2014 Harrison Steinbuch
I blink. Arrival in terrain unknown. When did this appear, and for that matter, where is here? I turn around. I’ve been here before, And yet with each new site, new sight is explored. I blink again. I don’t know what I’m looking for, But find relief in knowing what I need is near. And I sense, That you are here too. Though I have not quite seen your face up close, I perceive it. I surrender to it. Our connection too tangible to ignore.
As I move, We stumble, Upon space, through space, and into view. I marvel, Over this eclectic world, Which goes on seemingly, endlessly seamless. I peer, Through the wall’s divide, Through the crowd of steel, wood, brick, and hide. I see towers, upon towers, Upon piles, upon flats, In a playful sea of overgrown grass. And there! I see you. Under the shade of a sheltered colonnade. And you see me. And I blink.
+Harrison Steinbuch, “As I stumble...”
Harrison Steinbuch | resume Information
steinbuch.4@gmail.com
513.518.2365
Education
Southern California Institute of Architecture (los angeles ca, september 2012 to september 2014) Graduated Master of Architecture with Distinction The Ohio State University (columbus oh, september 2008 to june 2012) Graduated Bachelor of Science in Architecture Sycamore High School (cincinnati oh, august 2004 to june 2008) Graduated with Honors
Experience
P-A-T-T-E-R-N-S (los angeles ca, summer 2013) + The League of Shadows. SCI-arc Graduation Pavilion. Design, Fabrication and Construction. + Textile Room. M.O.C.A. New Sculpturalism. Carbon Fiber Skin Exhibit. Installation. + SoLA Village. L.A.-Mart 1.6 million square foot Multi-purpose Building Complex along Los Angeles Blue Line. Digital Design Development. SHP Leading Design (columbus oh, summer 2011 and summer 2012) + Ohio State School for the Deaf and Blind. Multi-million dollar Educational and Living Facilities. Revit Modeling, Construction Drawings, Material Studies and Rendering. + Ramtec. Tri-Rivers Career & Technology Center. 10,000 square foot robotics training lab. Revit Design, Detailing and Rendering. Southern California Institute of Architecture (los angeles ca, fall 2013 to spring 2014) + Thesis Teaching Assistant. Research and Design Discussion Leader. + Fabrication Shop. ABS and Powder 3D Printing, CNC Milling, Woodworking, Shop Organization and cleaning.
Fraternity Executive Board Member (the ohio state university, fall 2009 to spring 2010) + House Manager. Chapter of the year. House maintanence and operations. Interior wall graphic Designs, Stadium seating and study room design and fabrication, and Air ducting installation. Habitat for Humanity (2007, 2008, 2009, 2011) + Charlottesville, Virginia. Wood Framing, Drywall, Air Ducting and Foot Bridge Construction with The Ohio State University Architecture Scholars Program. + Columbus, Ohio. Stocking and Organizing the Habitat for Humanity store room. + Cincinnati, Ohio. Restoring and Mural Painting at the main Habitat for Humanity office. Camp Livingston (summers of 2006, 2007, and 2008) + Overnight Camp Counselor. Sun shelter design and fabrication, Large scale mural painting, High ropes corse Belay and Anchor, Lifeguard. Personal Endeavors (2003 to present) + Home Renovation. Home Gutting, Wood Framing, Dry Walling, Tiling, Carpeting etc. + Musical Collectives. Writing, Composing, Recording, Videography, Photography and follow up payments. + Furniture Design. + Sculpture and Painting. Proficiency + Rhinoceros + Maya + Revit + AutoCAD + Z-Brush + Grasshopper + Vray + Mental Ray
+ Adobe Photoshop + Adobe Illustrator + Adobe InDesign + Adobe After Effects + Adobe Premiere + Microsoft Suite
+ Model Making + ABS 3D Printing + Powder 3D Printing + CNC Milling + Vaccuforming + Laser Cutting + Wood-work + Metal-work
+ Photography + Sculpting + Painting + Drafting + Sketching
Harrison Steinbuch selected works
Southern California Institute of Architecture The Ohio State University steinbuch.4@gmail.com
513.518.2365
2014
DS-1200
|
shadows refine form
AP-2200
|
the league of shadows
DS-1201
|
las térmicas del besós
AP-2201
|
skin and bones
DS-1202
|
rumble in the jungle
|
los angeles urban development
VS-3200
|
anexact projections
|
scripting animation
DS-1203
|
ground as figure
CD-3201
|
allen feller theater
AP-2202
|
lines from a sketch
DS-1204
|
form captures moments of context
AP-2203
|
ecotect analysis
DS-1205
|
lines define space
|
|
the painterly effect
| |
pavilion installation thermal power plant redevelopment
carbon fiber experimentation
|
|
los angeles skywalk
| |
design development monolithic facade design
|
bio-campus
sustainable facade system
|
pop brutalism
VS-3202 | the caterpillar’s forest | fantastical design AP-2204 | awkward cousin ernie | furniture design DS-1206 | the game of architecture | hybrid of extremes PS-4200 | photography samples
DS-1200
|
shadows refine form
the painterly effect
SCIarc |
spring
Marcelo Spina |
|
performance theater design
2013 fourteen weeks
This project searches for a contemporary architectural understanding of the term Chiaroscuro; a set of painting techniques from the Renaissance that use hard light to create sharp contrast between form and context. In this sense, the “painterly effect,� refers to the use of hard shadows to represent drastic spatial depth and alter the perception of form.
By projecting a pattern onto the object, based on the shadows of the object itself, form is blurred with context and the figure becomes distorted. This is further articulated by a transparency effect on the exterior shell of the object that physically dissolves the building with its context.
To access the building on the plinth level, one is confronted with a sculptural mass that directs circulation towards the entrance.
Experienced upon
entering is a large public atrium, which can be seen
as the formal mediator between the program within and the context beyond.
The public space [formed by
pulling the interior programatic volume away from the exterior shell] became the space of interest and the focus of the project.
+elevation
+model
+section
+model
+ flattened interior elevation
+model
+elevation
+ plinth plan
+theater plan
+ atrium panorama
AP-2200
|
the league of shadows
pavilion installation p-a-t-t-e-r-n-s
|
summer
|
steel and fabric construction
2013
Marcelo Spina | Georgina Huljich Perched at the corner of 4th and Merrick Street, this semi-perminent outdoor pavilion provides a public event venue for the Arts District in downtown Los Angeles. The project, originally intended as a functional outdoor space, also acts as formal signage reasserting the institutional presence of the Southern California Institute of Architecture in downtown Los Angeles. Mimicking a geode, the pavilion is rocklike on the outside and crystalline within. The large saddle surfaces carve away at the three fingered volume, minimizing the footprint while framing the venue. The verticality of the pavilion provides shadow and shade for late afternoon and early evening events in the area. The whole structure is anchored to the ground at only six points and is reinforced by large concrete foundations. The 8” hollow steel tube structure rises 60 feet in the air with moments of 6 to 10 beams coming together at joints. Prefabricated 3”x4” L-brackets line the structure which simultaneously separate and connect the fabric to the steel.
+pavilion geometric qualities
+ stand off
+ joint detail
+ joint detail
+ foundation detail
+ foundation detail
+ stand off
DS-1201
|
las térmicas del besós
thermal power plant redevelopment
SCIarc |
spring
|
barcelona beach resort
2014
Eric Owen Moss |
seven weeks
Like many waterfront areas around the globe, Barcelona is in the process of re-examining the consequences of long term industrial production, warehousing, and the contaminant record of environmental pollution [vis a vis the replacement of these functions along the Mediterranean coast with resort, entertainment, residential, and recreational purposes]. By far the largest and most promising water front venues is the Termicas Thermal Power Plant Project. The “three chimney” thermal plant, a grandiose piece of industrial engineering and concrete construction, is a highly visible [perhaps the most visible] constructed object in Barcelona. The plant was built between 1970 and 1976, and ceased operation in 2011. The project is to re-make Las Termicas. With the inherent iconicity of Las Termicas, the question of what should be preserved, what should be removed, what should be modified, and what should be added, determined the reconstitution of the three towers. The act of cutting revealed unique geometric properties hidden within the towers, giving each its own distinct characteristic. This action defined a bounding box of preservation, revealed the interior of the towers as the new exterior condition, and opened the back face of the towers to the Mediterranean Sea. The leftover pieces were re-utilized to make unique landscape conditions on site and a new road that redirected traffic through the site and back to the city. This new road connects existing public arenas, introduces commercial and residential life to the beach front, and shields the industrial part of Barcelona along the coast. The building as a whole can be read as an amalgamation of six unique towers. The three new volumes gently guard [or hug] the old chimneys while re-defining the Barcelona skyline.
+ boundary of preservation
+ geometric characteristics
+ cuts and rotation
+extension
+ museum connection
+ new towers surrounding
+ circulation diagram
+ space between
+model
+ground plan
+ apartment plan
+ museum plan
+ hotel plan
+ site model
AP-2201
|
skin and bones
carbon fiber experimentation
SCIarc |
fall
|
pool parti
2012
Marcelo Spina |
fourteen weeks
This project investigates the structural qualities and spatial possibilities of the carbon fiber material.
Experiment-1
Using a CNC foam mold as the base, carbon fiber skins were fabricated with Carbon Tape and Tow.
Experiment-2
Using inflatable pool toys as a bone structure, carbon fiber uinits were compiled to form an experiential half arch installation.
Process Images
+skin
Form Form 1 1 (inches)
24.0
Layer 5: Black Tow
24.0
To
+ black tow x4
To
Layer 4: Black Tow
black + tow x2
1.0
Ta
Layer 3: Yellow Tape x3
+ tellow tape x3
To
Layer 2: Black Tow
black + tow x1
Ta
0.5
2.0
1.0
2.0
24.0
Layer 1: Black Tape x3
1.0
2.0
24.0
+ black tape x3
M
+skin
Form 2
Form 2 (inches)
Ta
Layer 5: Black Tape x2 4.8
+ black tape x2
1.5
To
Layer 4: Black Tow
black + tow x1
1.0
Ta
4.0 6.0
3.0
6.0 1.0
Layer 3: Yellow Tape x1
+ yellow tape x2
6.0
Layer 2: Black Tow
1.0
+ black tape x2 24.0
Ta
black + tow x1
Layer 1: Black Tape x2
24.0
To
M
+ carbon fiber skin|bones
+ carbon fiber
installation
DS-1202
|
rumble in the jungle
los angeles urban development
SCIarc |
summer
|
entangled characters
2014
Eric Owen Moss |
fourteen weeks
This project searches for a more physical and intimate interaction between distinct city parts as a proposition for urban development in downtown Los angeles. Represented as a “playful rumble” between characters, objects interact with each other and their surrounding conditions. Characters twist, push, pull, and wrap around one another materializing as a “knot in space,” entangled around the X, Y, and Z axis. The project is introduced into the urban environment. The pedestrian bridges in downtown Los Angeles set the stage for a range of character development. Originally conceived as independent elevated bridges, with no real overall plan of action, the pedestrian walkways exist today as an incomplete system. Interior lobby spaces link to rooftop plazas, however, there is no reason to occupy the bridges between and the infrastructure rarely connects to the ground level. As characters formalize around the bridges [and between the buildings] they repurpose, reshape, and redefine the unused existing piece of infrastructure. The design consists of: Character Families, each given their own architectural characteristics [different programs, materialities, formal logics, etc] and, Character Clusters, each given a different unifying characteristic [grid, wall, field, volume, surface]. Each cluster of characters connects multiple levels of ground and elevates pedestrian traffic within the city. The space between the characters becomes the new bridge system and sets up a social experience that could not be experienced unless occupying that space.
Back rooms, rehearsal spaces, kitchens, and apartments reveal themselves on the Similarly, the materiality of each character comes from the outside, in. Brick walls exist alongside wood shingles, metal panels, concrete formwork, etc… inside.
Although each form may be read as indeterminate on its own, each object relates inherently to the next through their physical interactions.
+ existing infrastructure
+ charcter infrastructure
Brando
Patrick
Hare PHysical activity center suBdivided interior Walls Brick Facade
+brando lou
Jackson
+patrick
character - hare program - physical activity
character - starfish program - commercial | retail
formal logic - broken interior
formal logic - open floor plan
material - brick facade
material - concrete formwork
mickey
Human Figure conFerence Halls Parallel Wall division Wood siding
+lou
starFisH commercial/ retail sPaces oPen Floor Plan concrete FormWork
mouse aPartment comPlex suBdivided interior Walls Bold lines
+mickey
character - human figure program - office space
character - mouse program - apartment complex
formal logic - parallel divisions
formal logic - subdivided interior
material - wood siding
material - black metal siding
Joe
Jack PerFormance art center oBJect WitHin oBJect tattoo
+jackson
character - jack program - performing arts
camel entertainment center oPen Floor Plan matal Paneling
+joe
character - camel program - entertainment center
formal logic - object within object
formal logic - open floor plan
material - tattoo
material - corrugated metal panels
+interactiing character models
+ shared space between
characters
+ site plan
+ site model
+union bank plaza
+world trade bridge
+bonaventure plaza
+ymca bridge
+ ground level
+ bridge level
+ level three
+ level four
+ level five
VS-3200
|
anexact projections
scripting animation
SCIarc |
spring
|
touch-design
2013
Andrew Attwood |
seven weeks
Using the Touch-Design software light and texture were animated and projected onto a static multi-faceted object.
The two different animated frequencies of light and texture combine to represent an infinite variety of spatial definitions.
DS-1203
|
ground as figure
los angeles skywalk
SCIarc |
spring
|
second ground
2014
Tom Wiscombe and Ming Fung |
seven weeks
This project reimagines the Los Angeles pedestrian walkways. Skywalk acts as a new ground. It is an elevated plane, draped amongst the city, which is delaminated to form volume within. Existing independent of its surroundings, Skywalk is its own object that simultaneously separates and connects the surrounding buildings.
The new ground, elevates pedestrian
traffic and provides a new foundation for urban development.
As an extension of the “space between,� Skywalk provides an opportunity to design a mediating field condition between distinct parts of the city; a public venue linking multiple unique programatic experiences.
The Figure of the Ground was composed by connecting preexisting rooftop plazas and strategically cutting away the surface to reveal the ground below.
This introduces oblique
surfaces to an infrastructure that is otherwise one-dimensional.
Rock-like formations sit both on top of, and within, the new ground. From the scale of furniture to the scale of a building, these rock-like formations add a layer of information to the mediating field condition. They introduce program, specificity, and unity to Skywalk while interacting with the ground in distinct ways.
+ new ground
+ elevated pedestrian traffic
+ delaminated foundation
+site model
+ existing plazas
+ new ground
+ mediating field
+ ground reveals
+circulation
+texture
+model projection
+section
+ aerial perspective
+object|ground
+material pattern
+section
CD-3201 | allen feller theater design development
SCIarc |
fall
|
construction documents
2013
Tom Wiscombe + Herwig Baumgartner |
fourteen weeks
This 10-foot Mega-drawing re-imagines the ‘construction document.’ The peeling, slicing, and dicing of a building to reveal the interior, the infrastructure, and internal complexities is a unique representation of a building’s technical data. Basic structure of the Allen Feller Theater is composed of three systems. The primary structure consists of 18” hollow steel tubing (HST), the secondary structure consists of 12” HST, and the tertiary structure consists of 6” HST. Prefabricated steel connection plates are welded and bolted to join the three systems together. The interior structure acts as a large steel truss system with precast concrete panels hanging on the interior form.
The composite skin, approximately 3 inches in thickness, is composed of a thermo-plastic honeycomb sandwiched between 5 layers of weaved epoxy resin. Each panel attaches to the tertiary structure. Extruded aluminum clips are fastened to the structural system with VHB structural tape. “In a school wide discussion of the difference and perhaps incompatibility of Discipline and Practice, this work is cross-categorical. It proves that while practice often follows disciplinary inventions, there is a potential for invention to arise from practice itself.” -Tom Wiscombe
+interior details
+exterior details
+ interior theater structure
+18� primary steel structure
+ secondary structure
+ exterior skin paneling
+ structural systems
+ahu
+air supply +air return
+boiler
+hvac system
19'-1 1/2"
Exterior Panel Schedule sq. ft.
irrugular panels
regular panels
A.1 A.2 A.3 A.4
3504 2818 1155 4939
61 70 19 82
52 56 32 62
B.1 B.2 B.3 B.4 B.5 B.6 B.7 B.8 B.9 B.10
553 408 843 2012 1371 2406 936 744 302 678
7 0 4 44 21 32 13 7 0 6
19 23 36 31 27 30 17 22 15 21
C.1 C.2 C.3 C.4 C.5
3554 649 522 1453 586
67 6 2 16 8
47 12 16 36 15
D.1 D.2 D.3 D.4 D.5 D.6 D.7 D.8
1896 4544 2473 1255 3949 1866 779 3557
34 67 31 12 70 24 2 61
27 56 24 28 56 26 19 40
E.1 E.2 E.3 E.4 E.5 E.6 E.7 E.8 E.9 E.10 E.11
329 97 928 1638 508 3547 762 4415 736 152 540
1 0 14 24 1 70 12 88 8 0 2
14 6 17 31 23 61 13 61 10 14 22
F.1 F.2 F.3 F.4 F.5 F.6
1290 199 229 74 2200 187
20 1 0 0 45 0
21 6 12 4 30 11
G.1 G.2 G.3 G.4 G.5 G.6
1101 574 327 1921 1113 1013
13 3 1 31 15 25
29 21 12 24 23 26
H.1 H.2 H.3 H.4 H.5 H.6 H.7 H.8
2751 439 1295 841 727 272 1401 769
55 3 19 10 4 2 23 10
37 12 29 21 16 13 21 18
J.1 J.2 J.3 J.4 J.5
144 411 729 291 108
0 0 8 0 0
12 16 9 14 10
69'-6"
Name
A.1
A.2
A.4
group_A
A.3
C.3 C.1 C.2
C.5
C.4
group_C
F.2 F.4
F.1
group_F
F.6
F.3
F.5 J.1 J.2
J.3
J.4
0
25
50
100
150 ft.
group_P J.5
D.1
group_B B.1 B.4
B.2 B.3
B.7
B.6
D.2
B.8
D.3 B.5 B.10
B.9
group_D
D.4 D.5 D.6
E.4 E.2 E.3 E.1
E.5 D.7 ’ 8.25’
66
. 11
E.6
E.7 8.25’
D.8 G.1
H.1
E.8
G.2
H.2
E.9
group_E
H.4
G.3
E.10
H.5
group_G
H.3
E.11 H.6
G.4
group_H G.6 G.5
H.7 H.8
AP-2202
|
lines from a sketch
monolithic facade design
SCIarc |
spring
Marcelo Spina |
|
whole dichotomy
2014 fourteen weeks
Monolithic architecture exists in a paradigm between Representation and Realization. Architecture cannot be built of one single piece, but Monolithic design searches for that quality of singularity. That is, the image of built form strives to look monolithic even if it is not. Successful monolithic designs, like those designed by Étienne-Louis Boullée’s, look at a building as a singular mass as well as a meticulous repetition of a singular unit
(i.e. walls made of columns, cannonballs, books, doors, etc). Propelled by new developments in composite materials, manufacturing technologies and aesthetic sensibilities, monolithicity has become the predominant form of avant‐garde architecture in the past two decades.
This project attempts to realize the Tokyo Opera House as designed by Jean Nouvel and Phillip Stark in 1986. Taking the motifs from the hand drawn elevation, overlapping layers of pultruded PLA plastic mimic different qualities within the sketch. The facade system provides transparency effects while reading as a monolithic structure from a distance.
+layer01
+layer05
+layer02
+layer06
+layer03
+layer07
+layer04
+compiledPLA
+ cfmf interior + truss system + secondary structure + exterior paneling
+ layered pla pultrusions
+exploded elements
+ facade model
DS-1204
|
form captures moments of context
|
biological research campus
The Ohio State University | Lisa Tilder |
fall
sustainable design
2011
ten weeks
This project puts to question the idea of sustainability in architecture. The word sustainability derives from the Latin word Sustinere which translates to “Maintain, Support, and Endure.” Located on St. Croix in the Virgin Islands, this Biological Research Campus calls attention to the importance of maintaining and supporting the natural conditions found on the site. Each sculptural mass is elevated on the pedestal of the modern ideal; a cube buried beneath the ground, reveals the cavernous, more natural spaces above. Each form, wrapping within itself, “captures” distinct moments of water, wetland, dryland, and forest. Through the manipulation of form and careful placement of form within the context, the surrounding ecologies “fuse” with each object. Form becomes completely emerged in these different ecologies blurring the boundary between form and context.
These spaces support the
parameters for human life and natural systems to coexist and thrive simultaneously.
+ perspective section
+water
+wetland
+dryland
+forest
+ auditorium interior
auditorium space
+
+ wire mesh
model
+site model
AP-2203
|
ecotect analysis
sustainable facade system
SCIarc |
spring
|
solar radiation analysis
2013
Ilaria Mazzoleni |
fourteen weeks
Appling knowledge of Sustainable Design, Grasshopper Scripting, and the Ecotect software an efficient facade system was designed. Using Gecko and Grasshopper, solar radiation and daylight analysis defined a parametric function to determine ideal aperture placement and size.
Each
panel became the response to specific requirements for performance and aesthetic value.
The final product combimes optimized aperture sizes based on peak solar analysis and optimized shading components based on interior daylight studies.
0
0
100 200 300 400 500 600 700 800 900 1000
1
2
3
4
5
6
7
8
9
10
100 200 300 400 500 600 700 800 900 1000
1
2
3
4
5
6
7
8
9
10
Wh/m2
%
+ east facade
analysis
analysis
0
0
analysis
0
%
+ north facade
+ south facade
0
Wh/m2
100 200 300 400 500 600 700 800 900 1000
1
2
3
4
5
6
7
8
9
10
0
Wh/m2
0
%
+ west facade
analysis
100 200 300 400 500 600 700 800 900 1000
1
2
3
4
5
6
7
8
9
10
Wh/m2
%
N
S
E
W
DS-1205
|
lines define space
pop brutalism
|
mess-thetics
SCIarc |
fall
2012
Florencia Pita |
fourteen weeks
This project attempts to fuse pop art and brutalist form. The design process began with the generative forces of a simple 2-D graphic pattern applied at multiple scales of representation. Experimenting with layers of graphic information, extrusions, booleans, as well as cuts and pulls to found space, Bold Graphics influence Bold Form. Together, graphics and form blur the building with its context while distorting the perception of the building outline.
In other words, this project searches for the acid-like effects of the visually noisy to blur the boundary between what is object and what is field.
+ landscape model
+building model
section
plan
+ mixed media model
VS-3202 | the caterpillar’s forest fantastical design
SCIarc |
fall
|
zbrush modeling
2012
Elena Maferdini |
fourteen weeks
The primary focus of this project was achieved through the use of 3 dimensional digital scanning and 2.5 dimensional software manipulations to produce a fantastical landscape.
Experiment-1
Using the recently developed 123D Catch software, 3 dimensional objects were captured as digital representations and Zbrush modeling was used for detailing and texturing.
Experiment-2
Using Zbrush and incorporating the different objects from Experiment-1, a landscape model was composed. Representing “photo-realistic” and “fantastical” object morphologies, this became a study of the relationships between: texture, detail, light and depth. As a result: The Caterpillar’s Forest.
+ fan palm tree
+ king mushroom
+ the cater-
pillars forest
+ final exhibition
AP-2204 | awkward cousin ernie furniture design
SCIarc |
spring
Greg Otto |
|
tensile and rigid structures
2013
fourteen weeks
This small chair design is a hybrid structure consisting of tensioned fabric and rigid structural systems.
The goal was to combine different
materials giving the chair a sense of character.
The load of a person sitting down is absorbed by the tensioned canvas and carried to the ground by means of two stacked catenary curves. Informed by a hanging chain model, one curve is composed
of layered wood and cardboard, while the other is composed of welded steel.
As a result: Awkward Cousin Ernie.
oard
+ ernie clan
ernie mies tent
ernie peg tent
ernie mies ernie lawn
ernie mies tent
ernie
ernie lawn
A person’s downward load created by their weight is supported by the tensioned fabric.
Tension fabric distributes forces into the steel frame and bottom of the compression member.
tent
ernie lawn
ernie bert
Compression member, created from compressed sections and threaded rods, takes the forces and distributes them into the ground.
+ ernie lore
ernietent cardboard ernie mies
ernie cardboard
ernie lawn ernie peg tent
ernie peg tent
ernie bert
The plan was to have yellow umbrellas set up in California and blue umbrellas in Japan at the same time. - Christo and Jean-Claude “The Umbrellas,� 1984-1991
"Chairs are architecture, sofas are bourgeois." - Le Corbusier, 1912
ernie mies tent
ernie mies tent
ernie lawn
ernie lawn Gehry came to the attention of the public in 1972 with his "Easy Edges" cardboard furniture. - Frank Gehry, 1972
e
+ ernie drawn
+ ernie exploded
+proto ernie
DS-1206 | the game of architecture hybrid of extremes
SCIarc |
fall
|
affinity theory
2013
Michael Rotondi |
fourteen weeks
What is the Game of Architecture? How do you play? What are the rules? If architects are the players of the game, each with their own particular moves, do we share any affinity with one another? Point, line, plane, and volume. These are the rules of the game and they are organized on a playing field. In this particular instance, unique moments of living, working, shopping, and entertaining are simultaneously separated and connected through the shared space between [affinity space]. Each programmatic experience is given its own unique materiality and is elevated to their own distinct level on piloti. This allows access to the entire field condition with minimal interference. Columns are points of interest that define ground planes. Planes become walls which define spaces. Walls then become volumes, essentially acting like signage for the architecture within. Moving through the site becomes about the experience of stumbling upon these multiple unique programmatic experiences.
The moments of overlap are the spaces of interest which is captured as an object of its own. This shared space between exists as a volumetric tree-like network, simultaneously separating and connecting the multiple occupiable and programmable parts of space to the system of architecture as a whole.
The SPACE between, feeds into defined SPACES. It is upon recognition of and exploitation of this organizational system that distinct architectures may begin to coexist within a larger framework; to have a conversation through form; to play the game of architecture. A building has the potential to be less a distinguished mass and more a collection of spaces plugged into that game.
Then design becomes less about the spaces themselves
and more about the space that connects them to each other.
+ living -various brick
+ working -corrugated steel
+ shopping -glass panels
+ entertaining -wood shingles
+ site diagram
+plan site
+ site section
+ exterior perspective
+ building diagrams
+building model
+ building section
+ affinity space
+ building plan
Photography Samples
+3535 hayden, summer 2014
+Samitaur Tower, summer 2014
+Knowlton School of Architecture, spring 2012
+Caltran , fall 2013
+Burnside Bridge Portland, spring 2012
+Pedestrian Bridge Portland, spring 2012
+Gamble House, fall 2013
+Knowlton School of Architecture, spring 2012
+Santa Monica Pier, fall 2013
+Stealth, summer 2014
+Disney Concert Hall, fall 2013
+Caltran , fall 2013