global culture. Sebastian Lowe points out that the acceptance of modern forms did not happen by accident. He credits key players within the government, but above all applauds the raising of public awareness. The raising of public awareness allows for an open and public debate of architecture. At the heart of the debate is always the question of how the works sits within the context. This debate forces the participants to first determine what the existing context is, evaluate its current worth, and for better or worse alter the urban fabric (Lowe, 21 Modern). Through the responses of contemporary architecture, a reaffirmation of what is historically significant and what is not is established. In turn, a single piece of architecture, through its contextual responses, can mark and define the qualitative values which define the city form in a given time. Thus, it becomes the responsibility of the architect to understand the form of context and utilize this knowledge for the proper implementation of urban interventions.

The following analysis begins by highlighting specific moments within Parisian urban morphology in order to gain an understanding of the fluctuating context. The architectural responses to these various conditions compose a series of time tested scenarios to be evaluated and either discarded or incorporated into today’s methodologies. The urban morphology of Paris, France and its interventions which oscillate between significant eras, provide paradigms of action which can serve as a beginning guide for architectural interventions within historic cities.

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URBAN MORPHOLOGY

presidency between 1981 and 1995. Above all, it is important to note that within each era the physicality of cultural value has been redefined and in turn the image of context has been reshaped to the cultural determinants of each respective era.

It is impossible to cover the entire Morphology of the city of Paris in a single paper. The following is a discussion of select historic attributes which have come to define current Paris and the context in which the analyzed architecture intervenes.

PARADIGMS FOR ACTION

Pre-Haussmann Paris

Paradigm 1: Fragments of Space

The Paris before Haussmann stretches over eight millennia, yet the remnant of these times only exists in fragments. Although the Hussmann plan is the contextual image contemporary culture has of Paris today, the continuity and centralist character has protected French heritage from the founding of Ile de Cite (Lowe, 44, Modern). Paris was founded on the Seine as a commercial city, on an island within a natural moat which acted as a highway.

The first set of existing built forms which can arguably be considered context are the fragments of the Roman Empire. The utilization of these remnants varies depending of the quantity which remains. At times fragments are so sparse that the government simply leaves single walls erected as monuments of history.

Typically an engraved plaque is placed on the wall to identify its significance and the city grows around it, avoiding it and rarely engaging it. However, there are times which a significant enclosure from this era remains, yet the most common approach is one of simple infill and reuse.

During the Roman era the city expanded utilizing a typical gridded infrastructure. The main north/ south and east/ west axis still exist today as Rue St. Jaques (left bank), Rue St Martin (right bank) and Rue Soufflot.

During Medieval Paris the strict gird organization gave way to a more ad hock growth of winding narrow streets which converged on public spaces. The aggressive development of the time resulted in concentric city growth confined by a series of protective walls. Three districts formed within the walls of Charles the fifth and reflect the founding and evolution of early Paris, Cite-the Seat of Power, Universite-the seat of Knowledge, and Ville- the seat of trade. The remains of these walls have been virtually eliminated from the Parisian cityscape.

For example, at Thermes de Cluny one third of the original third century bath complex remains to date. This remaining portion has been split and is currently part archeological site and partly incorporated into the Musee du Moyen Age. The caldarium and tepidarium remain as ruins outside of the muse while the fridgidarium and gymnasium are now used as gallery spaces (Erlande-Brandenberg, 30). Although the spaces have been reused this does not necessarily indicate that they have been incorporated into the modern idea of the city. However, the reuse of the structure does affirm the value of the Roman remains to contemporary culture. The Musee du Moyen, which opened in 1843, uses the remnants of the baths in conjunction with the Hotel de Cluny which was constructed over the adjacent ruins. The series of converted gallery spaces leaves medieval and roman architecture as intact as possible. The structures have received little alteration since its conversion to a museum making the structures themselves artifacts of the same category as the work they hold. The result, is artifacts of history layered within and through a series of spaces. The entirety of the structures becomes an artifact merely affirming a respect for the past, but failing to address the now.

Haussmann Paris The transformation from medieval Paris to the Haussmann Paris we know today began with the Decree of 26 March 1852. This decree is characteristic of the French government’s attitude to planning to this day: the protection of property rights with one hand but intervening drastically with the other when it feels necessary

“The urban morphology of Paris, France and its interventions which oscillate between significant eras, provide paradigms of action which can serve as a beginning guide for architectural interventions within historic cities.” to do so for the benefit of ‘public unity’. It made possible the transformation of the capital that took place during the rule of Baron Haussmann as prefet of Paris. Until then, and in spite of the Revolution, the empire and the changes in society, Paris had hardly changed. It was still mostly medieval . . . (Lowe, 20 Modern).

Haussmann’s plan modernized Paris at a monumental scale. With the annexation of ten districts, Haussmann implemented an urban hierarchy which utilized a basic vocabulary which was repeated to create a uniquely coherent city. This included but was not limited to, the creation of monumental squares, proportional control or avenues, boulevards, streets, building facades, and the material palette of the city. Although contemporary culture has romanticized Haussmann’s Paris, Robert Herbert points out that, “the continuous destruction of physical Paris led to a destruction of social Paris as well.” This transition between the medieval city and Haussmann’s Paris bears similarities to the contemporary struggles within Paris today. With such a controlled city image the intervening of new forms without the destruction of the city identity has been problematic .

Paradigm 2: Incorporated Artifacts In 2003 remnants of a 16th century wall were found during the excavation for the Musee de l’Orangerie’s renovation. After numerous debates architect Oliver Brochet was required to incorporate the diagonal wall which cut through his orthogonal design (Georgel, 40). The approach of Agency Brochet varies drastically from the use of Theremes de Cluny in Musee du Moyen Age through the integration of contemporary volumes with culturally significant historical spaces.

Prior to the discovery of the wall, Agency Brochet’s designs had already opened the 19th century orangerie to the Tuileries gardens, restored the intended display of Monet’s water-lilies, and provided new gallery space for the Jean Walter and Paul Guillaume Collection. From the beginning the design was required to unite 148 years of history, but the late inclusion of the wall extended that historical frame to 450 years. Jaquand comments the efforts of Agency Brochet stating, “The attempt to resolve the different fragments in a highly individual and elegant way, while inserting the new parts, not free of contradiction, and even in conscious juxtaposition” (67).

Yet this juxtaposition is easily accepted and understandable to the occupant due to the new and old elements ability to jointly define space. The entry is clearly marked by the seemingly floating concrete mass which

The shape of contemporary Paris, like eras before is deeply tied to the protection and advancement of cultural heritage managed both by the public (local and global) as well as the government. The Law of Architecture in 1977 officially recognized the importance and impact of architecture and the built environment on society and culture. This recognition influenced the implementation of the Grand Projects under Francois Mitterand’s 117

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sits inside the new transparent framework integrated within the rigid proportions of the original orangerie.

Although the fragment of the medieval wall is a clear artifact within the structure, its geometry is utilized as a way of circulating occupants through the Paul Guillaume Collection and looping them back through the temporary exhibition space. This symbiotic relationship between historic and new elements greatly contrast to the disconnected adjacencies discussed within the Musee du Moyen Age.

essential relationships between people and their sense of well being, individuals with other individuals, the city with its buildings and a particular building with the people who see it” (Jaquand, 55). The place as a one which elevated the Citroen car highlights Paris’ long history with the brand as well as technological advancement; expressed though an architecture of the contemporary era.

Paradigm 5: Grafted Space

Paradigm 3: Hidden Modernization

The use of transparent and reflective qualities used as part of the Citroen Showroom is not exclusive the twenty first century. Its most notable presence is in I.M. Pie’s addition to the Louvre in 1989. Conducted under President Mitterand in conjunction with Emile Biansini, former member of the cabinet of French Minister of Culture Andre Malraux the Louvre addition marked an important turning point in Parisian architecture.

Both Thermes de Cluny and the Orangerie were stand alone structures in their original eras. This inherent individuality allowed for a degree of flexibility not as easily given to interventions within the highly defined Haussmann streets and boulevards. Two distinct approaches, drastically different, have been performed to resolve this problem.

Here I.M. Pei’s enrichment of Parisian culture was based on a foundation of necessity. The addition, primarily underground, added a necessary 92,000 square meters of pre-function floor space. It connects the Richelieu, Denon, and Sully wings. Additionally, the addition created a new central entry point for the Louvre delicately marked by a glass and metal pyramid above ground. I.M. Pei states that, “without the Louvre, the Pyramid would be nothing special. It is the context and the history of the Louvre, the history of France, that invests the Pyramid with its presence and significance. . . The pyramid had a responsibility to say: ‘this is the Louvre.’

And yet, it could not be too large as it could not be too dominant a form, which is why I used glass not stone” (Jodidio,9). Pei recognized that the visible portion of the addition had to be present without competing with the palace itself and had to simultaneously reflect the partisan sky (Jodidio, 53).

The first approach preserves the street façade by keeping the façade intact and isolating contemporary forms behind the façade or contained within the interiors of the structures. This approach can be seen in Pierre Chareau’s Maison du Verre. The early twentieth century modern villa is situated beyond a typical Neo-Classical street façade and courtyard. Here Chareau, “set out to create a space like a musical composition, which would accommodate the practice of a pioneering young doctor, the art of family life, and the entertaining of friends.

To him, it was anything but a ‘machine for living’ in. The Maison de Verre was unique, and its programme was strict” (Valley, 52). Although the public street image was preserved through the enactment of the courtyard walls, the setback of the home allowed for explorations of new exterior building expressions. The homes façade is most notably composed of a series of glass blocks arranged on a regular grid pattern. Typically used as industrial floor tiles at the time, Chareau reinterpreted the unconventional material as a way to control light within as well as to define the courtyard space on the exterior.

The addition accepts its place as something new, yet does not contradict the historic form of the Louvre. The growth of the Louvre as a palace has seen architectural advancements in space and thought from Francis I Renaissance transformation to the Neo-Classical additions of Napoleon I and Napoleon III. In turn, Pei’s addition follows a linage of French architectural tradition which advances the built environment and eliminates temporal contradictions though the grafting of spatial conditions.

This negotiation between exterior and interior separation can also been seen today. In Manuelle Gautrand’s Gaite Lyrique a similar approach of historical street preservation with contemporary interior renovation has been applied. In this situation the exterior preservation and refurbishment was heavily state influenced. The interior of the building is a center for digital and contemporary music with modular exhibition spaces and concert rooms which enable the artist and the public to mix (Ardenne, 135). The completely new interior only reveals itself to the public street through pockets of magenta light slipping through the openings of the Neo-Classical façade. Although the expression of the interior is not directly expressed on the façade the hints of magenta call to attention the contemporary program within. At the same time the strong contrast to the refurbished Neo-Classical façade highlights the continuing value and relevance of historical form as well as the abundant passion for the new.

Paradigm 6: Mediation Many of the projects discussed thus far involve constructing directly on or within components of the historical fabric. Yet energized city cores continually radiate concentrically enveloping transitional fringe areas and call for new built environments to respond. In cases such as Jean Nouvel’s Monde Arab, architecture mediates between the historical edge of the context and the edge of revitalization. The project is programmatically global as a place to foster knowledge of Arab world culture through the exchange of information of the arts, sciences, and modern technologies (Sharp, 394). However, this is clearly not an Arab building, but a Western one with Arabic references.

Paradigm 4: Expressive Edges

The long side of the structure sits on the east west axis. This allows for the north side of the building to reflect the historical city center of Ile Saint-Louis and Ile de la Cite (Cassamonti, 37). The north façade literally reflects the historic city upon the glass and simultaneously echoes the northern silhouette through the etched image on the glass. The back façade addresses southern light and eastern culture. Nouvel utilizes layered squares and polygons of greater or lesser size for the south façade. The moucharabieh play on geometry recalls the Alhambra” (Cassamonti, 36). The duality of western and eastern implications on the built form serve as a physical transition point within the constructed field of Paris. Through the articulation of the facades, the building mediates between a multiplicity of eras and cultures to develop a form which heralds a contemporary development beyond its southern border.

In contrast to Gautrand’s Gaite Lyrique, her earlier Citroen showroom approaches the intervening of tightly controlled streetscapes is very different way. Here the interior and exterior expression have a closer symbiotic relationship, yet still address the historical context in which they are situated. Here the structure announces itself upon the public streetscape through its transparency, vivid color, and geometric variations. Ardenne describes the buildings enclosure as, “A wide glass dress, sculpted like origami, unfolding from one side to the other, providing an infinite display of prisms, lozenges, and diamond heads, as in Citroen’s chevron emblem.

In the center sits a giant shelf on which eight Citroen cars can be stacked” (89). The building is a strong architectural sign for the company whose stage like design presents the automobile as a precious object.

At first glance the intervention seems to be at odds with its surrounding context, especially when illuminated at night juxtaposed to its opaque neighbors. However, the new structure along the Champs de Elysee consciously responds to the scalar and material relationships of the of its neighboring Haussmann structures, but more importantly preserves the vigor and energy of the royal axis. “Gautrand believes shops and leisure facilities must be festive places that are attractive as well as the public space around it. This creates and reconciles the

Paradigm 7: Vitalized Nodes The Monde Arab serves as a mediator and gateway between historic built conditions and new spaces. In this particular format new architecture emerges as the historic city center radiates away from the core. However, certain cases call for contemporary architecture to generate an energy of its own in order to spur a revitalization 118

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whose edges eventually merge and integrates with the edges of the historic fabric. Such was the case for the Bibliotheque Nationale de France by Dominque Perrault and the 13th arrondissement.

Perrault describes the site as, “a stretch of industrial wasteland on the banks of the Seine in the east end of Paris. It represents the starting point for a complete restructuring of this entire sector . . .” (14). He stove to create a place which is “open, free, and stirring.” The idealization of these qualities resulted in a neutral building indifferent from the elevating of the architect but rather acutely focused on the creation of human experiences between the built condition and the occupant. Jacques Lucan states that Perrault’s, “preoccupation with neutrality has sometimes led him to assert ‘classical’ restraint which means that he favors the intrinsic order of a building and gives little room to the individual architect’s personality and savoir faire” (Fort, 6). The placement of this monumental architecture at the heart of a Parisian development follows suit with French tradition form the Louvre, the Pantheon, and the Grand Arch. The inversion of the traditional peripheral garden to an interior garden directly reinterprets Parisian green space and built form relationships such as that between Luxembourg Gardens and the Palais as well as the Tuilleries Gardens and the Louvre.

Perrault states that, “it is the towers that have helped to situate and identify this treasure as cultural. The public space will offer a direct and natural physical contact between the sacred institution and the person in the street.

The inclusion of an “inlaid”, sunken garden round off the symbolic sitting of the project, offering a quiet spot way from the fuss and bother of the city” (19).

CONCLUSION: Relationships between Paradigms The selected paradigms discussed are only a glimpse of the many interventions within the Parisian fabric today.

However, each condition presents a very different commentary on context and how to react to it. The Musee du Moyen Age and the Orangerie reflect the fluxuating significance of Roman and medieval fragments of Paris. In contrast, projects such as Maison du Verre, the Citroen Showroom, and Louvre comment directly on Renaissance and post-Haussmann Paris. Architecture is continually testing the relationship between the past and the present through hidden interventions, expressive facades amongst controlled boulevards, to the seamless integrations within historic structures. Even holistic new buildings, such as the Bibliotheque Nationale, which develop amongst the periphery, comment on the existing context through the mediation of temporal forms and at times generate new vitalized nodes which merge with the existing image of the contextual place.

Although each condition takes a varied stance on contemporary interventions, each paradigm begins with the evaluation, recognition, and affirmation of what context is. In turn, each scenario consciously and subconsciously redefines the image and form of context through their respective interventions. This paper does not strive to address all the possible paradigms for building within a historic fabric, but rather isolates a wide range of modes of working to serve as beginning case studies. The relationship between each of these paradigms of action provide an early framework for the construction of a contemporary architecture which neither mimics past forms nor contradicts them. Jodidio praised I.M. Pei’s addition to the Louvre stating, “The fact that there is no real contradiction between the past and the present here proves that contemporary architecture is capable of building on heritage and going beyond the accomplishments of earlier times” (40).

Through this analysis of such contemporary architecture one can begin the establishment of their own set of paradigms for action which evaluated, recognize, and affirm the context we build within.

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understanding

Archtiectural Translations

This final set of work addresses two spectrums of architectural making. One focuses of the theoretical translations from conceptual idea to physical representation while the other addresses the translation from drawing to building. Robin Evans states that architects, “do not make buildings, they make drawings of buildings.�

More specifically they use drawings, models, and things, to transmit ideas of buildings, of space. Thus a translation exists on two ends of the architect’s role, one from idea to thing and another from thing to building. In the end we are left with a spatial construct, but the true architectural narrative includes both the elements of process and the realization of a spatial idea.

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Enveloped Intersection

SPECIAL COLLECTIONS PAVILION Gainesville, FL Materials and Methods II, Summer 20010 in collaboration with Vibha Agarwala, David Bly, Elizabeth Hibbard, and Michael Woodcock Critic: Prof. Nancy Clark

The 6000 square foot Special Collections Pavilion is an addition to the existing Gainesville Public Library.

The two entities are bridged by a small public garden which creates intimate external gathering and reading spaces. The pavilion consists of an opaque volume intersected by a transparent reading room and enveloped by folding green wall/ green roof. The development of this collaborative project involved basic code research, LEED certification research, and the production of construction documents.

The following is a sampling of the construction documents produced with Revit and AutoCAD which included both architectural and basic structural drawings.

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1/ A3.01 East Elevation

1/ A3.02 North Elevation

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3/ A6.01 Green Wall/ Green Roof Joint

1/ A5.01 North Wall Section

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Detour through Mimetic Action

ESSAY AND VESSEL Phenomenology, Spring 2011 Critic: Prof. Hui Zou

When it is empty one immediately asks what the vessel is for, what is “should” be filled with. In this particular case the vessel is designed to be filled with tools for mimicry. Sometimes paper and lead, sometimes paper and paint, sometimes only paper, and at times nothing at all. The function of the vessel bears similarities to naturally occurring vessels subconsciously recognizable to the individual.

Intro

The act of opening the container immediately motions the mind to ponder the possible uses for the contents. This contemplation requires simultaneous connections between the enclosed contents and the known environment. By triggering the consciousness to find purpose for the contents of the box, the mimetic nature of human kind is activated. In evaluating the existing environment one becomes aware of the rhythm, language, and harmony of the subject (the environment) (Halliwell and Aristotle 1986, 1).

These observations are then mentally absorbed and interpreted. Through this recognition of patterns and irregularities the act of mimesis begins.

Architecture must transcend built form to the realm of the human intellect and foster an idea of place. The definition of place goes beyond a holistic overview dictated by a set of Cartesian points, for our understanding of the world is one of individual perception where the individual is central to shifting sensory experiences.

Through this we come to know and understand ground, side, and overhead conditions. Ultimately, these experiences are where architecture begins, through our corporeal knowledge of the elements which define space. It is then through this relationship with space that ideas of place emerge. In essence, place making (and in turn architecture) begins with seeing. Yet it is not enough to simply look, one must learn to see the spatial relationships which manifest into structures of place. The process of learning to see is tied to the human mimetic framework. Jean Pierre Durix states mimesis is, “inherent in man from his earliest days; he differs from other animals in that he is the most imitative of all creatures, and he learns his earliest lessons by imitation. Also inborn in all of us is the instinct to enjoy works of imitation” (1998, 45)

Perception The evaluations and observations which occur before mimetic making influence the form of output. These observations are not universal, but rather perceptual. An understanding of structure of perception which leads to mimetic behavior is necessary as it is catalyst for the construct which leads to contemplation and philosophy (Merleau-Ponty 1964, 6). Merleau-Ponty states that, “We . . .find that spatial forms or distances are not so much relations between different points in objective space as they are relations between these points and a central perspective – our body. In short these relations are different ways for external stimuli to test, to solicit, and to vary our grasp on the world, our horizontal and vertical anchorage in a place and in a here-andnow” (Merleau-Ponty 1964, 5).

The constructed vessel, though corporeal interactions between the body, the object, and the environment, heighten the relationship between seeing and mimetic construction. The vessel provides a detour to architecture by revealing our curious and mimetic nature, acutely focusing our perception of the environment, and creates a point of reflection through mimetic construction.

Mimetic Nature

In turn, the understanding of the environment becomes highly individual. The conscious mind and the subconscious mind, triggered by need to put the contents of the vessel to use, removes the individual from a state of looking at their perceived world, to a state of acute perception. In this mode of heightened perception one moves from frame to frame in search of possible applications for the contents for the vessel.

It is important to note that this a shift in perception not an entering and exiting through perceptual thought, as experiences with the world are always in perception central to an individual being. “Though there are ‘many ways for consciousness to be conscious’ . . . we never completely escape from the realm of perceptual reality,

Walter Benjamin stated in the essay “On the Mimetic Faulty”, “Nature creates similarities. One need only think of mimicry. The highest capacity for producing similarities, however, is man’s. His gift of seeing resemblances is nothing other than a rudiment of the powerful compulsion in former times to become and behave like something else. Perhaps there is none of his higher functions in which his mimetic faculty does not play a decisive role” (1933, 5). The closed vessel, indirectly related to natural forms, directly mimics the functionality of vessels in nature, such as fruit. It is in our nature to understand the idea of vessel as one which contains. When the vessel is sealed curiosity urges one to find a way to open it, expecting to find it full.

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and even the seemingly independent structures of categorical thought (of “rationality”) are ultimately founded in perception. We are always in the world and perceptually present to it” (Merleau-Ponty 1964, xvii).

a single piece of paper sets the stage for a more focused and rigorous making. In contrast, the sketchbook is a process of ease and accessibility. The paper is seemingly endless and in turn expendable. Thus the relationship between the viewer the paper and the subject becomes a saccade rather than one of reflection and contemplation. Of course one can consciously slow down the process and thus the relationship with a sketchbook; however, the paper vessel eliminates the possibility for a rapid and potentially rushed journey.

Individual interactions with the vessel allows one to recognize personal relationships with the vessel itself, the paper, and ultimately the environment which the human mimetic framework leads one to. The shifting experiences between these points, continually focus and refocus the perception of the individual between the paper and subject (the environment). This oscillation between the world at varying scales and levels of tangibility heighten ones awareness of natural shifting perceptions. Ultimately, it is within this shifting that possibilities for mimetic action manifest. Here the body’s presence to the world makes it that there are things, the body, paper, and the environment (Merleau-Ponty 1964, 163). The perceived world is a projection of the perceiving subject as correlative to it and through the process of mimetic action one simultaneously exists in the world and creates the world.

Francois Jullien states that in Confucian thought the real is not in terms of being (as opposed to becoming) but rather a process (whose nature is to be regulated) (2000, 255). By approaching the world obliquely through a set of changing interactions with the paper vessel and the environment the process itself triggers a course of reflection. This course of reflection manifest into a variety of mimetic actions with paper such as drawing, painting, or origami. Ultimately these actions serve as a mode of learning which Aristotle recognized. He believed that through literature we learn the possibilities of what could have happened and what could be.

“. . . a detour to architecture revealing our curious and mimetic nature, acutely focusing our perception of the environment, and creating a point of reflection through mimetic construction.”

Detour and Reflection

The same could be said about drawing or the arts which to some degree is always mimetic and is always a commentary on possibilities. Mimesis recognizes that imitation and representation is always a framing of reality – that it in itself is not real – and that the more real the imitation becomes the more fraudulent it becomes.

The vessel and its contents offer a slight detour from the traditional use of a sketch book and pencil. This detour is what allows one to subconsciously, yet acutely recognize mimetic nature and perception. Although Plato speaks of this detour negatively, claiming that we must choose between the convenience of definition or be doomed to an interminable circuit or detour, Confucius sets one out on this unending detour (Jullien 2000, 7). The vessel comments of this juxtaposition of western and eastern philosophy. On one hand, the end product of the traditional sketch book and the paper vessel both result in a Plutonian abstract bringing one closer to the essence of an observed thing. Yet the detour of the paper vessel allows for a series of conscious decisions to be addressed prior the act of making. The simple process of opening the box becomes an event which immediately slows the process allowing for a lengthier time of contemplation. The act of selecting between various types of paper oscillates the conscious mind between possible modes of making related to the subject matter observed. Finally, the closing of the box and the relationship between the individual and

Conclusion The constructed vessel provides a detour highlighting corporeal interactions between the body, the object, and the environment through a mimetic process aimed at heightening one’s ability to see the world. Through the act of seeing and mimicry, one experiences the world through shifting perceptions overlaid and in perpetual motion, ultimately providing a platform for new design always in reciprocity with the oneself and the world.

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