playhouse_sciarc by florenciapita

SCI-Arc Vertical Studio Pita Spring 2020

playhouse

Faculty: Florencia Pita AT: Alayna1 Davidson

CONTENTS Brief

4-9

Site

10-17

Heritage Square Visit

18-33

Doll Houses

34-49

Students

50-54

Team 1: Amparito Martinez . Yash Mehta

54-165

Chapter 1: Paint Strokes

58-81

Chapter 2: Digital Paint

82-105

Chapter 3: House Studies

106-125

Chapter 4: Curve Catalog

126-135

Chapter 5: Midterm

136-145

Chapter 6: Final

146-165

Team 2 : Bianca Hernandez . Nourah AlBanaw

166-259

Team 3 : Christina Griggs . Jonathan Warner

260-343

Team 4 : Sam Kaufman . Wendy Guerrero

344-381

Team 5 : Andrew Stone . Asya Nur Celik . Yifan Wang

382-457

Team 6 : Giovanna Lima

458-511

STUDIO BRIEF

Brief

Introduction In her novels, Jane Austen (1775-1817) examined the elements of language and the expected social behaviors and class standards that confined the limits existing within the chatter of the daily rituals of her time. In opposition to the restrained structures of speech, her style of writing was loosen and playful, with words such as itty, sprawly and tittupy. These words give texture to the mundane elements of the everyday, heightening the oddly normal details of her context, resulting in the conversion of the ordinary into the extraordinary. Austen’s maneuver in weaving the qualities of language, threading elements of domesticity to those of amusement, presents an environment of playfulness and an acute speculation on the conflicting mandates that society presents. Her whimsical use of childish words warp through structures and compositions, exposing character and allure. Enter architecture, and architectural language. In an aim to ‘learn from Jane Austen’ we might find design well suited to engage the whimsical and the odd, because design is the makeup of ideas, and ideas can be played up. Like a child’s game, the fabric of ‘play’ is formed by the intermingling of structures and oddities, realities and parodies, representations and misrepresentations.

Brief Project & Site This studio will focus on ideas of ‘play’ as an entry into architectural language. We will develop a vocabulary of forms and materials that will unravel living spaces and landscapes embedded with color, texture and ornament. For all that is odd and mundane, there is an architecture full of stuff, and an aesthetic of familiarity and cuteness. In Sianne Ngai book ‘Our Aesthetic Categories: Zany, Cute, Interesting’ she presents the notion of ‘cuteness’ as one of ‘mute poetics’, were language detaches from experience and propels a ‘deverbalizing effect’: ‘We have seen how cuteness cutifies the language of the aesthetic response it compels, a verbal mimesis underscoring the judging subject’s empathetic desire to reduce the distance between herself and the object’. That short distance suggests an aesthetic experience as an act of submission, an access to the enchantment of form and material. The project for the studio will be the design of the Colburn School Campus Expansion, a multi-venue building with a 1,100-seat concert hall, a 700-seat studio theater, and a 100-seat cabaret-style space as well as classroom spaces, rehearsal and student housing. This program goes from the domestic scale of housing to the public sphere of music and theater venues. Because it is private and it is also exuberantly public, it is small and also large, it is the realm where the familiar and the extraordinary cohere. The project site and program aims at connecting to the cultural corridor of Bunker Hill that includes Walt Disney Concert Hall, The Music Center, MoCA and The Broad, making Grand Avenue a unique example of the concentration in the world of performing and visual arts organizations. 7

Brief

Site The site for this project is Bunker Hill in Downtown Los Angeles. This site that until WWI was a residential suburb populated by grand Victorian mansions and an exclusive character. The fast urban growth of Los Angeles and the construction of the Pasadena Freeway permitted the mobility of the residents of this area to move to other suburbs such as Pasadena and Beverly Hills, making Bunker Hill home to poor tenements. The allure of the Victorian buildings began to fade and a new reputation was given to the area from bling to noir. In 1959 with the Bunker Hill Urban Renewal Project the area was razed and everything was demolished to give place to modern plazas and tall buildings, as an image of the modern world. In 2000 the Los Angeles City Council passed an adaptive reuse ordinance, giving new life to Downtown Los Angeles as old buildings could be converted for new living units. At the same time the resurgence of Bunker Hill was brought with new projects on Grand Avenue, such as the Disney Concert Hall, The Broad Museum and more ongoing projects. The project site and program aims at connecting to the cultural corridor of Bunker Hill that includes Walt Disney Concert Hall, The Music Center, MoCA and The Broad, making Grand Avenue a unique example of the concentration in the world of performing-and visual arts organizations.

Brief

Procedures During the mid-XX century Bunker Hill was razed in order to open ground for modernization. All except two Victorian mansions were demolished, these two houses (the Castle and The Salt Box) were raised and moved to Heritage Square in Montecito Hights, just a few miles north. This studio will work with the premise that the houses return to Bunker Hill and are â&#x20AC;&#x2DC;reusedâ&#x20AC;&#x2122; for a new life as Playhouse. We will aim at connecting the narrative of the site as a collage of history, with its past and future overlapping in a haphazard manner. As a stand in for the two Victorian houses, we will purchase Victorian Doll houses in 1â&#x20AC;?scale, these houses will be assembled and will become 1/3 of the project, the rest of the design will derive from a highly pictorial exercise, were paint becomes building mass as well as decorative ornament. The design process will be done by a recursive feedback between analog mediums and digital ones. We will begin by creating fresh paint brushes that will be digitally reproduced by a sequence of steps: paint, photo, scan, mesh & print. The last step will be to print the images on fabric and 3D print the brush strokes. An array of softwares will drive this process, such as Maya, ZBrush & Adobe Substance Painter.

SITE - Bunker Hill, LA

Site: Bunker Hill

Heritage Square Visit

Heritage Square

Doll Houses

Doll House 1

Doll House 2

Doll House 3

STUDENTS

TEAM 1 Amparito Martinez . Yash Mehta TEAM 2 Bianca Hernandez . Nourah AlBanaw TEAM 3 Christina Griggs . Jonathan Warner TEAM 4 Sam Kaufman . Wendy Guerrero TEAM 5 Andrew Stone . Asya Nur Celik . Yifan Wang TEAM 6 Giovanna Lima

PROJECTS

Amparito Martinez . Yash Mehta

CHAPTER 1: paint strokes

Amparito Martinez . Yash Mehta paint strokes

Chapter 2: Digital Paint

Amparito Martinez . Yash Mehta Digital Paint

100

Amparito Martinez . Yash Mehta Digital Paint

101

Amparito Martinez . Yash Mehta Digital Paint

102

Amparito Martinez . Yash Mehta Digital Paint

103

Amparito Martinez . Yash Mehta Digital Paint

104

Amparito Martinez . Yash Mehta Digital Paint

105

106

Chapter 3: House Studies

107

Amparito Martinez . Yash Mehta House Studies

108

Amparito Martinez . Yash Mehta House Studies

109

Amparito Martinez . Yash Mehta House Studies

110

Amparito Martinez . Yash Mehta House Studies

111

Amparito Martinez . Yash Mehta House Studies

112

Amparito Martinez . Yash Mehta House Studies

113

Amparito Martinez . Yash Mehta House Studies

114

Amparito Martinez . Yash Mehta House Studies

115

Amparito Martinez . Yash Mehta House Studies

116

Amparito Martinez . Yash Mehta House Studies

117

Amparito Martinez . Yash Mehta House Studies

118

Amparito Martinez . Yash Mehta House Studies

119

Amparito Martinez . Yash Mehta House Studies

120

Amparito Martinez . Yash Mehta House Studies

121

Amparito Martinez . Yash Mehta House Studies

122

Amparito Martinez . Yash Mehta House Studies

123

Amparito Martinez . Yash Mehta House Studies

124

Amparito Martinez . Yash Mehta House Studies

125

126

Chapter 4: Curve Catalog

127

128

Amparito Martinez . Yash Mehta Curve Catalog

129

Amparito Martinez . Yash Mehta Curve Catalog

130

Amparito Martinez . Yash Mehta Curve Catalog

131

Amparito Martinez . Yash Mehta Curve Catalog

132

Amparito Martinez . Yash Mehta Curve Catalog

133

Amparito Martinez . Yash Mehta Curve Catalog

134

Amparito Martinez . Yash Mehta Curve Catalog

135

136

Chapter 5: Midterm

137

138

Amparito Martinez . Yash Mehta Midterm Section

139

Amparito Martinez . Yash Mehta midterm mill test

140

Amparito Martinez . Yash Mehta midterm fabric model test

141

Amparito Martinez . Yash Mehta fabric mill test

142

Amparito Martinez . Yash Mehta fabric model test detail

143

Amparito Martinez . Yash Mehta Midterm Presentation

144

Amparito Martinez . Yash Mehta Midterm Presentation

145

146

Chapter 6: Final

147

Amparito Martinez . Yash Mehta Chunk Model

148

Amparito Martinez . Yash Mehta Chunk Model

149

Amparito Martinez . Yash Mehta Chunk Model unpainted

150

Amparito Martinez . Yash Mehta Chunk Model painted

151

Amparito Martinez . Yash Mehta Chunk Model

152

Amparito Martinez . Yash Mehta Chunk Model

153

Amparito Martinez . Yash Mehta Chunk Model

154

Amparito Martinez . Yash Mehta Chunk Model

155

Amparito Martinez . Yash Mehta interior perspective

156

Amparito Martinez . Yash Mehta interior perspective

157

Amparito Martinez . Yash Mehta interior perspective

158

Amparito Martinez . Yash Mehta interior perspective

159

Amparito Martinez . Yash Mehta interior perspective

160

Amparito Martinez . Yash Mehta interior perspective

161

Amparito Martinez . Yash Mehta interior perspective

162

Amparito Martinez . Yash Mehta interior perspective

163

Amparito Martinez . Yash Mehta “painted” Chair and Throw

164

Amparito Martinez . Yash Mehta Final

165

166

Bianca Hernandez . Nourah AlBanaw

167

168

CHAPTER 1: paint strokes

169