EUGENE ADAMS MURPHY / GRADUATE ARCHITECTURE PORTFOLIO / UIC 2017
i
The Social Gridwork: A Utopian Headquarters for Facebook
Seminar: Sticky Stacks and Tacky Towers
Metaphorm
Porticomb
Hedge Conditions
1
25
29
39
53
Contents
Furnitecture House
Seminar: Complex Curvature
Theory: Architecture and the City
The Set [with Ania Jaworska]
We Are All Here, Now [MoMA PS1 YAP entry with Ania Jaworska]
73
81
87
91
99 ii
The Social Gridwork: A Utopian Headquarters for Facebook
Professor Sam Jacob
2
This alternative to the recent Frank Gehry design for facebook’s new building seeks to combine facebook’s non-hierarchical office environment with that of New Harmony, the 19th century intentional community. Every floor is one continuous space that contains working, meeting, sleeping, and eating areas. As an extension of the network of working relationships of facebook’s office model, people live and work in project groups. The separation of the different levels, however, creates an aspect of freedom from constant observation of the kind that is present in the Gehry’s design. There are also more private residential units int he volumes that span between floors.
3
Third Level Plan
4
5
Conceptual “Frameworks”
6
7
Rooftop Parks
8
COFFEE
9
Doorways
10
11
Meeting Rooms
12
13
Office Gardens
14
Combinations of or Rotation Around a
15
Tatami Grid (6.3m x 6.3m)
Grid Research
Japanese Kana Writing Practice Sheet
16
+ + +
17
Another Urn in the Wall
18
+
+
+ Lionel March, “Combinations of Arrangements for Rotation Around a Square”, 1965
19
The Map of Rationalism
20
+
+
Japanese Kana Writing Practice Sheet
21
Modernist Play Diagram
WEAK T/E
WEAK T/STRONG E
STRONG T/WEAK E
DOUBLE PINCH
DOUBLE E/T
DOUBLE DART
STRONG T ?WEAK E
STRONG E /WEAK T
WEAK T/T
22
+
+
+ Tatami Grid (6.3m x 6.3m)
23
Expedition T-O the Soane Museum
24
Sticky Stacks and Tacky Towers
Professor Paul Preissner
26
27
Sticky Stacks and Tacky Towers
28
Metaphorm
Professors Stewart Hicks and Julia Capomaggi
30
This combined museum and library uses a suggestive, figural character in both plan and section to create associations in the minds of visitors as they circulate. In addition, it is composed of references to various buildings, each of which tells a story of its own, which in turn interact with the new forms they are mapped onto.
31
Plans
32
33
Sections
34
35
Rendering
36
37
Model
38
Porticomb
Professors Kelly Bair and Thomas Kelley
40
This addition to an existing chapel in Graceland Cemetery combines features of a portico and the function of a catacomb to create a new typology. as you walk through its arms, you are taken down into the ground, where catacombs line the walls. Springing from design exercises involving recognizable roof profiles and superimposed shapes, its walls are composed of gambrel-shapes that overlap and alternate from solid to void. the ceiling of the portico space echos this profile, as does its entrance. The repetetition of this iconic profile saps it of its traditional associations, creating an autonomous ontology of super-imposition, occlusion, and polyrhythms. The solid-void dichotomy of the elevations is visible in plan as well, as the “floor� of the courtyard inverts the solids of the graves outside to create a pattern of voids.
41
Site Plan
42
The imperfect mapping of the wall pattern onto the corners of the courtyard, in which gambrel profiles are broken and turn the corner, creates an impression of an arbitrary relationship between the two. It seems as if the corner could fall at any point in the pattern, creating the idea that there are infinite possible variations. Thus, the actual placement of these joints ceases to be the subject of the architecture, and is replaced in viewers minds by the operation of turning the corner. This effect is reminiscent of Bramante’s cloister at Santa Maria Della Pace where the walls colide with each other, leaving a vestigial volute alone at the corner, suggesting that the walls could meet an any arbitrary point, as shown in the upper diagram.
43
Formal Precedent
44
45
Renderings
46
47
Renderings
48
49
Model
50
X
Typical
003
Gambrel
X
003
Multiply
Gambrel
X
003
Multiply
Gambrel
X
003
Multiply
51
Design Research
Gambrel
Mulitply
X
003
Scale
Gambrel
X
003
Scale
Gambrel
X
003
Scale
Gambrel
Scale
X
003
Orient
Gambrel
X
003
Orient
Gambrel
X
003
Orient
Gambrel
Orient
X
Typical
003
Gambrel
X
003
Multiply
Gambrel
X
003
Multiply
Gambrel
X
003
Multiply
Gambrel
Mulitply
X
003
Scale
Gambrel
X
003
Scale
Gambrel
X
003
Scale
Gambrel
Scale
X
003
Orient
Gambrel
X
003
Orient
Gambrel
X
003
Orient
Gambrel
Orient
52
Hedge Conditions
Professors Sarah Dunn and Sean Lally
54
This multifunctional, 60,000 square foot center is designed to help revitalize a chicago neighborhood, create additional lakefront park space, and create a new hybrid community center typology. To create more continuity between the building and the park space, the design changes the traditional Corbusian “tower in a park” typology to create a “building as a park.” This idea plays out in two ways: green elements such as hedges, pergola-covered walkways, greenhouses, and community gardens are incorporated into the building so that people use it as they would a park; In addition, the building itself acts as a “hedge” in the park by creating secluded and private-feeling beaches for the public, as well as the hostel guests.
55
Site Plan
56
The building sections illustrate the various configurations of built and grown elements that exists within the design. The rolling, berm-like silhouette creates a feeling of being in a topiary-like environment, even when not under an actual hedge.
57
Sections
58
Hotel and Greenhouses
Spa
Baske
Health Center
59
Core Samples
etball
Tennis and Roof Garden
60
61
Entrance
62
63
Hotel Beach
64
65
Basketball Court
66
67
Hotel Balcony
68
69
Spa
70
71
Health Center
Program Diagram Hotel
Hedge Typologies
72
Furnitecture House
Professors Penelope Dean and Grant Gibson
74
This house in a secluded, sandy street overlooking lake michigan is designed for a same-sex couple with one child and a disabled in-law. Taking as its concept the interaction of multi-user funiture and architecture, the design organizes life around various interacting nodes for various activities such as eating, working, sleeping, relaxing, and cooking. The unique funiture creates multiple axes through the house, which in turn generate the window placements. Many pieces are also double-functioning elements, such as a table that also functions as a walkway, or a chair that engages two floor levels.
75
Plan
76
77
Furniture / Architecture Synergies
78
The house is on a hill facing the lake, and as such, the interior is one open space, minus the restroom, to allow views through. Besides the windows themselves, the walls are double-layered with glass inside and expanded copper outside to allow views through, as is visible in the section and the model.
79
Section
80
29
Theory: Complex Cuvature
Professor Geoff Goldberg
82
83
A Good Curved Surface
Professor Geoff Goldberg
84
85
A Good Curve
Professor Geoff Goldberg
86
Theory: Architecture and the City
Professor Alexander Eisenschmidt
88
ANALYSIS Agricultural City was designed by Kisho Kurokawa as a reconstruction scheme for towns in his native Aichi prefecture in the wake of the Ise Bay Typhoon of 1959. While Metabolists were often accused of creating top down systems that didn’t reflect the complexity of a city but the design of a single person, in this case Kurokawa tried to let the city evolve through aggregation, like traditional Japanese villages, in order to retain its character. This could be interpreted as what Isozaki and Asada call “social reciprocity.” However, the grid of the city’s organization, though derived from the traditional 500 meter square organization of Japanese agricultural land, imposes a common scale on the landscape, and puts all future development within a set framework. This casts Kurokawa’s scheme as less agrarian and more urban in character, and puts it more in line with traditional megastructures that try to envelop all aspects of a city into one organizational structure. Yet the urban characteristics it embodies allow it to develop a new way of relating to the rural context. The Ise Bay Typhoon, having destroyed large parts of villages in Aichi prefecture, provided an opportunity to apply new urban ideas that were already being generated by the rapid population and economic growth Japan was experiencing and that the Metabolists latched onto. The idea of situating a “city” in such a rural context of small villages and farmland was also influenced by a similar situation of urban reimagining; the de-urbanists in Russia 89
Grid Research
envisaged new urbanisms that collapsed the divide between rural and urban. Kurokawa, in a parallel argument, reasoned that “no longer, in our times, do modes of living in farm communities differ from those in cities,” and tried to challenge this distinction. However, whereas the de-urbanists were trying to make the city more rural, Kurokawa was trying, seemingly, to make the rural villages he was considering more urban. While the de-urbanists created linear “cities” that followed the curves of highways, Kurokawa’s plan involved creating a grid, which, though derived from agricultural units, was urban in its regularity and uniformity, especially when juxtaposed to the frequent adaptations Japanese agricultural divisions have to make to site conditions. Moreover, in its sprawl, it links the surrounding villages together, creating the basis for what looks like a larger urban area. And indeed, Kurokawa even considered that these villages might one day be cities, and planned accordingly. Without a doubt, Agricultural City brings the urban grid to the rural landscape. In addition to claiming it abolished distinctions between urban and rural, Kurokawa also stated that the city would accumulate slowly, in the style of traditional Japanese villages. This approach seems to be guided by the overarching theories of metabolism— of growth over time adding onto a fixed substructure. However in this case, as in the case of Arata Isozaki’s City in the Air, the substructure too would evolve and spread out a web of connections and interconnections.
In Isozaki’s case, he even developed this interactive method further in a project he called “Incubation Process”, allowing visitors to an exhibit to place representations of towers wherever they liked and to connect them freely with string1. However, while Isozaki’s towers allowed connections in all directions, making the overall structure a web of connections with no real author, Kurokawa’s grid allows connections in only four directions, and his various designs script out a set of ways in which they can be combined. No matter what interventions the residents may make, this overall structure will be readable, meaning this city would always lack the complexity of “social reciprocity” that marks, for example, traditional Japanese villages. However, while the “three-dimensional approach to farmland and residential space [gave] the farm town a city-type structure,” it also allowed it to step lightly over the terrain of the country3. The raised platforms created by 100m square slabs were connected by streets that Kurokawa sought to “make into architecture,” creating a city “composed not of plazas but only of streets” like Kyoto2. Making infrastructure and substructure (e.g. housing) into essentially one system. These streets in the air are shown used as bridges over a river, allowing a settlement that spans a body of water, unlike the scattered villages with which it is juxtaposed. It is in fact the very architectural streets, lifted from an urban precedent and composed in an unrelenting urban grid, and its three-dimensional, “city-type structure” that
allow the design to accommodate itself so well to its rural surroundings. Though Agricultural City flirts with the rhetoric of the de-urbanists in trying to create a collapse of urban and rural, and with the ambitions of what Arata Isozaki calls “Molecular Metabolism” for a more socially reciprocal design, in the end it remains an urban, singleminded megastructure. However, it is this very single-mindedness that allows it to adapt to its terrain by adjusting its application of gridded city fabric to the ground below. In a way it can be seen not as a hybrid of urban and rural, but more as a typical marine, metabolist, megastructure floating over a sea of swaying rice fields.
1. Asada and A. Isozaki, “From Molar Metabolism to Molecular Metabolism,” in Anyhow C. Davidson, ed. (Cambridge: MIT Press, 1998), 64 2. Kisho Kurokawa, Metabolism in Architecture (Studio Vista, 1977), 46 3. Japan Architects 1945-2010 (Tokyo: Japan Architect, 2010) 90
The Set
[with Ania Jaworska]
92
93
Table
94
95
Armchairs
96
97
Credenza
98
We Are All Here, Now
MoMA PS1 Entry [with Ania Jaworska]
100
WE ARE ALL HERE, NOW “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.
101
Site Plan
102
103
Plan Obliques
104
105
Haha
106
107
Signhenge
108
109
Night View
110
111
Perspective View
112