playhouse sciarc by florenciapita

SCI-Arc Vertical Studio Pita Spring 2020

playhouse

Faculty: Florencia Pita AT: Alayna Davidson

CONTENTS Brief

4-9

Site

10-17

Heritage Square Visit

18-31

Doll Houses

32-45

Students

46-49

Team 1: Amparito Martinez . Yash Mehta

50-143

Chapter 1: Paint Strokes

54-77

Chapter 2: Digital Paint

78-101

Chapter 3: House Studies

102-121

Chapter 4: Curve Catalog

122-131

Chapter 5: Midterm

132-137

Chapter 6: Final

138-143

Team 2 : Bianca Hernandez . Nourah AlBanaw

144-193

Team 3 : Christina Griggs . Jonathan Warner

194-277

Team 4 : Sam Kaufman . Wendy Guerrero

278-321

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

322-373

Team 6 : Giovanna Lima

374-429

STUDIO BRIEF

Brief

Brief Project & Site

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.

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.

Brief

Site

Brief

Procedures

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.

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 ‘reused’ 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 1”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

Chapter 3: House Studies

Amparito Martinez . Yash Mehta House Studies

Chapter 4: Curve Catalog

Amparito Martinez . Yash Mehta Curve Catalog

Chapter 5: Midterm

Amparito Martinez . Yash Mehta Midterm Section

Amparito Martinez . Yash Mehta Midterm Presentation

Chapter 6: Final

Amparito Martinez . Yash Mehta interior perspective

Amparito Martinez . Yash Mehta â&#x20AC;&#x153;paintedâ&#x20AC;? Chair and Throw

Amparito Martinez . Yash Mehta Final

Bianca Hernandez . Nourah AlBanaw

CHAPTER 1: paint strokes

Bianca Hernandez . Nourah AlBanaw paint strokes

Chapter 2: Digital Paint

Bianca Hernandez . Nourah AlBanaw Digital Paint

Chapter 3: House Studies

Bianca Hernandez . Nourah AlBanaw House Studies

Chapter 4: Curve Catalog

Chapter 5: Midterm

Bianca Hernandez . Nourah AlBanaw Midterm Presentation

Chapter 6: Final

Bianca Hernandez . Nourah AlBanaw House Studies

Christina Griggs . Jonathan Warner

CHAPTER 1: paint strokes

Christina Griggs . Jonathan Warner paint strokes

Chapter 2: Digital Paint

Christina Griggs . Jonathan Warner Digital Paint

Chapter 3: House Studies

Christina Griggs . Jonathan Warner House Studies

Chapter 4: Curve Catalog

Christina Griggs . Jonathan Warner Curve Catalog

Chapter 5: Midterm

Christina Griggs . Jonathan Warner Midterm Section

Christina Griggs . Jonathan Warner physical fabric study

Christina Griggs . Jonathan Warner physical fabric study detail

Christina Griggs . Jonathan Warner physical fabric study

Christina Griggs . Jonathan Warner physical fabric study detail

Christina Griggs . Jonathan Warner physical fabric study

Christina Griggs . Jonathan Warner physical fabric study detail

Christina Griggs . Jonathan Warner Midterm Presentation

Chapter 6: Final

Christina Griggs . Jonathan Warner Chunk Model

Christina Griggs . Jonathan Warner Detail Sculpture Models

Christina Griggs . Jonathan Warner Chunk Model

Christina Griggs . Jonathan Warner Interior Perspective

Sam Kaufman . Wendy Guerrero

CHAPTER 1: paint strokes

Sam Kaufman . Wendy Guerrero paint strokes

Chapter 2: Digital Paint

Chapter 3: House Studies

Sam Kaufman . Wendy Guerrero House Studies

Chapter 4: Curve Catalog

Chapter 5: Midterm

Sam Kaufman . Wendy Guerrero Midterm Section

Sam Kaufman . Wendy Guerrero Plaster Cast / Mill fabrication study

Sam Kaufman . Wendy Guerrero 3D scan of plaster cast

Sam Kaufman . Wendy Guerrero Midterm Model / Plaster Study

Sam Kaufman . Wendy Guerrero Midterm Presentation

Chapter 6: Final

Andrew Stone . Asya Nur Celik. Yifan Wang

CHAPTER 1: paint strokes

Andrew Stone . Asya Nur Celik . Yifan Wang paint strokes

Chapter 2: Digital Paint

Andrew Stone . Asya Nur Celik . Yifan Wang Digital Paint

Chapter 3: House Studies

Andrew Stone . Asya Nur Celik . Yifan Wang House Studies

Chapter 4: Curve Catalog

Chapter 5: Midterm

Andrew Stone . Asya Nur Celik . Yifan Wang Midterm Section

Andrew Stone . Asya Nur Celik . Yifan Wang Midterm Presentation

Chapter 6: Final

Andrew Stone . Asya Nur Celik . Yifan Wang Interior Perspective

Giovanna

CHAPTER 1: paint strokes

Giovanna paint strokes

Chapter 2: Digital Paint

Giovanna Digital Paint

Chapter 3: House Studies

Giovanna House Studies

Chapter 4: Curve Catalog

Giovanna Curve Catalog

Chapter 5: Midterm

Giovanna Midterm Presentation

Chapter 6: Final