ENBO CHEN MASTER OF ARCHITECTURE I SCI-ARC 2012-2013
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SCI-Arc Summer 2012 M+M Making and Meaning Summer Workshop SCI-Arc Fall 2012 Studio Jonah Rowen Material and Tectonics John Bohn Visual Studies Dwayne Oyler/Jonah Rowen Culture Studies Todd Gannon SCI-Arc Spring 2013 Studio Margaret Griffin Environmental System I Ilaria Mazzoleni/Russell Fortmeyer Visual studies Anna Neimark Culture Studies Dora Epstein-Jones Folio Workshop Darin R. Johnstone
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M+M Summer Workshop SCI-Arc Summer 2012
M+M Making and Meaning Summer Workshop,SCI-Arc, Summer 2012
Points and Lines: stick study model.
Surfaces and Space: paper study model.
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M+M Making and Meaning Summer Workshop,SCI-Arc, Summer 2012
Mass and Void: plaster study model.
Mass and Void: 1:1 cartboard final model.
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1GA Studio M. Arch I Jonah Rowen SCI-Arc Fall 2012
Geometry, Matter, Space/ Tony Smith Sculptures: Smoke Studio, Jonah Rowen, SCI-Arc, Fall 2012
Tony Smith, Smoke 2005 re-created, Painted Aluminum, 45 feet x 33 feet x 22 feet.
Tony Smith: Smoke Smoke Extended and Cut ENBO CHEN
Smoke Geometry Transformation
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PochÊ and Plasticity: Francesco Borromini’s S. Ivo Studio, Jonah Rowen, SCI-Arc, Fall 2012
The original plan analysis.
Plan Transformed base on geometric logic form the original plan. And apply the idea of geometry-based transforming to the Tony Smith work in order to obtain articulated transformation.
Plan Transformed.
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Project: Public Library Studio, Jonah Rowen, SCI-Arc, Fall 2012
Original composition diagram and Transformed composition diagram.
Wireframe Model; Mass Model; Mixed Model
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Entry Friend's Room Book Drop Meeting Room Restrooms 400 Communications Room Circulation Desk Librarian's Office Work Room Storage Janitor's Closet
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Staff Lounge Electrical Room Staff Restroom Childeren's Collection Childeren's Reading Area Adult's Collection Adult's Reading Area Young Adult's Collection Reference Desk Patio / Courtyard
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Project: Public Library Studio, Jonah Rowen, SCI-Arc, Fall 2012
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1GA Material and Tectonics M. Arch I John bohn SCI-Arc Fall 2012
Mock-Up Material and Tectonics, John Bohn, SCI-Arc, Fall 2012
Construction Diagram
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1GA Visual Studies M. Arch I Dwayne Oyler/ Jonah Rowen SCI-Arc Fall 2012
Strategies of Representation: Bugal Boy Visual Studies, Dwayne Oyler/Jonah Rowen, SCI-Arc, Fall 2012
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A Copy or A Simulacrum? An Avant-Garde or A Kitsch? Culture Studies Todd Gannon, SCI-Arc, Fall 2012
In Somol and WhitingÊs article „Notes around the Doppler effect and Other Moods of Modernism‰ says that „Within architecture, a project of delivering performance, or soliciting surprisingly plausibility, suggest moving away from a critical architectural practice - one which is reflective, representational, and narrative - to a projective practice.‰ Which means the time of critical architecture is passed, a new one is coming, which is called Postcriticalism, also called „projective‰ instead of „critical‰, letÊs embrace it! Wait, doesnÊt this seems familiar to you? The projective architecture is a copy or simulacrum, an avant-garde or kitsch? Critical architecture focus on pursuing the meaning of architecture, so the architecture itself become something that has a main idea, has a thinking and has a soul in it. It been built design by certain purpose which is reflective, representational and narrative. Because critical architecture translate the surrounding environment into its architectural system, the architect use the elements by abstracting the world outside the building and choose what use what do not. By the time the architect decide what to do, the whole project is a part of the surroundings, is something between the things which already exist. The critical architecture then create sort of connection between the the environment and itself and also serve as some kind of end point in the environment which you can find the respond to certain existing element, material, phenomenon or culture. ItÊs powerful and strong at the time it been designed or built since it provide a particular answer to particular question. Like what Eisenman did in 2002 Guangzhou Museum program competition. He designed the theme is: "change box (Theboxofchanges)‰ Including the two concepts for the place: a place as an entity - another as a place of culture - the "Book of Changes". Faced with HadidÊs iconic wavy curve, Eisenman described that: When understand the opera House and the organic base of the total plane wave before us in the form of conditions, there are two options: re-design an organic form, or to make a dialectical answer to create a positivity and negativity in the ambience. Eisenman chose the latter. He proposed an appearance extremely regular square box program. Guangzhou Museum embodied Eisenman critical architectural view: Designers deny the architectural design is a closed, separate disciplines. Form the process and methods of architectural forms is not autonomous. But to make their environment dialectic response.
Marcel Duchamp Fountain, 1917 Ceramic, Glazzed Ceramic 15 in. x 19 1/4 in. x 24 5/8 in
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A Copy or A Simulacrum? An Avant-Garde or A Kitsch? Culture Studies Todd Gannon, SCI-Arc, Fall 2012
But what happen when the environment changed? When the environment changed, the critical architecture will become superficial, awkward and even ridiculous. ItÊs like no one asking you a question but you just keep speaking out a certain answer loud and clear, itÊs weird, isnÊt it? Even just a slightly change in the surroundings will also change the intensity of the relationship between the critical architecture and the things it responds to. For example, you ask someone to dinner but he or she begin to answer you with discussion of vegetarian can reduce the carbon dioxide emissions. So there is other people who think it should be changed, weÊre not doing the critical architecture anymore, weÊre going to do something new, which is projective architecture. Projective architecture is something about not trying to give architecture some particular definition or certain response to some situations but think about the basic function of architecture or the pure pursuing of architecture design. The most common idea is to analysis the need and requirement of the building and then collect data of the surroundings, differentiate the data and parameterized the data so the architect can use them as a way to design the building very objectively. One example is an OMAÊs large-scale projects, Xinhua Bookstore Building in Beijing, China, regarding as a representation of the projective architecture. The designer are no longer focusing on pursuit of meaning. But starting from the point of view of the architectural design itself. Organized space through the building itself and the layout of the various functions of the architectural environment in which to reflect. Koolhaas, a architect who wants to fully reflected his thinking and consideration about contemporary social and architecture in his architectural practice. Xinhua Bookstore program directly and explicitly to Put himself into a role on the focus and design experts. No other significance is attached to the building. The designer attend users needs to make the space for activities and these activities are from the environment impact. Did you notice that, even the projective architecture needs something from „outside‰ so itÊs no longer as „pure design‰ as they claim before. Projective architecture is just another version of critical architecture, their original source are both from outside, just focus on different terms of factors. The critical focus more on something spiritual and phenomenal, like meaning and significance so they talk about concept, pursue of feeling; at the same time the projective focus on something more rigid and more concrete, like data that can be visualize and parameterized so they collect data and do research and design base on what they have in hand. In a conclusion, projective architecture is simulacrum of critical architecture because they share the same original idea of doing design, just focus on different aspect of input source.
Each critical architecture is unique and powerful in certain location and moment, we can also say it is avantgarde depends on its particularity and irreplaceable nature. In other hand, projective architecture is somehow more like a kitsch except the very first one. Every projective architecture which after the very first one are just copies of it, they are repeatable and can be built at any place with no characteristic, very easy to do that with the same logic, same method and the same performing way. ItÊs like what happened to the art when the Industrial Revolution begins. Art can be produced very quick and easily and so create the difference between avant-garde and the kitsch and now I use this two terms to indicate the difference between critical architecture and projective architecture. No body like kitsch but everyone likes avant-garde, why? Do we really know how to tell itÊs good or bad to have avant-garde or kitsch? If you know one kitsch architecture which is actually an avant-gatde architecture once but the surrounding changed so itÊs not valuable anymore, itÊs not fit to the surroundings and standing for its own statement in a weird, not acceptable way. In the meanwhile, if you know a avant-garde architecture which is actually just a kitsch but it really serve people with the function it provides very well and just stay in its own duty as a ordinary building, would you say you like it because it do nothing else than a building? I donÊt think so. There are too many this kind of buildings in our daily life, we need them but we donÊt appreciate them. We all being attracted by those few critical „avant-garde‰ architecture, they donÊt really serve people but people like them. ItÊs a example about how ridiculous people judge things. In my opinion, architecture is no need to do some certain kind of manipulation tactics or obey certain kind of theory, we Introduction to Contemporary Architecture need to find a balance between critical and projective architecture or both will be not so proper to other people except one who build the building, which can give the architect self fulfillment.
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1GB Studio M. Arch I Margaret Griffin SCI-Arc Spring 2013
Precedent Studies: Esherick House, Louis. I. Kahn, 1961 Studio, Margaret Griffin, SCI-Arc, Spring 2013
The house has a simple design with a central lobby featuring a staircase and a lounge area with a fireplace. The general shape of this two-story house is rectangular. However, the symmetrical articulation of the windows and entry readily reveal design concepts used earlier by Kahn in its architecture, institutional and public, where larger and smaller windows in the monumental facade create an impression in his overall exterior and some windows are deeply inserted in the volume of the building.
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M. C. Eisher: Meaning of Tesselation Studio, Margaret Griffin, SCI-Arc, Spring 2013
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
Split the hexagon evently into 6 parts and each of them has a different part of repeatable patten of M. C. EsherĂŠs original work. Re-assemble these triangles into a Octahedron which has its 6 faces from the original hexagon.
Using the given space type 60ft x 30ft x 25ft to crop the different scale of octahedron groups. And to see the changing process of mass and void between the box and the ortahedrons.
Smaller scale makes the octahedrons more like a mass.
At the same time, the bigger scale makes the octahedrons have more possibilities. When it becomes bigger it serves more like a void part of the entire space. ENBO CHEN
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
From exterior to interior, keep testing the relationship between the box and the octahedrons in different scales and trying to meet the solution which can blur the boundry of mass and void. Once the edge of these two chacracters was broke, people can no longer tell them from each other by simply seeing it, instead, they need to be involved in it, explore it.
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
Figure/ Ground relationship to the site in from large to small scale.
The „box‰.
The „octahedron‰.
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
Ground Floor
Second Floor
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
Third Floor
Top View
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
Long Section
Cross Section
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
South Elevation
North Elevation
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Project: Single Family House Studio, Margaret Griffin, SCI-Arc, Spring 2013
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1GB Apply Studies M. Arch I Environmental System I Ilaria Mazzoleni/Russell Fortmeyer SCI-Arc Spring 2013
Project: Light, Air and Sound Environmental System I, Ilaria Mazzoleni/Russell Fortmeyer, SCI-Arc, Spring 2013 Tube Located on Fairfax and Melrose Avenue is Pugh + Scarpa’s Cherokee Loft. Due to it’s close proximity to such a busy street, the complex is exposed to constant traffic noise that disturbs the courtyard space. The concrete courtyard is also subject to direct sunlight, which translates to significant solar heat gains during the hot summer months. This condition is especially evident between 11am to 3pm, when sunlight compeltely fills the courtyard. The lack of greenery or any other interventions also eliminates any means to provide shade or to trap cool air.
Summer sunlight angle
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Our proposal for the public space is with a system of transparent tubes that are mounted high in the courtyard area There will be three types of tubes which each addresses a problem spot. These tubes will also extend into the interior rooms and provide other functions. 89.1°
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Southwest winds ventilate the courtyard and individual units.
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Currently the Cherokee lofts lacks any electrical lighting in its public area, which includes the stairway/hallways, and the courtyard. The purpose of this tube is to provide lighting to those spaces and create a safer environment for the residents. The Light tubes are fitted with a Philips light fixture that houses a single T8 Lamp. Our lamp of choice is the Philips EnduraLED lamp which will use 22 watts and induce a cost of 1.1$ per day.(12 hours) The initial lumens of these lamps are high(1650), which coupled with a wide viewing angle(120) means less lamps are needed to adequately light up the public area.
Positioning of lamps to provide complete light coverage.
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A. 10” diameter Tube B. Water supply pipe C. Vegetation D. Soil and planting bag E. Nutrients F. Drainage
A. 10” diameter Tube B. Frame to secure fibres C. Optical fiber
To provide both shade and air cooling abilities, the grass tubes is our proposed solution. These tubes will be completely opaque due to the soil placed within the transparent tubes, thus providing shade to the space below. Using the mist created from watering the plants, the air will be cooled before reaching the lower areas where people may occupy. The watering process will occur in different areas throughout the day to ensure complete coverage in air cooling.
Optical fibers will be used to collect sunlight via a lightbrick on the roof of the complex. These fibers will carry that light to interior spaces but will serve another purpose for the open public areas. The density of these translucent fibers will create a non intrusive method to diffuse direct sunlight going into the courtyard. By diffusing the sunlight it is then possible to reduce the ambient temperature of the courtyard.
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Warm air gets cooled down by the mist.
Diffusion of natural sunlight reduces the solar heat gain.
Melrose Ave.
Fairfax Ave.
Having addressed air and light, we aim to reduce the noise that is transmitted to the courtyard from the surrounding neighbourhood. The complex is located within close proximity to several commercial units, including a few restruants; these all contribute to the 60 dB measured from the courtyard area. Our proposal to reduce sound levels is to fit the panels at each end with a double glazing system.
Sound transmission from Fairfax Avenue and surrounding neighbourhood.
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A. Aluminum panel with 10” perforations B. Glass C. Aluminum spacer Panels reflecting sound from nearby buildings and traffic
Our scenario involves an artist who wishes to light up his work space through out the day. Currently this space is lit by two recessed lights with CFLs producing 12.4 fc. The interior continues the usage of the tubes, and mainly focuses on the lighting aspect. Extending into the private space, the tubes will utilize the same T8 lamp to light up the studio space at night for the artist. But during daytime we will resort to a light brick which will collect sunlight and concentrate it into a cost free way to provide lighting. Each light brick is connected to one optical fiber, which produces 4 to 10 fc of light output depending on weather conditions.
Light brick collecting sunlight and concentrating it to its optical fiber.
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A. 10” diameter Tube B. T8 LED lamps 48” C. Optical fiber lamps
Each optical fiber lamp has an initial lumen of 150 fc.
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1GB Visual Studies M. Arch I Anna Neimark SCI-Arc Spring 2013
Techniques of Representation II: Letter “e” Visual Studies, Anna Neimark, SCI-Arc, Spring 2013
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Using the font type developed by Le Roman Du Roi as a start point to understand the process of 2-D letter font constructioin. And then convert the logic behind the construction process into Grasshopper scripts to obtian a font making system which shares the same idea and rules with the letter font formig precedure of Le Roman Du RoiĂŠs font. Letters are no longer letters anymore after we break it down into geometric components which we can obsserve clues from the grid and center points on the original line drawings. Futher more, we have deeper understaing in 3-D space by combining two different letters and make a 3-D model of it. The 3-D model somehow shows a intersting character, misreading.
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Techniques of Representation II: Letter “e” Visual Studies, Anna Neimark, SCI-Arc, Spring 2013
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Techniques of Representation II: Letter “e” Visual Studies, Anna Neimark, SCI-Arc, Spring 2013
We started form 2-D to 3-D then came back to 2-D again. Color takes a significant part in the rendering as the geometry does in the font making process. Testing varies of colors in order to see how colors can affect our visual literacy without the form changing. Exploring how colors can compose a legible image as an element and the role whichgrid takes in the font transformation somehow gave me an idea about what I should try for my final rendering, pixelization. Brake down the oringinal rendering into thousands of little squares, each of them has same three portions of colors in it. We can change the portions in ordeer to make each pixel looks differnet. By setting up certain portions of colors in certain pixel in certain place we can reassemble the original rendering with very simple and basic elements. The idea is consistent to the geometry based font making system, use basic elements to create varieties.
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1GB Culture Studies M. Arch I Dora Epstein-Jones SCI-Arc Spring 2013
Precedent Studies: Temple of Apollo at Delphi Culture Studies, Dora Epstein-Jones, SCI-Arc, Spring 2013
Introduction Delphi is a small citizen-state of the Phokian Greece, also home to the sanctuary of Apollo, the most prestigious of the ancient Greek oracles. The site is spectacular, situated on Mount Parnassos, with the valley of Plisto bottom far below.2 According to G. Bejor, in his book known as Ancient Greece the Famous Moments Past and Present: the sanctuary was first built during the archaic period to host the cult of the snake Python, son of the Mother Earth. The Place had its contemporary name when the cult of Apollo Delphinios, i.e. the god worshipped in the shape of a dolphin. Site If we take an overview of the whole site, the largest sanctuary (Temple of Apollo) with the oracle of Apollo Pythios is on the West side, which consists of a large rectangle yard on the flattened part on a steep downward slope. The Sacred Way lead to the main sanctuary from the northeastern side and goes up to the temple of Apollo spirally, between the treasuries and the other offering buildings. According to Tony Spawforth, in his book: The Complete Greek Temple, the temple is the centerpiece of ApolloÊs precinct. Special sancity was claimed for the spot, as the tomb of the god Dionysos and as the earthÊs center of navel, marked by an ovoid stone. The temple also housed an altar with a perpetual fire, conceived as the communal hearth of Greeks everywhere. History According to G. Bejor, in the book, Ancient Greece the Famous Moments Past and Present: a temple was built on the same site during the seventh century BC, which was destroyed later in a fire in 548 BC. Construction of the second version of the temple was financially supported by Greek cities and by King Croesus of Lydia and the Pharaoh Amasis as well, thus alluding to the sites international importance. According to Nanno Marinatos and Robin Hagg, in their book, Greek Sanctuaries, it argues that this phenomenon can be explained by Delphi Âs classification as an inter-urban sanctuary. Such places were located far away from major cities and, although they were under the control of their nearby city-states or amphictyonies, they had an aura of neutrality, thus forming ideal places for political interaction and making Delphi an important location to nations outside of Greece as well.
Sanctuary of Apollo, restored view showing location of treasury. Classical Archaeology 244, The Archaeology of Greece Š 2006 G. Kenneth Sams and the University of North Carolina at Chapel Hill
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Precedent Studies: Temple of Apollo at Delphi Culture Studies, Dora Epstein-Jones, SCI-Arc, Spring 2013
Around the end of the sixth century BC it was replaced by a new temple which was financed by the expatriate Athenian family of Alkmeonidae.8 Later in 373/2 BC, it suffered from serious damages by an earthquake, many city-state worked together in order to restore it. G. Bejor further relates that it was rebuilt by the architects Xenodoros and Agathon, who kept the same plans of the original sanctuary.9 What we see today on the site is the result of restorations between 1939-1941. The foundations of the pillars and the walls of the cella are still clearly visible today, lying on the ground in silence. Dimensions According to Tony Spawforth, in his book, The Complete Greek Temple, the templeÊs structure had been changed in order to fit the foundations, having served as both quarry and mine (for metal clamps.)10 And as found, the Temple of Apollo is a peripteral temple of Doric order, 60.32x23.82 meters on the ground and 58.18x21.64 meters on the top step(stylobate), with Poros stone pillars plated with marble stone, 6 on the short sides and 15 on the long sides. With 6 by 15 Doric columns in the exterior and internal colonnade framing the cella, which had two pillars, both on the porch as well as on the opisthodrome, whereas inside there was the adyton, which means the restricted area, the most sacred place of all temple that no one could enter, since it contained the omphalos, navel, the center of the world. Reconstruction If we want to imagine how the temple looks and works in that time, according to Tony Spawforth, in his book, The Complete Greek Temple: funded in fits and starts, construction was long drawn out and uneconomical. Soft limestone from Corinth, plastered and painted, was used for most upper parts, with additional marble trim, notably the roof tiles and gable-sculpture and the pillarsÊ architraves were adorned with the shields of Persians. A sunken area at the back housed the oracle, and a ramped approach. And ancient writers describe a room in or near the sunken area „in which they seat those who would consult the oracle.‰ The front porch housed the maxims of the Seven wise men. during the Roman period it was honored by the first Roman leaders and later by emperors such as Augustus, Nero and Hadrian. Gradually, however, it fell in decline. In 385 AD Theodosius outlawed paganism and forbade the existence if oracles. Since then, „the voice of the water faded away‰, as its last priests allegedly have said.
Organization of Floor Plan/Program Although the second version of the temple only remained for about one century, and then collapsed in 373/2 BC due to an earthquake, we are able to obtain some conclusion regarding its construction. According to Gottfried Gruben, Greek Temples, Theatres and Shrines, the pediments in the temple which were designed following the Doric tradition rules, have been pick up together from remains that were hidden in the earth under the collapsing temple. Gruben further relates that it describes the composition of these pediments, they represent the graceful and statuesque qualities of the Doric style. This artistic sensibility would continue to be maintained during the construction of the third Temple of Apollo at Delphi. Once again, funding was collected for the templeÊs construction and by around 320 BC the third temple had been completely constructed right on top of the previous templeÊs foundations. The basic architectural structure of the third and final temple is almost the same as the previous temple, there is still a great deal to be learned and discussed in reference to the way in which the architecture and construction functioned in accordance with religious rituals. According to Evi Melas, The Greek Experience, within the forepart of the cella was the hearth of the goddess Hestia and the eternal flame that burned in the name of all Greece. At the back of the adyton, the temple was divided into two levels. On the ground floor, the sacred gold cult statue of Apollo could be found, where visitors could pay homage to the patron deity. The lower floor was divided into two sections by a thing wall, the oikos, for people seeking council, and the antron, for the oracle. It is here within the antron that Plutarch described the presence of „the prophetic fissure which emitted the intoxicating vapor inhaled by the Pythia as she sat on her tripod and prophesied what Phoebus, Apollo, imparted to her. Even though there is no such fissure at Delphi today, there is no rejecting the importance of the structure as architecturally representing its dual nature as both a site of deity worship and prophecy. It is obvious that the temple of Apollo is oriented from east toward to west. Though the reason for this orientation can not be unequivocally determined, it seems probable that it is related to Apollo as the god of the Sun, raised form the east, sunk in the west. The next attribute that seems prevalent was the overwhelming architectural scale utilized. Apollo was undoubtedly a very important god for the Greeks, so it is not surprising that Greek architects would choose to create temple that shows his power and importance.
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Precedent Studies: Temple of Apollo at Delphi Culture Studies, Dora Epstein-Jones, SCI-Arc, Spring 2013
Conclusion Based on the above information, we know that the architectural history of the site is also very complex due to its complex religious history. The ruins visible on the site today are those of the third stone temple, completed in 330 BC on the exact site of its two historical antecedents. The first temple was destroyed by fire, around 548 BC, and not knowing very much of its original design because there is no ruins left, however a lot of information has been acquired about the second and third Temple of Apollo. Finally, there also seems to be a repeat theme of decoration in accordance on purpose. The temple stood for the early Greek aesthetic of simplistic decorative qualities that accentuated the practical face of Doric design. Undoubtedly, the Ancient Greek Temple of Apollo represents the perfect fusion of Doric architectural style and specific deity worship.
West end of foundations from NE, Delphi, Temple of Apollo Photograph by Michael Bennett, May 1991
Distant view of columns from SE, Delphi, Temple of Apollo Photograph by Michael Bennett, May 1991
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ENBO YP CHEN 1985.10.16. Borned in Taipei, Taiwan Lives in Los Angeles, California Bachelor of Engineering in National Taiwan University M. ArchI Student of SCI-Arc
enbo.yp.chen@gmail.com U.S. 323.895.5805 Taiwan 0918.861.568