JOSE L. ESCAMILLA SELECTED WORKS
PRINCETON UNIVERSITY SCHOOL OF ARCHITECTURE
PORTFOLIO 2013 - 2014
1
CONTENTS ELEVATION AMBIGUITY pg. 05 COMPOUND UNIT PAVILION pg. 11 BENCH PROPOSAL pg. 17 RECURSIVE BRANCHING + DENSITY STUDIES pg. 21
PARAMETRIC FIBONACCI ENCLOSURE pg. 25 DOUBLE CURVATURE FURNITURE DESIGN PRINCETON UNIVERSITY SCULPTURE GARDEN TOYO ITO SERPENTINE PAVILION - ALGORITHMIC ANALYSIS pg. 31 pg. 39 pg. 45
ELEVATION AMBIGUITY PAUL LEWIS STUDIO Starting point: Rietveld’s Schroder House’s front facade. What is an elevation without any other pieces of information? This project sought to take advantage of the ambiguity of the elevation as the sole piece of provided information and how, without any supplementary drawings, the information presented in an elevation can be purposefully “misinterpreted” and repurposed. Ambiguity becomes a design tool.
5
The elevation is a conventional piece of information that is nothing more than just a puzzle piece without additional plans, sections, or other drawings. Yet, this ambiguity opens new doors to interpretive design. Using the defining qualities of the De Stijl movement--simple geometries akin to those of Cubism--the front elevation of Rietveld’s Schroder House was broken down in a Mondrianesque fashion, dividing the facade into independent geometric components. Finally, through the contrast between solid + void, the composition of the project took a brand new personality that further builds on facade ambiguity: it is not until one starts turning that the facade revealing the model’s true composition The presence of a plan view significantly reduces ambiguity by acting as a secondary means of information.
6 RIETVELD, SCHRODER HOUSE FRONT ELEVATION
The concept of facade deception led to the idea that information can be purposefully hidden but then gradually and strategically revealed to create effects that capitalize on ambiguity while incorporating the element of time + movement into an otherwise static model.
7
8
9
COMPOUND UNIT PAVILION PAUL LEWIS STUDIO A unit that can build on itself and provide both a unique aesthetic and structural support through its inherent composition blurs the line between the unit, the whole, and in this case, the intermediate element--the compound unit. Capitalizing on the contrast between solid and void that the addition of these compound units create, the stacking of these elements starts opening up a myriad of circulation possibilities. When each block can contribute to the creation, and support, of a circulation path, the final configuration always reflects the influence of the original system.
30’
We were provided with 2 constraints: -A 30’ x 30’ box as the site’s boundaries -The pavilion had to provide a means of circulation from the ground to 15’ above ground.
’ 30
The unit is a simple, uncapped rectangular box. This unit was then used to build a steplike compound system with structural and path-making capabilities.
The compound unit’s profile is given depth, providing structure and circulation through its geometry.
12
The self-compatibility of the system allows multiple units to interlock in multiple dimension. The combination of vertical additions and perpendicular intersections begin defining the pavilion’s path.
After the main structure has been defined, the original 30’ x 30’ box is used to trim down the structure and maximize available space.
Corner intersections provide structure while interior cantilevers allude to the aesthetic of the original system. Interior cantilevers are selectively trimmed for structural and circulation purposes.
The voids formed by the inherent characteristics of the original system act as slots for the steps while the existing structure provides additional support. 13
14
15
BENCH PROPOSAL NAT OPPENHEIMER How can we marry the straightforward, simplicity of an object like a bench, whose purpose is merely to hold itself and people up, with the intricacy of curvatures that characterize 3D modeling tools? This proposal explores the possibilities that complex surfaces and curvatures bring into bench design while keeping functionality, material cost, and assembly in mind.
17
2’
4’ Boxes as dimensional constraints Base lofting contours Box edges shift to guide loft
Box edges as geometry determinants
Initial lofting positioning
Loft sections + structural spine*
18 *would be implemented if constructed
Refined lofted surface
Section contours from loft
Interior offset for final geometry
Double-sheet wooden bench
19 CONSTRUCTION: Each piece would be cut individually (twice for additional strength and volume depending on sheet thickness) on a CNC machine (if available) or by hand.
RECURSIVE BRANCHING + DENSITY STUDIES AXEL KILIAN STUDIO Recursive branching is often one-dimensional: there is often no variation in each step. However, what happens when the parameters affecting the way these branches are generated are constantly being changed, generating multiple iterations of the same process continuously? Using Processing, a visual programming tool, and randomness to produce iterative instances, various gradients and dimensions were constantly generated and projected into the screen. The result: a rapidly changing field of lights that, albeit seemingly unique, was merely a conglomeration of consecutive products exuding the same parameters. 21
22
Varying iterations at multiple levels or recursion. The higher levels, those exuding higher density, are condensed to a 500 x 500 pixel box.
Each set of consecutive branches continues to grow in the same general direction, providing a sense of order and control over a seemingly compleely random structure. This element of randomness, however, allows for variation in a system that is fed the same parameters, allowing for multiple, yet unique, studies of the same system. Finally, the 500x500 pixel box is released to show a greater picture of the expansion and density occurring in higher levels of the recursive process, expanding on the inference + partial picture provided by the original 500x500 constraints.
23
PARAMETRIC FIBONACCI ENCLOSURE AXEL KILIAN STUDIO Generating an entire structure through a single starting point and variations of the point’s displacement challenged the notion of part-to-whole relationships. Rooted in the Fibonacci series, the generation of this enclosure through Grasshopper allowed the entire structure, rather than particular elements, to adapt to particular conditions. Primarily a digitial experiment, its translation into a physical model shed light on the distinction between digital and actual flexibility, signaling the limits of the gray area separating both. (Left: study model)
25
Initial point
Fibonacci distribution
Vertical point displacement (based on Fibonacci iteration)
Threshold curve (bending determinant)
Sample iteration
26
Time of the day was the overarching parameter--the outside element influencing the enclosure’s state + appearance.
27
While at night, the structure would open itself up to provide a clear view of the sky, during prime daylight hours the enclosure would close on itself, providing partial sunlight protection while simultaneously projecting the shell’s pattern into the interior space. This change in openness would occur gradually throughout the day in predetermined intervals.
28
The parametric nature of the enclosure allows for multiple iterations of the same elements. These configurations provide variations in height, interior space, bending amount + degree of bending, among others, providing aesthetic variety rooted in particular needs or preference.
29
DOUBLE-CURVATURE FURNITURE DESIGN JESSE REISER STUDIO Furniture design has always been, par excellence, a microcosm of architectural design. Questions of structure, body to object relationships, and functionality + economy often arise during the design process. These questions call for quick decisions that must allow the final product to be simultaneously functional yet aesthetically intriguing. The main task was to translate the inherent complexity of double-curvature to the fabrication process. It was an exploration of the strengths and weaknesses of complex curvature design and knowing how to intervene and adjust to the limitations posed that translating computer generated geometries into the real world pose. 31
Initial form-finding was achieved through a set of experiments involving the natural displacement of the human body from a standing position to full rest. Extracting key instances from this path yielded an initial protoype from which key curvatures (both in plan and elevation view) were extracted to continue with the form-finding process.
top view
front view
LOFT 32
These natural movements were a determining factor to help understand how the body naturally interacts with furniture but also how furniture could exude bodylike characteristics.
The main curve extracted from the previous stage opened up questions of support due to its cantilevering nature. Like the body it was generated from, this path yearned for structure through interaction with supporting elements.
After developing multiple systems that explored support through interaction and interlocking, a small mesh model was 33 constructed to explore how double-curvature surfaces could start supporting each other through bending, curving onto themselves, and interacting with other elements.
surface selection
bounding box
vector endpoints
contour directions
contours from surface
Formwork + shell-like surfaces (3D model)
34
Custom-cut wooden sheets are used as formwork
Surfaces are re-mapped to diagrids for wire construction
points of intersection
higher intersection density Creating a shell-like surface was deemed inconvenient in terms of fabrication. Final design becomes network of wires that simulates original surfaces while retaining the rigidity achieved through edge ridging. The wire grid created through the distribution of diagonal contours in the plan view yields a higher density of intersection at key structural points, among them points of contact, ground contact ponts, and where the two elements interlock.
35
Early body displacement study models started visually mapping out important points of contact and preliminary curvatures. Once the chair started to take shape, issues of form + rigidity through edge ridging were explored through mesh study models. When the form was close to finalized, negative space study models were constructed to explore their potential as formwork. The full-scale model built upon these concepts, but came up short in terms of structure--the thickness of the wires, as well as the density of the network, was
36
The fabrication method for the final study model brought up questions of fabrication by hand vs. the machine. Material choice further enhanced this debate, showcasing the limits of the human hand when dealing with precision and bending control over a steel-based material. Reverting to the original intention--the surface--and testing it through materials like paper mache and/or fiberglass would be the next step.
37
ho Stan
pe
SCULPTURE GARDEN HAYLEY EBER STUDIO
Nas
The space between Stanhope Hall and West College in Princeton University’s campus acts as a quiet social space that is heavily under-utilized. Paying particular attention to the ground and redefining the relationship between sculpture, space, and user, the site was re-purposed to provide new programmatic and spatial possibilities.
s
all H au
and x e l A
er
Preliminary site analysis shed light on the effect that the intersecting paths had on user/space interaction. As a result, the goal was to design a space that encouragesd user-sculpture interaction through the space itself while providingmultiple perspectives to experience each sculpture.
t Wes ge e Coll
Gr n o The main concept was that of a n “sculptural space” that exuded Can the characteristics inherent in each sculpture and thus invited the user to experience the sculpture from afar but also intimately, keeping the current integrity of how these sculptures are experienced intact.
een
39
Oval with Two Points
The one-dimensional framing qualities of Oval with Two Points was the main component extracted from this sculpture. By creating ribbon-like masses, the user experiences the sculpture through the architecture’s shared qualities and is able to use these structures as resting spaces in the same way the sclpture is often utilized.
Atmosphere + Environment X
The contrast between solid void, inherent in Atmosphere + Environment X, was replicated in the cubic and prism-like geometries generated. The placement of each element in relation to others was also essential, allowing them to work in conjunction and building on each other to seamlessly elevate the viewer to grant him a fuller view of the monumentality of Atmosphere + Environment X.
41
Cubi XIII
Cubi, as the name implies, was heavily influenced by the Cubism movement. The division of simple geometries into smaller fragments, in conjunction with the concept of the offset, was the driving element in creating a space that, like the rest, provides the user with multiple, unique visual and spatial experiences of the sculpture depending on his position.
Human Body
Drawing on the human’s constant need to observe and be observed, the theme of the offset is taken to its simplest form to create a space that allows passerbys to observe each other but also their own selves. Creating voids and pedestals that yearn to be filled by more sculptures, these areas become areas of gathering--for people and thoughts.
43
TOYO ITO - SERPENTINE PAVILION ALGORITHMIC ANALYSIS This analysis of Toyo Ito’s Serpentine Pavilion (2002) focuses on its inherentlly mathematical nature. By reconfiguring the parameters behind the original generative algorithm, the generative process is broken down and mutated in order to further understand the final product and the strengths and weaknesses of algorithmic design. These mutations shed light on the link between process and result as well as issues of structure, lighting patterns, and the collaboration between mathematics as a design + generative tool and human intervention.
45
INITIAL BOX OUTLINE
RATIO SELECTION
RECURSIVE PATTERN GENERATION
PATTERN EXPANSION
TRIMMING OUTLINE
PAVILION PLAN LAYOUT
PERSPECTIVAL LAYOUT
GENERATIVE PROCESS
46
Using the ratio Toyo Ito originally used for the generation of his pavilion’s pattern but leaving it untouched begins shedding light on the need for human intervention in an otherwise mathematically rigorous process. Without this collaboration, the result becomes architecture that lies closer to the realm of the conceptual than the buildable.
solid / void = 25% / 75% 1/2 2/3
2/3 1/2 1/2 2/3
2/3 1/2
solid / void = 50% / 50%
solid / void = 75% / 25%
47
The symmetrical aesthetic, a result from a thoroughly even ratio, demonstrates the importance of the architect’s hand intervention as seen in the corners. However, while the corners might not visually match, the higher area distribution towards these areas appears to increase strength.
solid / void = 25% / 75% 1/10 1/10
1/10 1/10
solid / void = 50% / 50%
48
solid / void = 75% / 25%
A custom ratio favoring a particular corner generates a larger opening towards that weighted area with a similar effect on its opposing corner. However, due to the nature of how the pattern is generated (line connection), there are remnants of the pattern left around these larger spaces, which could be purposefully eliminated to enhance the effect and allow for more light.
solid / void = 25% / 75% 1/10 4/10
7/10
6/10 2/10 6/10 2/10 8/10
solid / void = 50% / 50%
solid / void = 75% / 25%
49
50