PLAYhouse Penn by florenciapita

PLAYhouse

Critic: Florencia Pita Teaching Assitant: Caroline Morgan Weitzman School of Design Spring 2020

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playHOUSE I. Victorian House Studies II. Precedent Research III. Projects

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Studio Brief

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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 every day, 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. 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 suggest 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 were the familiar and the extraordinary cohere. 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 building 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.

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Victorian House Studies

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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. The following chapter features a series of heritage square house studies that collide with the paintbrush catalogue as the first exploration for how paint and architectural details can coexist.

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I The SaltBox. Los Angles, USA. Drawn by: Tynx Taneja II Photograph III Photograph.

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I The Castle. Los Angles, USA. Drawn by: Sierra Summers II Photograph, 1966 III Photograph, 1969.

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I, II, III Colonial Drug 1918, Los Angeles, United States Drawn by: Amanda Gruen

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I, II, III Frederick MitchellMooer House 1894, Los Angeles, United States Drawn by: Karen Toomasian

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I William Hayes Perry Residence. 1876, Los Angeles, United States. II Photograph. 2001. III Photograph. 2009.

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I Valley Knudsen Garden Residence. 1884, Los Angeles, United States. II Photograph. 2013. III Photograph. 2015.

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I Palms Depot. Los Angeles, USA. Drawn by: Bingkun Deng II Photograph. III Photograph.

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I Longfellow-Hastings Octagon House. Pasadena, Maine Drawn by: Huajie Ma II Photograph. III Photograph.

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I Lincoln Avenue Methodist Church. Los Angeles, United States. Drawn by: Rentian Liu II Lincoln Avenue Methodist Church. 1898 III Lincoln Avenue Methodist Church. 2011

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I The Ford House. Los Angeles, USA. Drawn by: Lichao Liu II/III The Ford House. Los Angeles, 1887

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I. Dr. Osborn’s Carriage Barn. 1899, Pasadena, California, USA. Drawn by: Michelle Eshelman II. Dr. Osborn’s Carriage Barn. 1899, Pasadena, California, USA. III. Dr. Osborn’s Carriage Barn. 1899, Pasadena, California, USA.

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victorian building elevation 5.5x8

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victorian building picture 3.25x4

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I James and Bessie Hale House. Los Angeles, United States. Drawn by: Sharvari Mhatre. II Contemporary photograph of James and Bessie Hale House. III Contemporary photograph of James and Bessie Hale House.

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Precedents

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Concert halls were studied at various scales, small, medium, and large. The drawings are represented in the following chapter.

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I (Small) OPEN Architecture. Chapel of Sound. 2019, Chengde, China. Drawn by: Sierra Summers

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I (Small) Les architectes FABG. Mont-Laurier Multifunctional Theater. 2015, Mont-Laurier, Canada. Drawn by: Tynx Taneja

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I (Small) dmvA. The Cube. 2017, Kortrijk, Belgium. 200 seats Drawn by: Amanda Gruen

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I (Small) Renzo Piano. Auditorium Aquila. 2012, Lâ&#x20AC;&#x2122;Aquila, Italy. Seat Count : 238 Drawn by: Nick Kalantzopoulos

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I (Small) Peter Haimerl. Konzerthaus Blaibach. 2014, Blaibach, Germany. Seat Count : 200 Drawn by: Ryan Henriksen

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I (Small) Studio KO. Auditorium at Yves St Laurent Museum. 2017, Marrakech, Morocco. 115 seats Drawn by: Karen Toomasian

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I (Small) Peter Haimerl. Concert House. 2014, Blaibach, Germany. Drawn by: Bingkun Deng

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I (Small) Witherford Watson Mann Architects. Nevill Holt Hall. 17th Century, Market Harborough, UK. Drawn by: Huajie Ma

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I (Small) Haworth Tompkins. Everyman Theater. 2013, Liverpool, United Kingdom. Drawn by: Michelle Eshelman

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I (Small) Architect. Building Name. Year, City, Country. Drawn by: FirstName LastName

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I (Small) Architect. Building Name. Year, City, Country. Drawn by: FirstName LastName

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I (Medium) Delugan Meissl Associated Architects. Festival Hall in Erl. 2012, Erl, Austria. Drawn by: Sierra Summers

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I (Medium) Renzo Piano. Parco Della Musica. 2002, Rome, Italy. Seat Count : 1,133 Drawn by: Ryan Henriksen

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I (Medium) Arata Isozaki + Anish Kapoor. Ark Nova. 2013, Various Locations, Japan. Seat Count : <700 Drawn by: Nick Kalantzopoulos

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I (Medium) Studio Seilern Architects. Andermatt Concert Hall. 2019, Andermatt, Switzerland. Drawn by: Tynx Taneja

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I (Medium) ARKPABI, Giorgio Palu’ and Michele Bianchi Architetti. Violin Museum and Auditorium. 2013, Cremona, Italy. 464 seats. Drawn by: Amanda Gruen

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I (Medium) Studio Andrew Todd. Hardelot Theatre. 2016, Calais, France. 338 seats Drawn by: Karen Toomasian

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I (Medium) Herzog & de Meuron. Caixa Forum Madrid. 2007, Mardrid, Spain. Drawn by: Bingkun Deng

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I (Medium) Grimshaw Architects. EMPAC. 2008, Troy, NY, USA. Drawn by: Huajie Ma

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I (Medium) Arkitema Architects. HOF Cultural Center. 2010, Akureyri, Iceland. Drawn by: Michelle Eshelman

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I (Medium) Architect. Building Name. Year, City, Country. Drawn by: FirstName LastName

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I (Medium) Architect. Building Name. Year, City, Country. Drawn by: FirstName LastName

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I (Large) Volker Giencke. Great Amber Concert Hall. 2015, Liepaja, Latvia. Drawn by: Sierra Summers

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I (Large) Foster & Partners. Sage Gateshead. 2004, Gateshead,UK. Drawn by: Tynx Taneja

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I (Large) Harrison & Abramovitz. The Egg. 1978, Albany, United States. 1432 seats Drawn by: Amanda Gruen

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I (Large) Alvar Aalto. House of Culture. 1958, Helsinki, Finland. 1500 seats Drawn by: Karen Toomasian

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I (Large) Hans Scharoun. Berlin Philharmonic. 1963, Berlin, Germany. Seat Count : 1,180 Drawn by: Nick Kalantzopoulos

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I (Large) OMA. Casa da Musica. 2005, Porto, Portugal. Seat Count : 1,300 Drawn by: Ryan Henriksen

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I (Large) Rafael Moneo. Kursaal Auditorium. 1999, San Sebastian, Spain. Drawn by: Bingkun Deng

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I (Large) Zaha Hadid. Meixihu International Culture & Arts Centre. 2019, Changsha,China. Drawn by: Huajie Ma

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I (Large) Zaha Hadid Architects. Guangzhou Opera House. 2010, Guangzhou, China. Drawn by: Michelle Eshelman

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I (Large) Architect. Building Name. Year, City, Country. Drawn by: FirstName LastName

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I (Large) Architect. Building Name. Year, City, Country. Drawn by: FirstName LastName

FINAL PROJECTS

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Teams I. Sierra Summers & Tynx Taneja II. Ryan Henriksen & Nick Kalantzopoulos III. Bingkun Deng & Huajie Ma IV. Rentian Liu & Lichao Liu V. Amanda Gruen & Karen Toomasian VI. Michelle Eshelman & Sharvari Mhatre

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playhome Sierra Summers & Tynx Taneja

Every stroke of a paintbrush creates something from infinite possibility. It can never be replicated. Each singular brushstroke, unique in its own way, builds up to create something more than itself, a painting. Our brushes not only explore color, but texture, transparency, and thickness. Our project celebrates all of the singular elements that come together to create something new. The paint strokes, the victorian vernacular details, the furniture, and the facade treatments, are all crucial elements in our kit of parts. This approach was also used in the late 1800s, as many Victorian houses were built from an existing catalog, where homeowners could select their own window trim, doorknobs, ceiling mouldings etc. and create your own house The intertwining of paint and architecture allows for a complex reassessment of two seemingly separate mediums. Paint informs architecture and architecture informs paint. The paint strokes transform architectural objects by defamiliarizing them from their classical forms. Architecture elements leave their imprint behind on globs of paint. Our Victorian house, composed of standard elements, comes alive with our painterly interventions. Each brush stroke transforms a detail of the house. The exploration of victorian details such as doorknobs, ceiling medallions, trims, and door knockers evolved into explorations of contour and symmetry. The proposal of paint as an architectural element also introduces scalar shifts that add complexity and new implications on the spatial experience. This is also explored through the reintroduction and reappropriation of Victorian profile curves; a moulding contour becomes a balcony, a glob of paint becomes furniture, and a doorknob detail becomes a roof scape. The swirling paint strokes act as a guide, moving you through the Victorian house and music spaces. The gestural paint strokes connect previously disconnected spaces, blending old and new. The continuous roofscape, plays on repetition and motif, seen in Victorian design. It unifies all of the different spaces of the concert hall. The symmetrical roofscape helps read the complexity of the project. The paint takes over the crevices in the roofs, breaking some of the symmetry.

I Brush Stroke & Color Studies

I Selected Brush for Color Palette II Selected Brush for Color Palette

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III Selected Brush for Color Palette IV Selected Brush for Color Palette

I Drawn Victorian Ceiling Medallions II Digitally Modeled & Brushed Victorian Ceiling Medallions

I Drawn Victorian Door Knobs and Knockers II Digitally Modeled & Brushed Victorian Moudlings

I Drawn Victorian Mouldings II Digitally Modeled & Brushed Victorian Moudlings

I Contours extracted from details

I Digitally Brushed Building Elements II Digitally Brushed Victorian House Study

Sierra Summers & Tynx Taneja. Colburn School Extension. 2020, Los Angeles,USA.

I. Chunk Section Drawing

I. Sectional Chunk Interior II. Sectional Chunk Facade

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I. Sectional Chunk Interior II. Sectional Chunk Facade

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I. I Digitally Brushed Sectional Chunk Interior II Digitally Brushed Sectional Chunk Exterior

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Digitally Brushed Sectional Chunk

I Digitally Brushed Lobby Seating II Digitally Brushed Entrance Lobby I.

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I Digitally Brushed Cabaret Space II Digitally Brushed Concert Hall I.

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I Digitally Brushed Abstracted Sofa II Digitally Brushed Abstracted Table Set III Digitally Brushed Victorian House

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PLAYhouse Bingkun Deng & Huajie Ma

Paintbrushes

Victorian House Case Studies

Catalog of Victorian Elements

Digital Paintings

Section Studies

Chunk Model

Kaleido â&#x20AC;&#x2DC;Scopeâ&#x20AC;&#x2122; The theatrical wonderland dreamed of splashing colors and unexpected views

Rentian Liu & Lichao Liu

The dramatic turns and rises of urban reformations and development taking place in the areas of the Bunker Hill since 1924, completely eliminated the old neighborhood including many Victorian Houses and transformed the land into todayâ&#x20AC;&#x2122;s core cultural districts in Downtown Los Angeles. The gradual establishments of skyscrapers, along with well-known artistic cultural institutions such as the Broad and Walt Disney Concert Hall, bring opportunities and successes of public attention that flourish the area with creativity and inspirations. On the other hand, the removal and disappearance of Victorian Houses from public eyesight, especially its Victorian Ornaments, intricate spaces and unique color palettes, are considered for us, a great loss of cultural and architectural identity that are worth bringing back. All those factors combined, lead to the proposal of creating a Playhouse, adopting itself on the steep slopes that integrates a Victorian House, programs of performances and practices together, with the location adjacent to the art district. Taking advantage of the existing slope, various segments of public terraces are created in-between fragments of the building volumes, not only to break the continuous grounds into pocket spaces for activating small-group gatherings, but also to offer the better accessibilities into various interior spaces. Therefore, the boundary between inside and outside is blurred by such rhythmic joints of flexible elements, while certain degrees of visual transparencies are purposely embraced along the way. Being able to see through, listen to or get a glimpse of what the others are practicing or performing, potential motivations and inspirations could virtuously be stimulated during the process, which is an important learning atmosphere formulated in this built environment. In order to fully utilized both its interior intricacy and exterior elegancy, the Victorian House is integrated as a central piece inside the building. Certain parts of the exterior walls are preserved to keep the overall house volume recognizable, while the removable of the others give opportunities both to reveal the spatial tightness inside, and to allow extensions and openness of the floors to further merge to other programs. Turning both sides of the house into multi-leveled theatrical stages facing the large theater space, and using the Victorian House FaĂ§ade as a constant backdrop naturally introduces such visual aesthetics to the audiences. While the middle core of the house is used for actors as temporary backstage, rehearsal areas and resting quarters. Various levels of openings around the buildings allow visitors to constantly review the house in different angles, at the same time, the main circulation around the Victorian house acts as an incremental sequence to guide the visitor about the theater development history. The color selections that form the paint brushes catalyst primary contrasts, strong senses of directionality, and distinguished characteristics. The paints implemented densely in the central areas with various scales, overlays and combinations, act as not only a medium of camouflage among edges, surfaces and volumes, but also a visual emphasis on the hybridized spatial complexities. Expanding from the chunk, the entire volumetric experience inside the building is filled with Victorian-Style ornaments, curvatures and aesthetics, so that an active educational journey of such visual provision is also unconsciously given to all the visitors and actors, as a historian recall from the initial Bunker Hill District.

Part I - The Victorian Research

Experimentations of Brush Strokes and Color Palettes At the beginning of this exercise, we were curious about the multiple aspects and effects of combined textures and color gradients, which led us to create brush works that bear the volumetric thickness. By intentionally adding ingredients such as model pastes, sands and model gels into the acrylic paints unevenly, the opposed textures between smooth and rough were presented clearly. Then choosing from the existed color palettes, we were leaning more toward the ones that showed more contrasting color qualities with brushworks that went multiple directions and flows. The most successful ones are demonstrated above:

I. Mainly the mixture of Purple, Yellow and White, brushworks dominantly in perpendicular directions

II. Overlay of multiple brushworks in similar directions, blend with white, purple, orange, red and black differently

III. Dominantly red and warm yellow-green with overlay of brushworks in opposite directions

IV. Wavy flows of colors presented in white, light blue, dark blue and slight yellow.

Victorian House with Brushed Paints

Brush with Details

Victorian House with Brushed Paints

Brush with Details

Victorian House with Brushed Paints

Brush with Details

Victorian Tile Catalog I Within the square, various combination of simple geometries are arranged in different orientation, to create an overall symmetrical composition. Either further divided into four smaller pieces of designs or treated as a whole entity, the rhythms or symmetry and repetition are the elegant feature of those selected tiles. Mainly used for floor and wall decorations

Victorian Tile Catalog II Regular geometries can be presented in new ways through rotations and centralizations. While the learning of floral patterns, its associated curves, as well as turning some of the patterns into abstractions are widely applied in tile designed. The key relationship of symmetry is still preserved, but the patterns become much more fulfilled and complicated. The implementation of curves contracts with the straight lines, which further enrich the graphic qualities. Mainly used for floor and wall decorations

Victorian Window Frame Catalog Elements of decorations are essential components in the formation of Victorian window frames. The capitals of the window frames are either decorated with ornaments such as holy cross, floral elements and geometries, or some architectural miniature are added on top to increase its level of details and dedications. Symmetry is still presented. The full-height window frame also includes balcony features.

Victorian Casting Capitals Catalog The sectional profile lines for the capital castings illustrate a rich number of interesting curves that are widely used in Victorian Houses. They vary in scales, shapes and levels of details, greatly depend on the specific style of the individual house. While the elevation of those castings is also shown here. The simplest ones can be only lines, and more geometries and floral elements can be added to make it more interesting. The design options included in this catalog show the different proportions of uses of curves and lines that have the capacity to integrate into various Victorian houses.

Victorian Floral Decoration Catalog v The obsession of observing and learning flowers and plants is well-known as a part of Victorian style design. Books that catalog flower petals, leaves, gestures and colors provided ample amount of materials to study and imitate from. The sample drawings below are some pieces that are inspired from nature. Their irregular and organic curves form strong contrast with the organized and decorated capitals used in the Victorian Houses. The drawings on the opposite page turn nature into floral abstractions, which further demonstrate Victorian dedications.

Detail With Paint-Brushes

Victorian Line Catalog

Part II - The Design

Overall Section

Central Chunk - Front View and Perspectives

Close-Up View - Stage and Backstage in relation to the Victorian House

Close-Up View - Small Resting Quarters

Close-Up View - Terraces of Theatrical Stages

Sectional Z Brush Study

Close-Up View - Stage and Backstage

Close-Up View - Glimpses through the Spaces

Central Chunk - Back View and Perspectives

Close-Up View - Backatages

Close-Up View - Upper Practicing and Resting Corner

Close-Up View - Upper Terraces for Public Gathering

Close-Up View - Backside Resting Area

Close-Up View - Terrace Domains for Practice and Preperations

Close-Up View - Upper Level Corridor

Vignette - Sofas Blending with Carpet

Vignette: Wall Lamps

Vignette: The Balcony

Vignette: The Turning Corner

playhouse Amanda Gruen & Karen Toomasian

Our project originates in an exploration of color â&#x20AC;&#x201C; specifically, pops of orange and pinks grounded by white. Some hints of other colors such as red, blue, and purple find their way in the palette. The form of each stroke transformed the reading of the color. Some strokes are very directional, while some have strong ridges, and others have a varying thickness. In this capacity we explored texture as a possibility for reinterpreting the palette. By playing with scale and transformation of paint through methods such as stretching, dripping, and overlapping, highly recognizable instances of paint are challenged by hybridized versions that retain hints of individual identities. Simultaneously, we researched Victorian houses and built up catalogs with details and profile extractions. The paint strokes work with edges and curves from the catalogs. As we developed the form of the building, we used Victorian profiles as a guide. The paint strokes were also an essential tool as we developed the building geometry. Introducing paint into the spaces offered new readings. We discovered areas where the paint could then create its own form. As we continued painting, we gained an understanding of the rhythm of the paint stroke and how it can be layered and built upon itself to generate moments of clarity but also ambiguity, such as where paint becomes structure, surface, and detail. In this capacity, paint is used as a process of revealing space, such as the transition of the house to the chunk. In our chunk, we focused on the sequence of entering the space, starting with the Victorian House as a threshold through which one walks toward a grand atrium, serving as a moment of focus before visitors enter the theater. In developing the atrium, we allowed the paint to take over the architecture and interior components, focusing on different scales of strokes dependent upon the scale of details. We developed a complex relationship between form and paint. Big brush strokes are slapped onto elegant geometry, creating tension between the paint and the building, suggesting that the spaces can be transformed by the texture of the paint. Yet there are also delicate moments where paint covers small details and objects and marries them to architectural components. For example, the auditorium stage blends with a piano, and furniture in the house attic fuses with roof and walls.

I Featured Paint Stroke Catalog and Color Palette II Expanded Paint Stroke Catalog and Color Palette

I Catalog of Victorian Style Windows II Catalog of Victorian Eaves & Scrollwork

I Digitally Painted Frederick Mitchell Mooer House. Los Angeles, United States. II Digitally Painted Victorian House Eaves

I Digitally Painted Colonial Drug. Los Angeles, United States. II Digitally Painted Victorian House Windows

Catalog of Victorian Profiles

I Digitally Painted Fairfield Dollhouse Study II Digitally Painted Fairfield Dollhouse Fragments Study

3D Painted Section Study

I Digitally Painted Model Isometric Views II Digitally Painted Model Front View

I Digitally Painted Model Dollhouse Facade II Digitally Painted Model Back View

I 3D Painted Victorian Furniture Study II 3D Painted Roof Study

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III 3D Painted Piano Study IV 3D Painted Siding Study

I 3D Painted Victorian Furniture Study II 3D Painted Dollhouse Study

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III 3D Painted Stair Study IV 3D Painted Stair Study

3D Painted Atrium

3D Painted Theater

I Digitally Painted Dollhouse Attic with Furniture II Digitally Painted Dollhouse Entrance with Furniture

PlayHouse Michelle Eshelman & Sharvari Mhatre

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For our PlayHouse, we used the Victorian house as the node from which the three theatres emerge. The theatres are developed using scaled and manipulated geometries and curve profiles from the house details. This helps the new spaces to resonate with the Victorian elements while creating a cohesive whole where the old and new are complementary to each other. The resulting overall geometry appears to be carefully â&#x20AC;&#x2DC;carvedâ&#x20AC;&#x2122; out, giving a naturalistic counterpoint to its inherent Victorian-ness. The ancillary program is embedded within the negative spaces formed by the carving technique. The rooms within the house are activated with programs unique to the theatre experience like informal seating spaces and rehearsal rooms. The balconies and windows of the house double as viewing platforms into the large theatre, further strengthening the threshold between the two. The collection of paint strokes we used are primarily yellow and green with hints of pink and white in them. While producing and selecting the strokes, priority was given to the variation in shapes and density of the colors for a more dynamic interplay during their application without contradicting each other. The hierarchy between the colors in each stroke translates to creating a hierarchy in the details they choose to highlight. The multiple directionalities of the brush strokes, when applied in tandem, highlight the movement within and between the spaces. They flow between certain architectural elements to reinforce the continuity between old and new. They also reveal the idiosyncrasies of the manipulated Victorian details like the shingled roof of the house transitioning into the wall of the cabaret-style theatre above, the bell tower transitioning into vertical circulation between the house and the two theatres above and below, the scaled-up balustrade acting as columns between the house and large theatre, etc. When the paint at these moments is isolated from the architecture, it retains some memory of its articulated origin while also giving it an air of ambiguity to function as an independently complex 3-dimensional object. The paint has a greater density at moments of transition, especially at moments where there is a dramatic jump of scale, to promote its role from being a mere surface textural application to an architectural entity contributing to the overall spatial qualities. The distinctly fluid profiles of the paint strokes lend themselves to further define the manner in which certain elements become ghosted. They also counteract the residual rigidity of the Victorian origins of the spaces. The paint technique was adopted and developed from the 2-d and 3-d studies of the Victorian house and individual details like balconies, windows, and balustrades we did before the midterm especially in terms of selecting the specific area to apply it on and cropping it to portray the distinctive qualities of the detail articulations. They also helped inform the overall distribution of the paint and selecting the areas to apply them to that have undergone a series of transformations from these earlier studies. The portion of the overall project we decided to focus on for the chunk model was the moment of interaction between the house and the theatres as the catalyst for the way the rest of the PlayHouse manifests itself.

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I. Victorian Detail Catalogue, Cornice Brackets and Front Doors

II. Victorian Detail Catalogue, Medallions and Carved Detail

I. Victorian Curve Catalogue

II. Victorian Curve Catalogue

I. Paint Brush Catalogue

II. Paint Brush Samples

I. Victorian Precedent, Hale House with Paint Studies

II. Victorian Precedent, Carriage Barn with Paint Studies

I. Victorian Detail Catalogue, Balcony

II. Victorian Detail Catalogue, Balustades

I. Victorian Detail Catalogue, Front Door

II. Victorian Detail Catalogue, Bay Window

I. Brush Stroke Application

II. Brush Stroke Application

I. Brush Stroke Application

II. Brush Stroke Application

I. Brush Stroke Application, Close-Ups

II. Brush Stroke Application, Close-Ups

I. Ghosted Detail

II.Ghosted Details

I. Section

I. Paint Application - Front Elevation

II. Paint Application - Back Elevation

I. Paint Application Axonometric

II.Paint Application Axonometric

I. Ghosted Detail

II. Ghosted Detail

I. Ghosted Detail

II. Ghosted Detail

I. Section Close-Uo

II. Section Close-Up

I. Section Close-Up

II. Section Close-Up

I. Section Close-Uo

II. Section Close-Up