Volume: One Integrated Design Solutions DOVID FELD
Logics
Cultural Studies
Design Studio
p4 C_S Personal Statement /01
p 11 D_S Food is Fluid Urban Farm /01
p5 C_S The Second Temple /02
p 27 D_S Primary Stacks Library for the Graphic Novel /02
Applied Studies
Visual Studies
p 43 A_S Concrete /01
p 59 V_S Multihero /01
p 55 A_S Structures/Tempering the Environment /02
p 69 V_S Cookied Whale /02
M+M p 81 Summer 2010 /01
Cultural StudiesPersonal Statement
Fall 2011 C_S Architecture and Culture
C_S Personal Statement
Something so broad and over arching as Architecture will seek to be defined not by one basic word or concept, but by many. Architecture can not be limited to the realm of “Art”. It serves far to practical a purpose to be called simply “Art”. One can also be sure it is not a wholly service based discipline which addresses a set of very specific needs, the same way one understands the need for doctors who heal the sick. Although in its most elemental form it does look to serve one of the human race’s basic needs; shelter, it would be extremely naive to define Architecture as a profession which provides shelter, and nothing more. Indeed there are many structures designed by architects which are clearly not meant to provide shelter. A monument or sculpture with profound spacial qualities... is this not architecture? What is Architecture? Many an architectural layman ask; “so what exactly does an architect do?” This layman searches for no more than one line with which his curiosity can be satisfied, instead the architect will lecture for hours about the virtues of functionalism over classicism or vise versa. In short, Architecture is not a simple one liner. Architecture does, however have definition. Many may argue this definition can change, and has changed drastically, and will continue to change in the coming years. This is up for debate. There are certain qualities though which seem to have braved the test of time and stayed the same over the many years we have been in existence. Today’s architects share the same inventive nature as those of yesteryear. There is a certain free spirited ability to think objectively about the space being considered and come up with a new and inventive solution that was never implemented this way before. This ability to “strategies” seems to be an area in which many great architects excelled. Take Le Corbusier’s Dom-ino house; it successfully allowed for the ability to liberate the plan and facade from all weight bearing requirements. This is definitely considered very inventive from an engineering standpoint, eliminating the need for much a building’s structural support, while at the same time it is a new and creative use of space. This inventive ability to strategize and think of new solutions not considered until now, is what one can undoubtably consider Architecture.
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Cultural Studies Second Temple
Fall 2010 C_S Architecture and Culture
C_S The Second Temple
This report attempts to tackle a building, which represents the very heart of the Jewish religion, and thousands of years of tradition. With this in mind it is necessary to preface by saying that we will not cover the entirety of the history, design, and meaning associated with this epic building. This report will attempt to convey a general sense of the history, meaning, structure, program and form. In addition, the sources are mostly taken from ancient Biblical and Rabbinic texts which were written closer to the period that this building was in existence, and are able to convey the true character of this monumental work. The most important feature of this site is called the “Foundation Stone” this is the place from which the world was created. It serves as a bridge between heaven and earth. As Marcia Eliade writes in The Sacred and the Profane: (p.41) “The rock of the temple in Jerusalem reached deep down into the tehom, the Hebrew equivalent of Apsu, the rock of the temple in Jerusalem contained the “mouth of the tehom.” The Gate of Apsu and the tehom symbolize the chaos of waters, the preformal modality of cosmic matter… The Gate of Apsu and the rock containing This is a very important point, fundamental to understanding the nature of the space which this temple creates. In order to fully express the connection between heaven and earth, the sacred and the profane, one must be able to create a space which is clearly profane/ mundane, yet truly sacred at the same time. This is the focal point of the Temple in Jerusalem. The Talmud in Tractate Yoma describes this phenomenon as a sort of spatial anomaly. It states “The place of the Ark of the Covenant was not measurable,” the commentaries explain if one were to measure the distance from one side of the Ark to the wall of the sanctuary, and then the other side of the Ark to the wall of the sanctuary he would find these two distances when added together, the very same as the distance from wall to wall without the ark in the room. It would appear the ark did not take up any space. One would then naturally measure the
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ark to make sure it was truly there, and find indeed it did have a measurement, and was there physically … or was it? The Arc of the Covenant helped illustrate the combination of the sacred and profane. Measurement is mundane, it is a physical reality we must deal with constantly in our daily lives, yet in this case it exists not as a mundane reality but as a seamless transition into the “sacred” or supernatural. This thought will serve as the key to understanding the hierarchy of this space. Another reality used to convey the sense of holiness was the use of light and the lack thereof. As mentioned previously, the journey one took to get to the temple was generally uncovered, and with the exception of the stair passageway most of the temple was uncovered as well. The “Holy” and the “Holy of Holies” however were enclosed. These were the most sacred and private meeting places in the temple, and indeed , as mentioned previously in the “Jewish” world. This portion was covered. Very little, if any, light was able to penetrate the two animal hide coverings on this area. This plan seems to be repeated using a more permanent structure in the first and second temples. The “Holy” housed the “menorah”, the seven branch candelabra which stayed continuously lit, and was able to provide light for this area which was used daily in the service of the temple. There were also windows in the “Holy” of the first Temple which it seems were carried over to the second Temple. The windows were as described in the Book of Kings “ broad and narrow”, meanings the opening was larger on the outside and became smaller as it came towards the inside it therefore seems their primary function was not to bring the light from an outside source to the inner space, but on the contrary, to bring the light of the Menorah outside. It is however unclear if the “Holy of Holies” had these windows. In addition this room did not have its own source of candle light and was a roofed structure. It would therefore follow that the “Holy of Holies” was physically dark for most of the year. The increasing darkness and enclosure seems to be one of the ways that we are made to understand this area as an extremely private and sacred space.
C_S The Second Temple
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Bibliography Chaim Clorfene, The Messianic Temple: Understanding Ezekiel’s Prophecy (C. Clorfene 2005) Daniel J Shroetor, Israel: An Illustrated History, (Oxfrod 1999) Dimin Frankfurter, Yalkut Shimoni , Kings 1 (New York: Pardes, n.d.) Howard Schwartz, Tree of Souls: The Mythology of Judaism (Oxford University Press 2004) Josephus, The War of the Jews (Penguin Books 1959) Karen Armstrong, Jerusalem: One City, Three Faiths, (Ballintine Books 1997) Leon Battista Alberti, On the Art of Building in Ten Books, trans. Joseph Reykwert et al. (Joseph Reykwert 1988) Midrash Shmuel (Haktav Institute 1994) Mishna, Tractate Parah (Horev 1993) P.R.S Moory, Biblical Lands (Elsevier/Phaidon 1975) Rabbi P. Kehati, Mishnayot Mevo’arot, Midoth(repr., Jerusalem: Hekhal Shelomo, l977) Rabbi Shlomo Yosef Zevin, Talmudic Encyclopedia III, (Talmudic Encyclopedia Ltd. 1953) Rabbi Yosef Eisen, Miraculous Journey: A Complete History of the Jewish People From Creation to the Present (Targum Press 2004) Rambam, Mishna Torah, Hilchos Bais Habchira, (Moznaim Publishing 1992) Rosh, Tractate Midoth (Oz Vehadr 2010) Talmud Tractate Tanis, Bava Bathra, Midoth, Yoma, (Oz Vehadar 2006) Tanach, Genesis, Exodus, Leviticus, Deuteronomy, Proverbs, Ecclesiastes, Kings, Samuel II, Ezekiel , Chronicles II, The Stone Edition Tanach (Artscroll 2010) Tony Spawforth, The Complete Greek Temple, (Thames and Hudson 2006) Tosfos HaRosh, Tractate Yoma (Oz Vehadar 2006) Vitruvius Pollio, The Ten Books of Architecture Chapter, trans Albert Andrew Howard (Harvard Press 1914)
C_S The Second Temple
A Hebrew site map of the Temple Talmud, Midoth, (Oz Vehadar 2006)
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Design StudioFood Is Fluid Fall 2010 Studio- Fundamentals in Architecture
D_S Food Is Fluid
As humanity finds itself in an increasingly urban environment, many of us seem to have lost touch with the process which produces the food we eat. This Urban Farm sets out to allow the patron a glimpse of three ecosystems in sequence. One views and experiences these systems as one fluid circulatory path which carries the user through the cycle of growth and consumption. Passing through the three distinct stages of fungi culture, agriculture, and apiculture, is only complete after ingesting the final food product in a restaurant which uses “in house� growth to imbue the user with an expanded understanding of the relationship between growth and food. As the patron exits the restaurant he is reintroduced to the systems which create this wonderfully satiating experience as he recirculates through the Urban farm with a new understanding and a full belly. In this process of circulation as the primary driver of spatial form the model is lead down the spiraling pathways of a double helix in an effort to allow the user optimal circulatory experience.
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Precedent
The Guggenheim Museum designed by Frank Lloyd Wright. Concept
Use a circulatory path to create fluid moment through space.
D_S Food Is Fluid
Site Picture
The conditions of the site in it’s current state. Site Plan
A description of the urban context for this “farm”.
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Second Level 20’
D_S Food Is Fluid
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Longitudinal Section
Longitudinal Section
D_S Food Is Fluid
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Transverse Section
Transverse Section
D_S Food Is Fluid
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D_S Food Is Fluid
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First Level 10’
D_S Food Is Fluid
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D_S Food Is Fluid
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Fourth Level
Third Level
Ground Floor
Design StudioPrimary Stacks Fall 2011 Studio- Fundamentals in Architecture
D_S Primary Stacks
A simple “primary” block derived from this lower Manhattan site is used to create choreographed spacial qualities in plan and section. The “primary” is manipulated in stages and hierarchically deployed on the site, populating the two street facing edges and creating a courtyard condition. As one moves from a sub-grade archive space through public/ private book stacks and reading areas, the move from plain and ordinary to angular and complex becomes increasingly clear. Fluid movement through this library is created though the interstitial connections of one “primary” block to another, and the geometric change from one level to the next. This Library for the Graphic Novel seeks to introduce the primary block as an architectural tool to better understand and interrogate the nature of the books/information it shelters. This information, the graphic novel, is closely related to a comic book yet it is able to communicate very complex ideas and feelings like the classic novel. The primary block too is simple yet complex. It is able to communicate purity while at the same time creating controlled chaos. In this way one can seek to interpret the concept at hand.
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Concept
Stacked primary blocks create space. The Vitra House by Herzog DeMuron Precedent
The Aronoff Design Center by Peter Eisenman.
D_S Primary Stacks
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Site Picture
The preexisting conditions on this site. Site Plan
A “graphic� representation of the urban context for this Library.
Spring Street
Mulberry Street
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Stacks
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Primitive Plans
Primitive Forms
15 30
0 0
30 60
Addition of Vertical Service Blocks
Smushed + Rotated
Transverse Section
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D_S Primary Stacks
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Southern Elevation Spring Street
Transverse Section
D_S Primary Stacks
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Transverse Section
Eastern Elevation Mulberry Street
Main Collection Stacks 15’
UP
DN
Circulation Desk
Reading Area
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UP
Main Collection
DN
UP
Main Collection
D_S Primary Stacks 36
Fourth Level 37’
Main Collection
Reading Area
UP
Admin
DN
DN
Mechanical
DN
DN
Main Collection
Directors Office
DN
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Directors Office 47’
UP
Archive
Archive
UP
Third Level 27’
Archive Plan -15’ DN
Special Collection
DN
UP
UP
Reading Area
Main Collection
D_S Primary Stacks 38
DN
UP
Street
Cafe
Spring
DN
Main Entry -4’
DN
DN +0’
M/P Room
39
Mulberry Street
Ground Floor -3’
Janiter
-7”
-2’ 2”
+0’
DN
UP
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D_S Primary Stacks
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Applied Studies Concrete Fall 2010 Studio- Fundamentals in Architecture
A_S Concrete
This course focused on the application of specific materials to any given architectural problem. Wood, monolithic mass pour concrete, small pour concrete, metal working, and many other materials were explored. This project focused on the use of concrete to form a structure which pushes the limits of the given medium. After looking at some of Felix Candela’s work the group decided to explore a thin shell concrete structure with hyperbolic curves. The structure proved to be particularly difficult to build because of the need for very detailed framework as well as the lack of ability to vibrate the wet concrete. Important discoveries and explorations were achieved in this exercise, and great fun was had by all.
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Precedent
Felix Candela’s work with concrete and hyperbolic curves. Concept
Create a concrete structure which pushes the limits of the material.
A_S Concrete
Early Iteration
An iteration that shows the desire to explore hyperbolic curves in concrete Early Iteration
Plan and elevational exploration of the form work.
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Cover
Formwork
Elevation
Plan
A_S Concrete
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A_S Concrete
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Applied StudiesStructures/ Environment
Fall 2011 A_S Structures/Tempering the Environment
A_S Structures/ Tempering
It is important to understand all of the details one will encounter while in the process of designing a structure. A structure by definition must bare weight. How will your structure bare it’s own weight as well as the weight of other variable loads it must plan to hold? Which materials will preform best in a given situation. What dimensions must the structural elements take on? These questions as well as many others must be considered. Load bearing is not the only consideration which affects a design scheme. Atmospheric and environmental considerations must be taken into account as well. How can passive design strategise be utilized to produce a more eco-friendly and less expensive building? When passive strategies are not enough to satisfy the required comfort level, what active design strategies should be used? These important concepts are explored using creative assignments and lectures.
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The comfort Weather Data level after application of passive design strategies A pshycrometric chart showing the comfort levels using passive design. Environmental Section
Environmental Section
A section showing the implementation of passive/active design strategies. Evacuated Solar Tubes
Solar Ivy
Thermal
Wind
Earth Tubes
Shading
A_S Structures/ Tempering
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Load
Column
Rod
Wall Connection
Testing the stability of an aluminium column.
Visual Studies Multihero Fall 2010 V_S Strategies of Representation
V_S Multihero
This work focuses on the representation of objects using basic cad tools, and elementary architectural drawing techniques. Lineweight, composition, and color must be carefully considered before allowing a drawing to leave one’s hand’s. This selection of work allows a glimpse into the rigid and unending yet subtle and nuanced world of architectural drawings.
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V_S Multihero
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V_S Multihero
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V_S Multihero
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V_S Multihero
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Visual Studies CookiedWhale Fall 2011 V_S - Strategies of Representation
V_S Cookied Whale
In an effort to explore and discover the intricacies of architectural modeling and representational techniques, these works emphasise the power of computer aided renderings. The unique ability today’s technology affords can produce extremely complex geometric form with the precise movements of a machine. The human aspect though is not completely lost. Much hard work and planning is necessary to yield these results. The negotiations between human and machine are frustrating but they can be full of copious reward. These works push us towards a more fluid connection between man and his building machines. This exploration is ongoing.
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Cookie
Starting with simple curves a fortune cookie is born. Whale
Two curves are drawn to create the whale body, then ďŹ ns and tail.
V_S Cookied Whale
Final Cookie
With a few simple curves a very complex framework is created. Final Whale
Complete with ďŹ ns and tail a whale takes form.
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1.1 boolian_a
1.2 boolien_a
1.3 boolien_a
1.4 boolian_a
# Edges: 115 # Surfaces: 43 # Control Points: 2433
# Edges: 45 # Surfaces: 15 # Control Points: 560
# Edges: 95 # Surfaces: 34 # Control Points: 2033
# Edges: 45 # Surfaces: 15 # Control Points: 300
3.1 boolien_c
3.2 boolien_c
3.3 boolian_c
3.4 boolian_c
# Edges: 77 # Surfaces: 35 # Control Points: 3156
# Edges: 10 # Surfaces: 4 # Control Points: 453
# Edges: 70 # Surfaces: 33 # Control Points: 2765
# Edges: 6 # Surfaces: 4 # Control Points: 108
V_S Cookied Whale
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V_S Cookied Whale
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V_S Cookied Whale
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Making+ Meaning Summer 2010
M+M
Making + Meaning is a five-week summer program at the Southern California Institute of Architecture (SCI-Arc) that introduces the principles of spatial experimentation and design methodologies through the creative processes of architecture. During this intensive summer program, college students and inspired professionals will meet leading thinkers in design and architecture, create a rich portfolio and engage in open dialogue delving deep into the city of Los Angeles’ abundance of experimental architecture. A platform for individual learning in a collective environment, Making+Meaning is an introduction to the discipline of architecture as engaged by SCI-Arc’s design culture and community. The program derives its strength from the diverse backgrounds of its students-from those gauging their interest and curiosity in architecture, to those beginning an architectural degree, to those looking to expand their skills in the tangent fields of education, film, industrial design and the fine arts. Making+Meaning students survey and challenge the discipline’s boundaries through a progression of object-building exercises that sequence drawing, making and constructing. Methodologies range from material experimentation to compositional strategies; from imagination to inhabitation.
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Sticks
Exploring the spacial qualities of the “skewer�. Planes
Use a circulatory path to create fluid movement through space.
M+M
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Sticks
Modeling the “spaces� from within the sticks. Planes
Combination of the sticks and planes to create a new form.
M+M
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Plaster
An exploration in plaster. Wood
Use a circulatory path to create fluid movement through space.
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Miniature Full Size
Fabrication of a miniature template used to build the full size model. Corrugated Cardboard
Full Size Model.
M+M
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