Tesselation David Cyr | University of Oklahoma Second Year Portfolio
Architecture has recorded the great ideas of the human race. Not only every religious symbol, but every human thought has its page in that vast book. Victor Hugo
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Table of Contents Square The Array . . . . . . . . . . . . . . The Chaos . . . . . . . . . . . . . .
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The Box . . . . . . . . . . . . . . .
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The View . . . . . . . . . . . . . . .
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The Artist . . . . . . . . . . . . . .
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Hexagon The Playful . . . . . . . . . . . . . The Waters . . . . . . . . . . . . . Circle The Sculptural . . . . . . . . . . . The Earth . . . . . . . . . . . . . . Triangle The Wood . . . . . . . . . . . . . . Writing . . . . . . . . . . . . . . .
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The Array Originally this project was designed to examine and experiment with the placement of objects in a grid pattern in order to touch all sides of a bounding box defined as a space being 12” x 12” x 1.5”. In order to accomplish this sort of form arrays were used to take a singular object and replicate it in a linear path multiple times. Once this was achieved a successive number of times and in a completed fashion during a majority of these trials, a new parameter was added wherein the spacing could not be the same, but instead had to be exponential. With this new parameter in mind and the definition of the grid and the arrays being the same as before, a set of objects was necessary to be constructed. Rather than alter the height of the pieces to achieve the goal of touching all faces, the first piece was created to be the absolute height of the bounding box. This allowed for one rule to essentially be eliminated and therefore allowed for more freedom in expression. However, in doing this there was a desire to maintain complexity and therefore the first piece, while it is as tall as the bounding box, is only .5” x .5”. This same dimension was used for another piece, but this piece was made to be half as tall in order to allow the taller piece to protrude more from the base. To connect these pieces both a 2” x 2” x .25” piece and a 3” x 3” x .125” piece were used to establish a base and break up the view towards the bottom of the bounding box. This in turn led to interesting shadows, relationships among the pieces, and fundamentally an interesting experimentation in exponential arrays.
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The Chaos The basis of this project was fairly simple wherein the goal was to design a set of three spaces by using linear architectural elements and manipulation of the given path. Originally the form of the experimental structures was more geometric and focused on the idea of larger spaces which would be segmented to form smaller, more intimate spaces. From this there arose the question of what is space, which led to a series of experiments venturing into the realm of post-modernism and abstraction. While the first two ideas were highly geometric and ordered in their form, the third was more chaotic delved into the idea of ambiguous space. This sort of form was constructed based on the forms of the ordered ideas, but sought to deconstruct them and see that no form directly matched another. Instead, the intent was that the forms would echo one another and develop a sense of space similar to that of the more ordered forms.
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Once this basic concept was formulated, the language shifted from an idea in section to an idea in plan. This served a purpose of designating space and movement, but failed to break up any tedium in section. The form itself was also very rudimentary and was rather too ordered when perceived, but lacked any real form. For this purpose the use of an underlying grid was used to designate where columns would be placed. From there new pieces would span between columns in a diagonally symmetrical pattern. In this way the form was disguised as assymetrical, but still held an order to it that was also hidden by the chaos above. This form, while more refined, still lacked a certain sectional quality that the initial model maintained. For this reason pieces were to emulate the diagonal spans from the ground to the columns or beams themselves. These new pieces also pierced the sky and extended beyond the beams which spanned between the columns. In doing this the idea of the “ceiling� became blurred and the spaces became more segmented through the diagonal braces.
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With the language of the form now fairly defined, there arose a need to alter the path through the influence of the grid. Along this principle the path became a series of squares defined by square tiles which slowly evaporated towards the middle of the site, but condensed towards the ends. This alteration of the path highlighted a significant issue within the site and the current structure: the orientation of the strucutre itself. To solve this while maintaining the form and matching the new path, the structure was mirrored to fit within the other diagonal of the space. By doing this the three spaces became more pronounced in a rather significant way. Two spaces were located at the entrances of the space, while the central structure itself, though it was made up of several more ambiguous spaces, became a space all its own. Now a new desire to add depth to the path came about. However, there was still a need to maintain the height of the structure so as to create the ambiguous spaces. To do this the tiles were extruded higher than the base level of the site and created certain forms themselves. Ultimately this served the purpose of eliminating the tedium of a flat path, further perpetuated the ambiguity of the spaces, and altered the comfort level of the path itself so as to force people off of the path.
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With the former portion finalized a new criteria was introduced which truly altered the design which had been achieved before. for this new aspect of the project planar architectural elements were to be introduced to help define the three spaces. The significant difficulty of this came in the fact that the development of the initial of the project was based upon creating ambiguous space without any truly defined walls. To carry this language over the linear elements were initally placed more chaotically and were placed as though the diagonal braces were the columns. From that aspect the planar elements were anchored between these points and acted as swoops to influence not only the flow of the movement, but also the ceiling of the space. However, as this form was created the language of the ambiguous spaces was lost as well as the underlying grid. To combat this the grid was reintroduced and the planar elements were made up of a mesh. This created a defined plane with a sense of transparency that allowed for those planar elements to evaporate against the chaos of the more opaque linear elements. However, this also meant that these planar elements would lose the emphasis that they had once created, but this was fixed through the addition of ribbons which stretched between the planar elemtns themselves. In a sense, these ribbons also added to the deconstructing principle which was apparent on the path.
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The Box For this project a piece of art and a piece of architecture were selected to be hybridized and formed into a window box. The art piece was to be recreated so as to better understand the process and the principles behind the creation of the work. For this aspect Franz Kline’s work Untitled (1954) was used as inspiration for the recreation. Certain liberties were taken such as the use of colored pencil rather than oil paint which was the medium of the original work. However, the work was recreated with detail in mind and an attempt to respect the work which Kline accomplished. Through the recreation of the work certain principles were discovered which would aid in the creation of the window box. One principle was the underlying grid used to designate the location of the strokes of the brush. The second principle was the articulation used in each stroke which would aid to define the thickness and importance of each segment in the work.
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With these aspects of Kline’s work understood a new emphasis was found through similar articulation in Steven Holl’s Y House. This articulation was used as a layer of the development of the window box wherein the underlying grid behind Kline’s work served as one layer and the articulation of Holl’s work served as another layer. From this the articulation of Kline’s work was used to span between three layers of more gridlike segments. Between all of these layers simple planar elements were added to develop a certain amount of thickness and relate more to Kline’s work.
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The View For this project an acoustic grid was given to be altered and to formulate an observation space through the alteration of the grid itself. Rather than maintain a square form or simply use the spaces in the grid as the spaces themselves, the grid was simply used to define the floor and the celing to create the space. To make a more unique space the floor was set at an angle which allowed for an opening as one moved through the space. This altered the idea of what one was viewing and instead put an emphasis on observing the space which a person had just come from.
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After the initial form was discovered, the projects were switched between studio peers. The project which was now inherited allowed for an opening through the middle of the grid by spliting the grid in half. To match this form, which was created by setting these two segments apart at five degree intervals, the two portions split apart at a five degree interval horizonatally, but also came together at a five degree interval vertically. Another aspect of this form was that it was shifted at an angle similar to that of the form from before. In order to establish a better location for viewing to occur, the form was lifted up on very delicate columns which were braced by diagonal members from the center of each segment to the column on the outside of each segment. With this aspect in mind a long stair was erected which would lead people from the destination and draw them up the structure. once inside the space the slope would be felt, but would not be so extreme that it would become uncomfortable. However, the slope would draw the attention and the flow of people towards the bottom of the space and lead individuals to the key point from which observation would occur. Along the whole space individuals could observe the landscape, but the true view aspect would be that towards the area whence the individual had come.
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The Artist For this project a building was to be designed which had space for a cafe with both interior and exterior space, a gallery for art, four artist’s studios, four bedrooms for the artists, a kitchen, and two bathrooms. To accomplish this and experiment with certain styles as well as cantilevers, a modernist approach was taken with an emphasis on long, linear windows. Originally the form was based on having the form lifted on columns to create a large patio space for the cafe which would be at the back of the site. However, this idea was altered due to space requirements and a desire to better formulate the circulation of the spaces themselves. For this reason the largest portion of the structure is positioned on one side of the site, while a smaller patio is in front of the structure. This patio was defined by a series of columns which matched the grid established to match the modernist principles. Between the columns and beams were a set of mesh-like planes to allow transparency, but to also separate space. In this way there is a more fluid and elongated threshold as one enters the building from the outside space.
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Moving forward, the cafe was positioned on the base floor as well as two bathrooms and a lobby space. This allowed for the public to make better use of the cafe without necessarily needing to parade themselves through a gallery of art which they may not be interested in. As one continues up through the space and reaches the second floor they find a space dedicated only to the gallery. This gallery is completely open, but does not necessarily allow in direct natural light in order to not harm any art which could be harmed by the natural light. On this floor is also a single bathroom which can be accessed through the halls on the outside of the gallery space. These halls almost function as an arcade to help enforce movement and free up circulation throughout the gallery. The third floor of the space is completely dedicated to the artists and is therefore rather private. However, on the exterior all three floors maintain a similar language with horizontal windows to help the space feel longer and wider. This is broken up by the front stairway for the purpose of juxtaposing this idea and bringing balance to any sort of tedium created.
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The Playful The CASA organization holds an event anually wherein entrants may construct a playhouse which will be auctioned off to help fund the organization. For this project there was an initial desire to experiment with color and elicit a playful reaction from children using the space. A light scoop was also added which would further play with light and aid the imagination of the children. Moving forward the project was pushed to be designed in a certain way so that a group within studio would all have similar designs and then construct the best. From this the same colorful expression in the original idea was used as well as a sort of oculus to serve as a light scoop which would once again aid with imagination. Three bays were created which would be pulled from the main hexagonal hub and thereby increase the space inside. Once a design was selected the group began to work on the new design which would be constructed in the end. Initially the design was a hexagon which was simply extruded and placed with a large piece on the end. As the group discussed it became apparent that a more thoughful form could be used that rotated the hexagon continuously through the playhouse. This created a playful form which played with aspects of natural light and allowed for movement inside the form. Once this form was achieved a backing was placed onto the form which held many circles. The reason for the circles was hidden within the aspects of the rotated hexagon. This thoughtful and playful form eventually found a home and was well liked by the general public.
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The Waters Like water droplets forming a small body of water, the people of Latvia, Lithuania, and Estonia all came together hand in hand to stand together against the Soviet oppression. The unity of this moment brings these three nations of historically similar ancestors together not only in the event itself, but through the memory and legacy of the event and the lives of those people involved in the Baltic Way. In this way the entire culmination of the history of the region, being as important to the event itself as the event was to the society at the time, is articulated as the five complete spaces of the exhibition. Ultimately the procession through the entire memorial represents the path of the people of the region through many generations. Through this linking procession the spaces are characterized equally as separate parts of the whole, but inevitably make an experience that can only be felt through the interaction of the spaces in their entirety. This characterization truly defines the region in a way which allows the peoples of these nations to be separate, but still unified through a common goal and experience. Though each person may have been seen as insignificant, like a drop of water in the ocean, together the people are greater than themselves and their individual potential. For what is the ocean, but a multitude of drops?
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The Sculptural This project was set in the space directly next to the University of Oklahoma’s Community Design Center in Oklahoma City. The basis for the project was an infill space which would house a small outdoor theater, two bathrooms, a creative space, a ticket office, and a vending area. In designing the space there was an intent to have the interior of the space feel different from the exterior of the space. To accomplish this there was a desire to have the exterior form feel very smooth and curvilinear, while the interior of the space would feel jagged and rough. Ultimately this form maintained a significant level of symmetry and was truly designed off of Renaissance principles. The space is designed more as sculpture in order to set itself apart, but maintain consistency as it is an infill project.
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The Earth
In order to understand nature and all that it inhabits and encompasses, one must first understand the relationship between chaos and order as well as the extrapolation of the two as singular elements which stand alone. Through this, it can be found that where there is no mathematic order, there is in fact an organic order which transcends the fabric of mathematics and functions purely on the essence of utility. To some, this idea may seem to be as distasteful as a dissonant noise within a beautiful aria or an eloquent piano concerto. However, it is this dissonance which fundamentally separates the realm of natural and artificial creation and establishes a boundary and a fine line which is itself very tasteful and enjoyable to inhabit and perceive. This balance has a defning role in the creation of the form for the Community Center in Eureka Springs, Arkansas. The form is designed around a three tiered abstraction of a tree wherein the base is within the ground, the second layer is the bark, and the top layer is the canopy of the tree. Ultimately this is achieved through the use of rammed earth which is articulated by wooden acoustical elements and a coffered dome which emulates the idea behind organic forms. Rising through the space, the second layer is articulated by dark, exposed wood on the exterior faces, and light, rich wood on the interior faces. This serves to highlight the essence of the trunk of the tree. On top of the structure there is a large plaza like space which is held in by a series of vegetated walls. This space experiments with organic forms set on a grid, acoustic elements, and a playful experimentation of light and materials.
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The Wood
The basis of this project was to demonstrate the ideas learned about wood light framed construction. Overall the purpose of the design was to function as a single artist’s studio space, but to cantilever and make use of a butterfly roof. Moreover, the design makes use of the cantilever to juxtapose one side of a flat wall versus the opposing side stepping out over the space.
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Writing Within this section is a set of my own personal writing about architecture. -- The light sank away into the solace of the night and revealed the intimacy of the darkness. Those shadows which once tainted this lit space had now expanded from their homes and taken the space within themselves. All that could be felt within the space was that noise which emanated from the wind outside and littered into this space. No longer did this space feel harsh with its flat walls, but rather it felt smooth with the circular swirls of the wind. -- Stone blocks rose from the ground and shot into the sky at a great distance, many men high. An overwhelming sense of weight was embraced by the bright light brought in through straight glass panes. Never was there such a profound contrast paired with a delineated system of order. For once light sank into a space as darkness rose high above the eyes of mortal men. This was the immortal Gothic Cathedral. -- Older than legends and myths, the stones laid flat on the immortal Unbroken Road. No road branched from this as it stretched far beyond the extents of even the greatest kingdoms. There was more mystery surrounding this road than around the oldest lores spread by the people. Devoid of life this road was nothing more than the stones it was created with, stones which served as a barrier against the armies of nature and of man. Air was thin around the stones as a foggy haze hung close to the stones as though it was a growth from the stones themselves. Only the bravest men would dare to traverse the Unbroken Road. --
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A real building is one on which the eye can light and stay lit. Ezra
Pound
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CONTACT David Cyr dcyr@ou.edu