Architectural Portfolio, Elnaz Rafati, 2008-2017
Elnaz Rafati
UIC MArch Graduate MURAAtelier.com elnazrafat@muraatelier.com +1 (312) 391-8242
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Design Projects
Paris Spatial Tech , Fall 2016 Instructors: Alexander Eisenschmidt page................................................66
Architecture through the Looking Glass
Color Outside the Line
Studio V, Fall 2016 (2 Awards, Exhibited in YES) Instructor: Sam Jacob page.................................................2
Tech , Spring 2017 Instructor: Andrew Zago page................................................70
Le Chat
Popped Art
Studio II, Spring 2015 Instructors: Stewart Hicks, Julia Capomaggi page.................................................20
Tech, Fall 2016 Instructors: Sarah Blankenbaker page................................................74
Chair City (Exhibited in YES)
Good Curve (Exhibited in YES)
Studio III, Fall 2015 Instructors: Penelope Dean, Grant Gibson page.................................................28
Studio V, Spring 2016 Instructors: Geoffry Goldberg page................................................76
Chair City Technical (Exhibited in YES)
Sticky Stacks (Exhibited in YES)
Design Development, Fall 2015 Instructors: Chris Frye, Ryan Palider page.................................................38
Design Development, Fall 2015 Instructors: Paul Preissner page................................................78
Chicago Health Loop Studio IV, Spring 2016 Instructors: Sarah Dunn, Sean Lally page.................................................42
Professional Work
Up the Grid
WE ARE ALL HERE, NOW
Studio V, Spring 2017 Instructors: Paul Andersen page................................................52
MOMA PS1 YAP competition Lead designer: Ania Jaworska page................................................80
M-Building
The Set
Research Seminar, Fall 2016 Instructors: Paul Andersen page................................................60
Designer: Ania Jaworska Team Member page................................................84
Drawings Samples
Theory & Research Projects
Designer: Paul Preissner drawings by Elnaz Rafati page................................................86 3
Patti Smithification of a Shakers Village Arch 565| Fall 2016 | Sam Jacob
Awards: -
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Year End Show Nomination: Fall 2016 Drawing featured in “Architecture Enters the Age of Post-Digital Drawing” by Sam Jacob: Spring 2017 Winner of Frank Albert Szilvasy, “Best in Show” award : 2017 “Schiff Foundation Fellowship for Architecture” honorable mention: 2017
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Architecture Through the looking Glass and What We Found There In this studio “Architecture through the Looking Glass and What We Found There,” we revisited the idea of drawing as a site of speculation1 where an architectural idea can emerge and grow. We started by researching and combining grids from many different contexts. We then crossed the results with iconic references from architecture and other fields to create drawings that both suggested new architectural uses of grids and contained their own unique aesthetics. As an example, in page 11, the plot of Hamlet is mapped out in a gallery designed by Stanley Tigerman, which in turn has been adapted to a Sol Lewitt grid, and filled with elements from Rem Koolhaas’s Parc de la Villette drawings. The details are inspired by Hamlet movie (1948). The multiplicity of sources makes each drawing “an act of polemic assemblage as much as an image,”2 which became my strategy for assembling a new architectural scenario: The Patti-Smithification of a Shaker Village.
GRID #4 GUIDE
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SOL LEWITT WALL DRAWING #118
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FIGURE BUILDING: LANDSCAPE FIELD: OCCUPATION EVENT: GRID:
• FIGURE BUILDING: • LANDSCAPE FIELD: • OCCUPATION EVENT: • GRID:
Johnson Wax (Frank Lloyd Wright) Topographia Paradisi Map of Pilgrim’s Progress Sol Lewitt’s grid
Johnson Wax (Frank Lloyd Wright) Topographia Paradisi Map of Pilgrim’s Progress Sol Lewitt’s grid
• FIGURE BUILDING: • LANDSCAPE FIELD: • OCCUPATION EVENT: • GRID:
Johnson Wax Building Map of Love Map of Pilgrim’s Progress Xiangqi Board Game
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• FIGURE BUILDING: • LANDSCAPE FIELD: • OCCUPATION EVENT: • GRID:
Van Straaten gallery (Stanely Tigerman) Lafayette Park (Mies) Hamlet’s play, drawing features hamlet’s movie (1948) details Sol Lewitt
• FIGURE BUILDING: • LANDSCAPE FIELD: • OCCUPATION EVENT: • GRID:
zaha hadid’s entry of a house for irish prime minister Lafayette Park (Mies) D-Day Hejduk
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A Site to Speculate: In his Documentary “Rock my Religion” Dan Graham argues the Shakers’ lifestyle was a precedent to Rock n Roll’s. This design explores the architectural emergence of this argument. Drawing on the parallels Dan Graham showed between Shaker worship and Rock n Roll in his documentary, the design creates an alternate version of the Pleasant Hill Shaker Village influenced by the type of Rock lifestyle made iconic by Patti Smith. When the Shakers came to America in 1774, they intended to construct ideal communities that would resurrect the pre-industrial family in a utopian way by replacing a patriarchal structure with equal brothers and sisters living a celibate communal life. Their economy was craft-based and their design attitude prized honesty of materials and attention to detail. After all, they believed making something well was itself an act of prayer. But they were equally famous for their custom of worshipping through dance, earning them the name “the shaking quakers.”
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Scenarios Similarly, the phrase “rocking and rolling” originated in the early twentieth century to describe the spiritual fervor of black church rituals3. However, unlike Shakerism, Rock n Roll became so popular that by the 60’s it had started an awakening in American youth culture, breaking down racial barriers and creating its own fashion, language, attitude and lifestyle. For Rock n Roll fans, music was God. The intimate scenes are small yet specific windows of drawing into this alternate universe where the two worlds live in harmony. A Shaker’s dresser sits next to Patti Smith’s messy bed in a bedroom with no door breaking the taboos on sex, insinuating that sex can be as casual as a shoe on the floor.
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Shakers chairs become seats for Patti Smith’s concerts and the pegs are used to store her guitars. Her fans are very excited they dance and chant while she sings. The drawings are heavily dependent on details and precedents. Taking inspiration from renaissance painting compositions, they tell stories that rely on foreground and background information. The traces of inhabitation in the “front” of each drawing embody the way of life that the design creates taking references from precedent drawings and Patti Smith’s private life, while the buildings and landscape in the distance tie the views together and help the audience envision a map of building’s placement.
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Old and New The bottom drawing shows the plan of Shaker buildings coexisting with the newly designed rock n roll buildings. The way the two type of buildings are located, changes. Sometimes the buildings are adjacant, some are embracing each other, and some are added to each other. This relationship has been explored in the large drawing on the right which looks through the new possibilities and potentials and projections. The bas relief on the left shows the relationship of the new and old buildings in the Shakers pleasant hill settlement. The two sides of triangle symbolizes the perspective lines and the scale of the buildings is informed by their placement and distance from the viewer. The trees are scattered around the model bringing the style of the drawings into the model. They also gives a sense of scale and perspective to the viewer.
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Le Chat Arch 552| Spring 2015|Stewart Hicks, Julia Capomaggi
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le chat in the site being accomponied by his neighbors
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story of “Le Chat” Le Chat is an introverted cat. His clothes, while fitting him, are not an exhibition of his inner self. He hides under a costume that conforms with his body, but the real him happens inside, where he can be himself. He dreams of a world where he makes friends who share his inner characteristics. They would sit around a table to enjoy each other’s common interests. There are different levels of interiority in this project. Le Chat sits in an interior urban courtyard made by the neighbors and him. His neighbors are a projection of inner him. Although his costume (façade) does not conform to his neighbors’ façades, his interior profiles come from his neighbors’. He has a certain type of clothes on that fits his figure, but it is not a true sign of his inside. He tries to adapt his costume (façade) to his inner self at some moments (windows) where the two worlds intersect.
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Museum of Interior Spaces Le Chat is a museum of interior spaces. There is no second hand space. Each room has its own story and you get to each room through another one. When you are inside le Chat, you are either inside a room, or watching the whole building’s section through the ramp/staircase at on side of the building where the whole building becomes a theatre scene.
Le chat as a Theatre The ramp-staircase takes a different form at each level, adapting itself to the interiors’ plans. We can say that these interiors are projecting themselves onto this ramp/staircase. You can walk and experience the interiors from different heights and angles.
fourth floor plan
There is a big void inside the museum where you can see the real exterior of some famous interiors, so there are moments when you can look through an interior and see its exterior façade inside the building. The interiors are famous interiors that we all know which have been adapted to the profiles (the ones that shape le Chat’s inside).
second floor plan
first floor plan
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La Chat through the arches.
28Model of courtyard made by Le Chat and neighbors. Le Caht’s neighbors are a projection of his interior. 26
le chat fecade collage
le chat long section
Front Elevation
bas relief section of the design on a concrete base
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Chair City Arch 553| Fall 2015|Penelope Dean, Grant Gibson
Awards: •
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Year End Show Nomination: Fall 2016
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chair city diagrams In January 1945, Arts & Architecture magazine launched The Case Study House program, an initiative that invited architects to re-invent the concept of the house along with a way of living for middle class families. Many of the ideas would be evolved into buildings within the realtime constraints of material assembly, codes, laws, and construction techniques and would lead to the realization of some of the most iconic mid-century modern houses. The houses would integrate beautiful landscapes and stylish interiors filled with the latest décor, furniture, and objects d’ arte. Significantly, they proposed new modes of indoor-outdoor living.
2nd floor plan scale: 1”=40’
1st floor plan scale: 1”=40’
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Interior of Chair Chity. Chairs being shelves, stairs, railings, and platforms.
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certain areas in Chair City are handicap accessible. This is the guest bedroom.
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chair city Rules The project explores life in a house made from a single domestic object. The object (chair) replaces all the furniture in the house. -It gets lined up and stacked up and creates built-ins. -Its elements get extended to create décor. -It gets scaled up and creates the structure of the house. -While the scaled up chairs provide the structure for the house, the envelope plays the role of shearing wall.
east elevation scale: 1”=40’
chair city elevations The envelope wraps around the chair city like a curtain that gets lift up at some points to reveal a little of what is happening inside.
north elevation scale: 1”=40’
It moves up and down based on the geometry inside the chair city, presenting and hiding the interior at the same time. It shows enough to get people enthusiastic about the adventure inside and hides enough so that it doesn’t spoil the celebration of furniture, decor, and built-ins.
west elevation scale: 1”=40’
south elevation scale: 1”=40’
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chair city diagrams Chair city is a 9-square raumplan, enclosed by a white background. At the bottom level, where the private life happens scaling up domestic objects creates anoccupiable subscape (a type of space that normally goes unseen), which is defined bycolumns and overhanging décor from above.
First Floor At this level we have all the private spaces like bedrooms, bathrooms, laundry room, garage, and the office. Bathrooms and laundry room are in the center in order to provide service to all the 8 squares around, and also for the wet walls to be next to each other. The rooms are separated from each other by extended overhanging décor from upstairs or built-ins.
built-ins diagram scale: 1”=32’
Second Floor The upper level spaces are defined by separate floorplates at varying heights, creating a raumplan that is divided by partitions. Built-ins span both levels, dividing spaces and providing storage, as well as path to adjacent spaces.
Ceiling
structure diagram scale: 1”=32’
The ceiling further articulates each square of the grid, turning the enlarged profiles into enclosures.
envelope diagram
scale: 1”=32’
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38 Chair City TV Room.
the elevations are inspired by the elements inside. Chair City Facade is a projection of its interior.
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chair city diagrams Chair city is a 9-square raumplan, enclosed by a white background. At the bottom level, where the private life happens scaling up domestic objects creates anoccupiable subscape (a type of space that normally goes unseen), which is defined bycolumns and overhanging décor from above.
First Floor At this level we have all the private spaces like bedrooms, bathrooms, laundry room, garage, and the office. Bathrooms and laundry room are in the center in order to provide service to all the 8 squares around, and also for the wet walls to be next to each other. The rooms are separated from each other by extended overhanging décor from upstairs or built-ins.
built-ins diagram scale: 1”=32’
Second Floor The upper level spaces are defined by separate floorplates at varying heights, creating a raumplan that is divided by partitions. Built-ins span both levels, dividing spaces and providing storage, as well as path to adjacent spaces.
Ceiling
structure diagram scale: 1”=32’
The ceiling further articulates each square of the grid, turning the enlarged profiles into enclosures.
envelope diagram
scale: 1”=32’
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Chair City living room including chairs designed by Adolf Loos
chair city, second floor the office. hanging chairs from the frist floor creat sheves in this level and also upstairs.
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AXONOMETRIC SECTIONAXONOMETRIC VIEW SECTION VIEW SCALE: 1’= 1/2”
SCALE: 1’= 1/2”
FECADE FINISHINIG MOISTURE BARRIER PLYWOOD SHEETING MOISTURE BARRIER DRY WALL
WOODEN DECORATIVE WALL DECORATIVE WALL SUPPORT INSULATION FOAM
SIP PANLES
HOUSE FOUNDATION MARBLE PODIUM
MARBLE PODIUM
2*12 JOISTS TO RAISE THE FLOOR
FLOOR HEATING
STEPPED FOUNDATION TO HOLD THE MARBLE
DRAINAGE TUBE
STEPPED FOUNDATION TO HOLD THE MARBLE
PODIUM FOUNDATION
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DRAINAGE TUBE
PODIUM FOUNDATION
2*12 JOISTS TO RAISE THE FLO
FLOOR HEATING
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Chicago Health Loop Arch 554| Spring 2016 | Sarah Dunn, Sean Lally
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Chicago Health Loop This is a Chicago lake project that is also a sport center, a spa, a medical center, and a hotel! In this project I decided for the health to be the leader of the design, so I tried to facilitate healing through programmatic mixing. Because of the strict programmatic requirements of health centers, traditionally there is little mixing between programs. Rather, forms reinforce the required program excluding others. What if a health center could facilitate healing through programmatic mixing, creating new hybrid programs that are reinforced by spaces that create unexpected encounters. Then as Tchumi says we can explore the relation between the formal elaboration of spaces and the invention of programmes, between the abstraction of architctural thought and the representation of events.
second floor plan
Scenarios: The landscape around the building follows building’s topography and profiles and at some points where the program needs to get to the open space it raises up and facilitate the access from building to the open space. The building is in the shape of a loop that creates a courtyard. People can access the courtyard through different opennings in the first floor.
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third floor plan
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6 Step Healing Loop: This diagram takes all the required programs and arranges them in a 6-step-diagram of: - Treatment - Recovery - Sustenance -Stress Reduction - Preventative Lifestyle - Community Wellness The programs are categoriezed into these 6 steps and each loop in the diagram includes a group of programs that can work together and whenever there is a program missing, a new activity is born to fill the gap and that is the new addition that was required for the project.
health clinic
Health Center
hostel
Hotel
sport center
Sport Center
spa
Spa
mixed programs
Joint Program
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health loop entrance
aquarium and the sport area
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Sections In these 12 sections we see how the programs smoothly turn into each other. This buliding has 12 equal parts and 6 of the sections are cut through the parts that embody the the main programs and the other 6 are cut through the parts in between, the parts that facilitate programs smoothly turning into each other.
The in between parts are of 2 types: Type1: The in-between program is one that is a hybrid of the two on both sides. (eg: aquarium and swimming pool which results in a program with people swimming with the fish) Type2: There are two programs on two sides and both of them need a in-between program that they can use. (eg: Sport Center and Shopping Center will result in a Sport Shop).
Community Wellness
Stress Reduction
Preventative Lifefestyle
Recovery
Sustenance
Treatment 50
sport area leading to the open space
courtyard
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first floor plan
aquarium and the sports area
pool in the second floor
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Up the Grid This project is a result of combining the principals of suburban American architecture and my independent studies on Persian architecture. In the fall we went through quirky suburban houses and studied them to extract a set of principles that we called “Manifesto of Idiosyncratic Architecture�. In this design I brought this manifesto points together with Persian architecture principles as follow: Peculiar Part: study houses had a peculiar part that distinguished them from others. In this design, this peculiar part is the staircase that resembles the long hallways that lead connects the street to the courtyard of Persian houses. Excessive Repetition: in this design, the repeating module of a house is the creator of the structure, plans, decorative tiles, and the overall grid that the house sits on. This repetitive quality creates an enfilade quality. A Queue of rooms with no corridor step up one by one to take us from the courtyard level to the balcony level. The staircase in the courtyard brings the yard to the next floor by rising from the bottom to top level. Missing Parts: is a phenomenon where you remove an element that is usually present in the house. In this case windows are the missing parts in that they are filled with marble which provides some light, but not any view and that helps the privacy which is very important to Persian houses.
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Manifesto of Idiosyncratic Architecture If you look around American cities, you can find houses that are ordinary, except for one or two quirks—perhaps an extra roof, a dormer that nearly touches the ground, a two tone paint job, a missing front door, or an out of place stripe of some exotic material. Most are small ranch houses that were built with thin, inexpensive materials during the 1950s–60s, a time of widespread experimentation in house customization. These houses flaunt the magoo conventions of suburban house design and break even more sharply with most contemporary architecture. They hint at an alternative design philosophy in which, for example, repetition is neither a function of standardization nor variation, and an entire building might be a part with no whole. (from the brief) In this reaserch seminar I researched the mansard roof houses and how a roof can be more than a roof and it can incorporate architectural elements.
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Up the Grid This project is a result of combining the principals of suburban American architecture and my independent studies on Persian architecture. In the fall we went through quirky suburban houses and studied them to extract a set of principles that we called “Manifesto of Idiosyncratic Architecture�. In this design I brought this manifesto points together with Persian architecture principles as follow: Peculiar Part: study houses had a peculiar part that distinguished them from others. In this design, this peculiar part is the staircase that resembles the long hallways that lead connects the street to the courtyard of Persian houses. Excessive Repetition: in this design, the repeating module of a house is the creator of the structure, plans, decorative tiles, and the overall grid that the house sits on. This repetitive quality creates an enfilade quality. A Queue of rooms with no corridor step up one by one to take us from the courtyard level to the balcony level. The staircase in the courtyard brings the yard to the next floor by rising from the bottom to top level. Missing Parts: is a phenomenon where you remove an element that is usually present in the house. In this case windows are the missing parts in that they are filled with marble which provides some light, but not any view and that helps the privacy which is very important to Persian houses.
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M-BUILDING Spring 2012 | Kambiz Navai
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Story M-Building is an attempt on modernizing the local architecture. The sides that are visible from the streets are shorter to make the scale transition happen more smoothly. The window shutters and the perforated material are inspired by the local building materials. The form is an adaptation to the sunlight and wind and the land properties. The sides are elevated so the wind could pass through the building and perform as a natural ventilator. Each apartment has its own balcony in addition to the spacious one on the rooftop that is meant for a communal life. Perforated tiling in the back of the building allow the airiness, it also let a delicate soft light into the corridors. The large number of hot and humid intolerable days makes the weather condition the biggest issue in Hormozgan’s capitol. I studied 5 Persian traditional houses located in places with the same weather as Bandar-e-abbas, and 2 residential complexes in other countries and concluded the following points to suggest a solution to the hard living situation: 1. 2. 3. 4. 5. 6. 64 62
Blocking the sunlight Natural ventilation Vegetation Small openings Light materials Semi-open spaces
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Paris Spatial Arch 586| Fall 2016 | Alexander Eisenschmidt
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Paris Spatial, 1959 Paris population grew enormously during the fifties, so the city faced the dilemma of housing. There were two options to resolve this issue. The first step was to demolish certain districts and building new houses in the empty sites. This would involve moving the old residents to the suburb and therefore uprooting their social networks. The second option would involve leaving these houses the way they are to ruin over time and build new houses in the suburbs. Paris Spatial seeks to suggest a third alternative to avoid the total suburbanization of the city. It suggests building of superstructures to recuperate the usable air space without interfering with the levels underneath. This way the tenants can stay in their houses while constructing the new project. By the time the building process id done, there are two options of how to deal with the old existing houses. The first option is for tenants to move up to the new houses and demolish the old ones use the ground level for whatever public use is required. The second option is to keep the buildings the way they are and use them for their original purposes. Friedman has purposed this type of mega structure for usable air space in many other cities, including New York, Venice, Berlin, Shanghai, and a peace-bridge between Gaza and Tel Aviv on the sea. Then what make Paris the perfect site for this project. At 1853 when Haussmann design for Paris renovation took place by demolition of crowded and unhealthy medieval neighborhoods, building of wide avenues, parks and squares, he made Paris the perfect site for Friedman’s ideas. He limited the building’s height to a certain number which resulted in an ideal site for Friedman. Equally tall and short buildings make Friedman’s design much easier and more tasteful when done. On the other hand Paris has been facing housing problems since the 1920s when its population outgrew the city and because it is very dense, very few modern buildings were built there. Sixty-two percent of the buildings in this city date before 1949 and before then, 20 percent were built between 1949 and 1974, and only 18 percent of the buildings remaining were built after that date.
On the other hand, Paris is historical city with an amazing city structure which is worth being preserved. Here is where Freidman’s idea seems like the best solution to this problem. He does not aim for demolishing anything. He suggests new structure being added on the top of the existing buildings as an addition. Then if they need to demolish the buildings underneath, the residents are going to move up to the new houses in the mega structure above their apartments and down on the ground will be vast empty ground able to turn into either a new housing project for the Paris inhabitants or a new plaza or just simple streets for the city. Friedman says: “Paris has fantastic perspectives. The problem is that nobody sees them, only the cars, but the car drivers have no time to look at them. So I thought the perspectives are important for the pedestrians, and the cars can be left to drive on the side alleys. The Champs-Elysees is a café road.” Flexibility is one of the most important points mentioned by Friedman about his idea. He believes people must be able to interact with the building. “In order to satisfy the people in a building you built, you have to let them conceive the building. … You have to act in such way so as to let them feel and express what they feel. My problem as an architect was how to be responsible for building something when you don’t know anything or very little about the user, and when you have to leave the decision to the user.” Friedman states that the other by-product of this method other than practicality is its visual complexity. He says “The structure is supported by columns and upstairs the most capricious forms can be materialized.” This will give people the opportunity to conceive their environment as the want, design, change or enhance it during time.
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Michael Pollan, The Omnivore’s Dilemma: A Natural History of Four Meals (New York: Penguin, 2006), 99–100.
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Yona Friedman, Yona Friedman (New York: Charta Books Ltd., 2008), 25
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Also with a structural system comprising of horizontal and vertical parts the mega structure can be more complex. He believes complexity means no two people are dressed the same, which means there are as many different building appearances as people who inhabit them which is essentially what he is looking for which might sound ironic to be an ideal way to expand housing in Paris, city of homogeneous design, but it can be the best answer since juxtaposing two very different systems brings out the true characteristics of each and this is the same spirit that made the current George Pompidou design the winner of the 1971 competition. A mega structure with everything exposed won the competition and people’s hearts which was described as “love in second sight” Friedman was looking for a design that would resolve all his concerns of people being able to create and conceive their environment, visual complexity, housing issues, flexibility, and etc. He came up with a mega structure up in the air to use the air space and clear the streets, creating new houses for people while preserving the environment. Paris was the perfect site for Friedman’s idea because juxtaposing historical texture of Paris and a mega structure up in the air would emphasize on the characteristics of each.
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Color Outside the Line Arch 522| Spring 2017 | Andrew Zago
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Color Color Palettes Palettes In In this this research researchwe we look look at at defined, defined,but but unconsidered, unconsidered, areas areas of of commercial commercial (or (or other) other) production production in in order order to to assemble assemble sets sets of of things things that that may may define define aa contemporary contemporarycolor colorpalette. palette. An Anassumption assumptionof ofthis thisresearch researchisisthat thatin incontemporary contemporary culture cultureand andcommerce, commerce,color colorhas hasbecome becomeboth bothmore more pervasive, pervasive,while whilealso alsofragmenting fragmentinginto intoseparate separatepalette palette constituencies. constituencies.Unlike Unlikepast pasteras, eras,where wherethere theremay mayhave have been been dominant dominant palettes palettes (for (for exapmple exapmple Mad Mad Men Men as as itit progressed progressed through through the the 60’s) 60’s) we we operated operated on on the the assumption assumption that that we we are are in in aa time time of of multiple multiple possible possible palettes. palettes. Our Ourgoal goalisisnot notto toreflect reflectknown knowncontemporary contemporarypalettes palettes but but to to ferret ferret out out the the unconsciously unconsciously shaped shaped protoprotopalettes palettesaround aroundus. us. We Welook lookat atcorners cornersof ofthe theworld worldof ofmade madethings thingswith withaa sense sense of of curiosity, curiosity, aa taste taste for for the the absurd, absurd, aa cultivated cultivated eye, eye,and andaafearless fearlesswillingness willingnessto toshop, shop,dumpster dumpsterdive, dive, and andborrow. borrow. compromises compromises aa genuine genuine category category of of production, production, that that ititisisnew, new,and andthat thatititmay maycontain containaaproto-palette. proto-palette. 33 types types of of products products are are collected collected in in this this research research including includingPills, Pills,Coffee CoffeeCups Cupsand andRamen. Ramen. AA palette palette isis not not aa full full spectrum spectrum of of colors colors but but rather rather aa curated curated set set of of distinct distinct colors colors and and their their variants. variants. We We determine determine aa group group of of 44 to to 66 colors colors that that best best characterizes characterizeseach eachcategory categoryset. set.
color coloroutside outsidethe theline line
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Wrinkled sheet In a series of practices we created a layered pixalated envelope wrapped around an absent cube. We took a picture a wrinkled material. Then we laid the palette colors on the image and then through a code we wrote in Grasshopper we turned the image into its Red, Green, and Blue pixels through the RGB filters. We took the RGB layers apart and laid the Ramen palette color on them. Later we wrapped this 4-layered surface around a absent cube as if two of these surfaces hit the cube and wrapped around it from 2 sides. There are 4 layeres and the distance between each layer is 1/8�.
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Popped Art Arch 522| Fall 2016 | Sarah Blankenbaker
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Popped Art “Bodies not only move in but generate spaces produced by and through their movements. Movements of dance-sport, war___are the intrusion of events into architectural spaces.. At the limit, these events become scenarios or programs, void of moral or functional implications, independent but inseparable from the spaces that enclose them.”1 The Manhattan Transcripts differ from most architectural drawings insofar as they are neither real projects nor mere fantasies. Developed in the late ‘70s, they proposed to transcribe an architectural interpretation of reality. To this aim, they employed a particular structure involving photog raphs that either direct or “witness” events (some would call them “functions,” others “programs”). At the same time, plans, sections, and diagrams outline spaces and indicate the movements of the different protagonists intruding into the architectural “stage set.” The Transcripts’ explicit purpose was to transcribe things normally removed from conventional architectural representation, namely the complex relationship between spaces and their use, between the set and the script, between “type” and “program,” between objects and events. Their implicit purpose had to do with the 20th-century city. “Hoarding focuses attention away from both use and representation and toward the materiality and of things instead, subjecting to a form of design that has its own techniques and logics.”2 “The interior is produced not by walls or other boundaries but by the order, array, and number of objects within.” 2 Creating a situation in which all these ideas intersect. Where materials become archite-cture, and the movement creates the event. In this design I did a slight change to Martin Creed’s Installation by gluing the balloons together. This way they would keep their overall form when some are popped. The new installation includes 4 scenarios inspired by Manhattan Transcript by Bernard Tschumi. The balloons are popped through artist’s movement that aims to recreate an event. In this scenario the architecture (walls, ceiling, etc…) is made of balloons and the audience has a different experience where all abovementioned theories meet.
1 Bernard Tschumi, Advertisements for Architecture: Architecture and Limits (1978), 111 2
Sylvia Lavin, Architecture in Extremis, 55,58 popped art
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Good Curve Arch 586| Spring 2016 | Geoffry Goldberg
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Good Curve in this elective we explored the world of curves with works of Moholy-Nagy, Albers, Max Bill, El Lissitzky, Naum Gabo and etc to figure out what is a good curve and how to create one. Here are some drawings and diagrams of the process and the final result. The purpose of this design is to consider how curves relate to each other. When curves are used, they have a relationship with other parts of a composition. The goal here is to look at these associations and identify how the curves relate to each other. We will look at both the positive and negative aspects of such associations, in our pursuit of sensibility for what makes a better association. A Good Curve
In this design, I created a curve that is the result of two known curves colliding, creating potentials for the resulting curve to show unexpected qualities. Later a modular roof was inspired by the curve.
Generation r=1 Curve E-2
r = 4/3
r=2
r=1
r=2
r=1
Curve E-1
r=1
r=2 r=1
r=1
Curve E-1 r=2 r=1 Curve E front view
fig-3
Derivation fig-1
Associations
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Sticky Stacks and Tacky Towers Arch 564| Fall 2016 | Paul Preissner
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Sticky Stacks and Tacky Towers In this class we explored “MAYA” program, tried some rendering techniques and made some sticky stacks! The picture on the left is a pile of bean bag chairs with William Morris’s fabric designs.
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MOMA PS1 COMPETITION, “WE ARE ALL HERE, NOW” Lead Designer:Ania Jaworska | Team: Charlie O’Geen (Project Partner) | Fall 2016- Spring2017 Zack Ostrowski Elnaz Rafati Eugene Murphy Janelle Schmidt Lukasz Wojnicz Tyler Lausch Wil Natzel Hannah Winders Meghan Quigley
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WE ARE ALL HERE, NOW
This design was an entry to MOMA PS1, YAP competition. The lead designer is Ania Jaworska and I was a member of her team. ““We Are All Here, Now,” is a series of iconic pavilions that establish unique social spaces and revel in the here and now. The four independent structures in this series are defined by a strong and direct visual form and stand as a unified set, commanding the courtyard of PS1. The deep communication power of symbols and universal forms establish a collective environment that is at once familiar and pleasantly strange to the viewer. Each pavilion is a distinct gathering point, an active environment that provides multiple options for interaction and use. In terms of construction, the project maximizes spatial impact through an economical use of form, along with an efficient use of humble materials and construction methods. One of the defining features of “We Are All Here, Now” is that each structure is designed to also function independently. After its time at PS1, each individual pavilion will separate and recombine, as it travels to a host of new locations.”1
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source: http://www.aniajaworska.com/WE-ARE-ALL-HERE-NOW
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Blue Plaza plan oblique, Blue Plaza plan oblique,
Blue Plaza is iconic dance floor, a platform Blue Plaza is iconic dance floor, a platform to to socialize with symbolic iconography to emphasize socialize with symbolic iconography to emphasize 8583 concept “We Here Now” 83 thethe concept of of “We AreAre All All Here Now”
The Set Furniture Designer:Ania Jaworska | Fabrication Assistant: Elnaz Rafati | Fall 2016 Eugene Murphy Julia DiCastri and ...
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The Set “The Set” is a set of furniture desined for Design Miami by Ania Jaworska. I was a part of it as a “fabrication assistant”. I was involved with measuring, sanding, cutting, and assembling some of the pieces. “SET is a collection of units that share visual and physical similarities. This fixed resemblance is identified by consistency of color, material, scale, shape, form, and self-aware parts of the grouping. Each unit within the assembly is an autonomous entity contributing its own character and function to the whole. Respective units act and appear familiar, sharing common traits with wellknown domestic objects as well as ambiguously recollecting visual references set in our memory. Correspondent to those similarities are certain dissimilarities. Simplistic and known forms are exaggerated in such way as to achieve authoritative and imposing proportions. Not only do the individual units command the space around it, but also direct the body, making one conscious and aware of their form. The furniture in the collection sets the stage for specific actions, arranges behaviors and defines new attitudes.”1
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source: http://www.aniajaworska.com/SET
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Drawing Samples Designer: Paul Preissner Architects| Drawings: Elnaz Rafati
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