Gateway Portfolio

HAZELYN AQUINO GATEWAY PORTFOLIO 2013

The experience of SCI-Arc has been quite influential in shaping the way I view architecture, and how I’ve learned to design and build from one simple idea. Starting from precedence studies in the beginning of a studio semester, to how projects should be shown through different means of representation. From renders, diagrams and drawings, these are the basics of representation of a project.

However, personally, I find that drawings have developed into being the strongest point of my architectural understanding, as well as what I succeed at rather well. With each class and seminar I am developing these skills further. The process that I have found to be successful is the fact that all seminars are supplemental to the studio classes, and definitely tie in well together with the topic. I often find myself using things from other classes into my studio work.

My portfolio is put together in a way that shows that studio is important per semester and then follows with the seminars, showing research, papers, and then visual studies courses. Seminars are supplemental to the studio experience. Seminars help boost the research aspect of architecture. We research precedence and we research the future of architecture. Researching tools are definitely important as I approach Thesis, and the topics of each seminar class I take are all ideas that could lead into my thesis project, and each class provides new learning tools that could help make thesis a little easier. All in all, each class given has me something I can take awavvy with me through each semester. Whether it’s a new digital tool, a new source of information, or a completely fresh view at looking at something that is deemed conventional, or dead.

Architecture has always been more than just an aesthetically pleasing building to me. It’s the thought process and the non-verbal communication of the architect’s ideas. The goal of the Architect is to combine aesthetics with practicality while pushing the boundaries of normalcy. Normalcy is often associated with the ordinary, an everyday box with windows and doors. One might wonder: what’s wrong with normal? There is nothing wrong with being normal, but things start to blend and it becomes hard to differentiate building types and uses. There’s nothing unique about boxes; they may vary in height, and window distribution, but in the end the shape is still a box. Architecture challenges the idea of “the box” by creating and testing different forms that could replace the “box”.

In creating these different forms, material choices and the testing of material becomes important.

In that way, Architecture is not static in building practices, but rather something that is progressive by way of technology and research.

CONTENTS FALL 2009 STUDIO 1A:

Concepts for the Material World

CULTURAL STUDIES

Introduction to Design Cultures

APPLIED STUDIES

Introduction to Physical World

VISUAL STUDIES

Fabrications & Delineations I

FALL 2011 9

Concepts for the Physical World

CULTURAL STUDIES

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Environmental Systems I

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Attack The Block

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CULTURAL STUDIES

65

FALL 2010 Landscape Urbanism

CULTURAL STUDIES History of Architecture II

CULTURAL STUDIES Humanities II

APPLIED STUDIES

71 81 87 93

VISUAL STUDIES

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SPRING 2011 STUDIO 2B

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VISUAL STUDIES

121

Frameworks & Programs Technology of Description 2

VISUAL STUDIES

134 140 146

STUDIO 3B

Dynamic Architectural Systems: Anabolic, Metabolic, Catabolic

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Environmental Systems II

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APPLIED STUDIES

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APPLIED STUDIES Tectonics

FALL 2012

Introduction to Environment & Climate Technology of Description I

APPLIED STUDIES

128

SPRING 2012 57

STUDIO 2A

CULTURAL STUDIES

Urban Systems

History of Architecture I Humanities I

Field Operations: Static Arch. Systems

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SPRING 2010 STUDIO 1B

STUDIO 3A:

STUDIO 4A

City Operations: Architecture in Critical Settings

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Introduction to Critical Studies

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CULTURAL STUDIES CULTURAL STUDIES Megacities

APPLIED STUDIES

Design Development

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FALL 2009

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1A STUDIO

INTRODUCTION

STUDIO 1A: CONCEPTS FOR THE MATERIAL WORLD It is often argued that architecture is a response to an environmental condition; in this scenario it is a shelter from the elements, a place for our individual collective activity, and a background where our lives take place. In its experimental mode, however, architecture acts on culture. Through it’s deployment of material and organization, architecture not only makes historical processes visible; it can also destabilize social norms, redirect energies, and instill emotional states.

In order to focus on this potential, this studio emphasizes strategies and methodologies over existing beliefs and conventions. Our previous understanding of architecture, as experienced in domestic, recreational, and themed environments, will be helpful, and also be an obstacle that needs to be overcome. Through these obstacle’s we discover that architecture has shifting relationships with other fields. This awareness of other fields will be significant as we move into the territory of experiment and production.

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1A STUDIO

OBSERVATIONAL STUDY

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In the first assignment we survey our environment carefully with a camera to reveal patterns. Each image was taken in elevation so that it appears to be flat or two-dimensional. The images are flat abstract space devoid of convergence and depth, and were taken at a close range. The images were to be taken so that the actual object itself couldn’t be inferred necessarily. We focused mainly on the areas of repetition and variation that the picture represents.

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1 Photostrip 1 of a pattern study 2 Second iteration of a pattern study 3 Three chosen images to use in the next phase of the study of patterns

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SCALE, COPY, ACTION

1A STUDIO

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Taking the 3 images from the previous assignment, we then took smaller crops from that image to generate new patterns.

We then chose one pattern to change into a drawing that would show depth through a hierarchy of lines.

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1 First try at creating a 3-dimensional field from a 2-dimensional crop 2 Second iteration of creating a different pattern with a different crop 3 Exploring the pattern by using hatching to create a hierarchy in the field

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1A STUDIO

WIRE FRAME

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After the drawings, we then went back to the manipulated photograph that was used to create the drawings.

By using wire we generated an interpretation of the depth that the picture indicated. We also had to create a wire frame that could grow into a field by connecting to each other by a rule-set that we individually designed.

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1 Wire frame model with encapsulated volumes inside 2 Detail of wire model connections 3 Detail of how the volume sits inside the wire frame 4 Model of the modules created from inside the wire model 5 Single module that starts as a starting point for an aggregation

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LIGHT STUDY

1A STUDIO

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After creating our field models, we then studied the light qualities that are created by our field.

Throughout the course of the day, we took our models outside to see how it would interact with real sunlight. We used fishing line as our hanging mechanism so that we could capture the effect light had without any interference within the picture. We also used tape to label the orientations as to create a consistency in documentation.

The times that were chosen for this experiment were 9am, noon and 4pm.

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1 Shade study of the model at 9AM 2 Shade study of the model at Noon 3 Shady study of the model at 4PM

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COMPETITION - SITE MODEL

1A STUDIO

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In the competition phase of the studio, we were broken up into 5 different teams that were then subdivided into site model, full scale model, and design team.

This particular group, dealt with an installation that generated a field condition that allowed for porosity and allowed different spatial volumes to occur within it.

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1 View of the site model as it would appear from the stairs 2 View of the installation as it would look as you turn the corner behind the stairs 3 Looking up into the porosity of the field condition that the installation makes 4 Looking at the field condition from the hallway to view how it spans and cantilevers to the wall

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COMPETITION - FULL SCALE MODEL

1A STUDIO

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This is the full-scale model of the same project as the spread before. It shows how it would look and perform at a full physical scale, and not just a conceptual idea as to how it would aggregate.

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1 Looking at the field condition of the physical model as it would sit on a wall 2 Detail view of the units that create the field View of the tunnel-like volume that is 3 created by the field 4 View of the field spanning from the wall to a lower wall -which is not shown in picture

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1A STUDIO

FINAL INSTALLATION - DETAILS

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After the studio competition, one design was chosen to continue with as our final installation.

First it was worked out digitally, and then went into material testing. Below is the process of how one volume was created as the start of the field.

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5 1 Single module in top, side, and front elevations 2 Two connected modules in top, side, and front elevations 3 Another way to connect to modules in top, side and front elevations 4 Two pairs of the previous connected module in top, side, front elevations

5 One “wheel� created from the aggrega- 9 Step 4 - tape the edges to prevent resin tion from one module leakage 6 Step 1 in creating the module - cutting 10 Step 5 - Pour the resin and to coat all out the shape in PETG surfaces 7 Step 2 - Scored, Folded and Taped into 11 Step 6 - Remove the tape and clean its shape 8 Step 3 - Weld the edges shut

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FINAL INSTALLATION

1A STUDIO

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This is the final installation, as we finished assembling it for final review.

It demonstrates the field condition that we all strived to understand, and how the field condition, can actually do multiple actions, like: turn a corner, cantilever, and span, when the design of the starting volume can aggregate and connect to one another in many different ways. It is that variation that allows the field to grow in multiple directions.

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1 View of the installation from North to South 2 View of the installation looking up from one of the bay’s

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1A CULTURAL STUDIES

INTRODUCTION

CULTURAL STUDIES: INTRODUCTION TO DESIGN CULTURES Appropriate to the beginning of our study in architecture in Los Angeles, this course also previews SCI-Arc’s iconoclastic, experimental, and eccentric place in architecture culture. Through intensive research and a series of short exercises, students will articulate and develop hypotheses and positions, and by doing so, will begin to locate ourselves within architecture and design culture.

In this class we look at architectural “projects” and how it passes from architecture’ medias of preliminary experiment and documentation into other arenas of discourse such as exhibition, publication, production, and construction.

Each individual student formulates an argument about a particular project and subsequently present this position. We then see that architecture culture is full of highly formalized modes of presentation, production, and internal critique.

The presentations expose a key feature of our field: “design culture” is not merely made up of formal, material, and technical relationships among objects; it also advances through cultural and disciplinary pressure, articulated positions, and expressions of difference.

This course is not a survey of exemplary architectural projects, nor does it argue that certain practices are timeless or of a universal value. It is throughout this examination of architectural research, production, media, and presentation, we will instead insist on an expansive conception of the architectural project, whose effects, while continually scrutinized, are never fully under control.

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1A CULTURAL STUDIES

RECORD

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The notebook is a seemingly private collection of fragments, recording project details, conversations, site visits, and lectures.

The purpose of this notebook is not to demonstrate that we witnessed some event or conversation. For the purpose of this class, we are supposed to construct a quick and flexible “retrieval” system.

We ask ourselves: do our notes directly pertain to the discussion, lecture or presentation? Do they summarize an idea, or are they full of unrelated terms and images we will probably never return? Finally: can we use our notebooks to reconstruct unplanned but nevertheless key moments in this course’s ongoing conversation?

Since this “record” takes practice, we continually add to our notes; and submit them for review.

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1 Pages of notes showing how the jury would work in a presentation setting, and how we should approach diagramming

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1A CULTURAL STUDIES

PRESENTATION AND JURIES

Each student assembles materials pertaining to an architectural project and present the project in a jury format to a group of fellow students.

Philip Lovell Beach House (1925-1926) Newport Beach, CA.

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1 Sectional plan of the Lovell beach house 2 The back of the house, emphasising that the building is elevated above ground 3 Ground plan of the building - showing how the rooms and spaces are distributed

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4 A picture of the Lovell Beach house under construction 5 Interior view looking out to the beach.

The Lovell Beach house in Newport Beach is Schindler’s second most important project next to the Kings Road House. The building addressed many complex issues, dealing with space, form, and structure. The Lovell Beach House clearly demonstrated Schindler’s architectural philosophy and is considered the greatest contribution he made to modernism in America.

Schindler was inspired by the pile structures at the ocean and as a result lifted the two-story house off the ground, also giving it privacy from the public walkways of the beach. None of the spaces, however, are sheltered from the view of the Pacific Ocean.

A large room with a glass façade penetrates the core of the house and looks out toward the ocean. The second floor cantilevers out from the main volume of the building and creates a balcony for sleeping porches. The roof terrace is used as a private outdoor space for sunbathing. Schindler’s use of interlocking levels and double story heights illustrate a remarkable continuity in both section and plan.

The structure of the beach house added to its dramatic appearance. Five cast-in-place concrete frames extend out from below the raised building. Non-load bearing walls were made of cement plaster and metal. This was perhaps the first time Schindler distinguished structure from enclosed space. The expressive design of the Lovell Beach House reminds us of Schindler’s belief in a good architecture and environment that can improve lives.

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1A APPLIED STUDIES

INTRODUCTION

INTRODUCTION TO THE PHYSICAL WORLD: MATERIALS, BEHAVIORS, FORCES The primary objective of this course introduces us to construction materials and tectonic systems from their history and industrial processes to the conceptual implications.

The intention is to develop our ability to understand construction materials and their physical characteristics in relationship to the making of architecture. This helps stimulate our interest in applying ideas about materials and tectonic systems towards the development of our studio projects and their conceptual underpinning.

This course examines the following questions: how does materiality affect the spatial condition of architecture? How can materiality be the point of departure for the development of architectural ideas? How can the making of architecture affect its conceptual condition? How do strategies about material applications affect architectural ideas?

How do material characteristics affect tectonic systems of architecture? How can the development of new materials affect the development of architecture?

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1A APPLIED STUDIES

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FIELD BOOK CASE STUDY

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Architect’s throughout history have extended their knowledge of architecture by visiting great works of architecture and studying them in site.

By understanding their own movement in time and space on the site in relationship to descriptive documents such as plans and sections, they can understand the architectural effects more clearly. When one studies the sketchbooks of Louis Kahn or Le Corbusier, one sees clearly each architect’s point of view and how discoveries were made during these visits that lead to ideas within each architect’s own work. Sometimes these discoveries were directly related to the effects that were intended by the authors of the projects that they were studying and sometimes the discoveries emerge from their own point of view and their particular read of the project, but either way, great architects understand that architecture is ultimately about experience and field trips are critical to understand the impact and potential of architecture.

Following this great tradition, we work in teams to prepare a detailed booklet that will contain documentation of the observations and discoveries that we made during our field trips.

We study the conceptual conditions of architectural space in relation to materials and systems of construction.

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1 The red color highlights the case study of Diamond Ranch High school, while the yellow highlights the surrounding neighborhoods 2 The blue lines indicate the surrounding main roads and highways around the site

3 Red arrows indicate the main pathway around the school, while blue indicates the minor pathways that lead onto the campus 4 Highlighting the main path in perspective 5 An overall picture of the main campus

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1A APPLIED STUDIES

FIELD BOOK CASE STUDY

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The group I participated in worked on Morphosis’ Diamond Ranch High School. This was our first pass at learning how to diagram and understanding the fundamentals of a project. We specifically looked at the site context, the organization of the project/programming, the spatial systems and the structure.

Not only did this teach us how to critically look at buildings, but it also taught us how to work in a group.

Corrugated Sheet Metal

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1 Diagram showing how they approached excavating the site 2 Diagram showing the site after excavating some of the land out 3 Diagramming the two most used materials in the construction of Diamond Ranch High school

Concrete

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1A VISUAL STUDIES

INTRODUCTION

FABRICATIONS AND DELINEATIONS This class serves as an introduction to the principle skills and discipline of making and drawing.

Through various assignments, employing a range of conventional media like scale drawings, model and object work we develop our skills for detailed observation and to-scale translation of visual and spatial ideas. The fabrication of physical prototypes is emphasized to instill an ethic of hands - on making and to initiate the instincts for 2D and 3D representation of physical form.

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1A VISUAL STUDIES

DRAWING TO MODEL & MODEL TO DRAWING

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The class started off by doing freehand drawings in a triptych form, starting with straight lines, with each variation in the line emphasized as you moved to the bottom of the page.

Next was to recreate the most interesting variation of the freehand drawing with the use of drafting tools. After the completion of the drafted drawing, we photocopied it and transferred the image to a piece of strathmore paper and used that as the basis of a physical model.

We used the lines we had created as cutting guides.

We cut wherever we saw fit, and folded the paper into a model that fit into a 7x5x5 box.

Once fitted into the box, we used a grid to mark major points of the model, and translated that back into another 2d drawing.

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1 Detail of the drawing created with drafting tools 2 The physical model created by cutting and folding of the drawing 3 The model encased in a box with a grid drawn on it marking a major line in the model

4 Translated drawing of the physical model 4

SPRING 2010

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1B STUDIO

INTRODUCTION

STUDIO 1B: CONCEPTUAL STUDIES FOR THE PHYSICAL WORLD Our body’s relationship to our surroundings affects our perceptions and experiences. It is through the continued study of space-making we start to look at how the body is situated, and how the body can reshape space into an environment.

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DEFINING & INTERPRETING SPACE

1B STUDIO

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Given an assigned pattern with two assigned operations, we were instructed to create a 3-dimensional object that could grow by aggregation to fill a 12-inch by 12-inch square.

Upon completion of the model, the entire studio pinned up their individual models to display an array of multiple operations. We were then to choose two sets of nine projects that we would take pictures of to create an axonometric drawing.

After the axonometric drawings were finished, we then implemented a coloring system that would define the surfaces, or volumes that the objects suggest. In my drawing, I highlighted planes that enclosed spaces by green, and blue highlights exterior surfaces. The second drawings uses a similar coloring method, but highlights diagonal surfaces versus vertical surfaces.

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1 Given pattern with assigned operations: bending and creasing 2 Final model using bending and creasing to create an aggregation 3 First study model exploring bending and creasing looking at void space 4 Second study model looking at bending and creasing without creating a large opening 5 Two compilations of 9 projects that would be the basis of an axonometric drawing

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1 Color designation of a drawing done by me 2 Color designation of a drawing given to me by a partner

DEFINING & INTERPRETING SPACE

1B STUDIO

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1B STUDIO

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BODILY EXPLORATIONS

In pairs of two we staged a sequence of three moves that we would use as a study of body movement and interaction between two people.

These studies were translated into hand drawings that were layered to show how the movements occurred in relation from the previous stance.

The other set of drawings were axonometric drawings that depict the motion of leg movement between the two figures.

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1 Axonometric drawing that maps the intersecting movements between two bodies 2 One of three sequences of a body movement study

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SPACE SUIT

1B STUDIO

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Combining the first two assignments, we continued to study scale. We created a “city-scape” for a person to traverse.

However, the person wears a “suit” that is generated from the drawings as well. This “suit” either allows this person to traverse more freely or hinders their movement.

The suit I designed hindered movement in the front and back which forced themselves to either crouch or balance themselves to move about the “capsule”. The capsule is a specific place within the city.

Upon completion of the drawings, the next step was to physically construct a part of the “city”, making minor adjustments to it as needed. We then looked at the model to study the light conditions that were created.

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1 Cityscape drawing: a combination of the first two axonometric drawings that were done 2 A zoomed in drawings of a person within the capsule within the city 3 Zoomed-in detail of the “capsule” and its llighting condition 4 Perspective view of the city model; paying special attention to the shadows created

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GONDOLA & SKI-TERMINAL DESIGN

1B STUDIO

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Building on what we learned in the previous assignments, we continued to look at scale for the rest of the studio. But instead of looking from the overall picture to the small, we were now looking at it in reverse: the small picture to the big picture.

Working in partners, we started by looking at the Gondola. The gondola that we came up with had an exposed skeleton/structure that slowly rotated in section creating a slope on the interior. The structure is wrapped with triangulated strips that would serve as protection for the interior.

The ski lift design stems from the skin wrapping around the gondola. But instead of it being something that wraps, it becomes a roof system that regulates light throughout the site, and also becomes a wall system to control circulation.

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2 1 Elevation of the gondola: establishing the entrance to the gondola 2 Front view of the gondola; showing how the skin traingulates and surrounds the structure of the gondola 3 View of the ski terminal coming from behind what would be the cafe 4 View of the ski terminal as one would see it as they ski or snowboard down the slopes 5 Another view of the terminal as one would see it from the slopes

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1B CULTURAL STUDIES

INTRODUCTION

HISTORY OF ARCHITECTURE I: PREHISTORY TO MIDDLE AGES

History of Architecture I introduces the evolution of the build environment as representative of people’s symbolic, economic, political, and physical ideals from prehistory to the middle ages.

The course intends to proved a fundamental method for understanding how people use architecture to present meaning and intention. Particular attention is given to the evolving status and role of the architect in the ancient world as well as to the development of architecture as an autonomous discipline.

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1B CULTURAL STUDIES

THEORIZING ARCHITECTURE

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Our assignment is to write an academic essay in architectural theory using selections from Vitruvius and analyze a concept, topic, or theme while also using Hanno Walter Kruft as a historical context for understanding the author’s writings.

THE IMPORTANCE OF AN ARCHITECT’S EDUCATION Education is a good basis for any profession.

An Architect’s education requires more than just subjects that are related to Architecture.

Architects have to be well versed in a number of things that have been listed in Vitruvius’ The Ten Books On Architecture. The main importance of an Architect’s education according to Vitruvius is “practice and theory”. This means that the Architect must have experience in hands on labor as well as be well rounded in their education. Another interpretation of this is that the Architect must be a master of “fabrica” (craft) and “ratiocinatio” (theory)… a concept characterized by scientific content. There should be a balance between the hands-on experience and the thought processes that go along with that manual manipulation of the design.

Vitruvius continues to explain the importance of the knowledge an Architect must encompass.

First the Architect should be skilful with the pencil. The Architect must be able to use his drawings as words to convey his thoughts and his design. Although, it is obvious that an Architect must be able to draw, in order to become effective it takes much practice for his drawings to embody a lot of information that cannot be described otherwise. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compass. Therefore it allows Architects to practice the theory of proportionality in the layout of their drawings through the order of what is drawn first, whether that should be distinguished through the thickness of lines or the tone of the line.

Secondly, the Architect must be knowledgeable in history. Historical knowledge is required if

the architect is to understand ornament and its meaning. In order for an Architect to design, they must study the work of Architect’s before them. It could either be a form of analysis or as a source for them in which they can draw inspiration from. History will also show how the mind of an Architect works; it shows the thought that went behind creating their piece of Architecture, thus the care of craft that went into putting that into their overall design will be shown in the physicality of the building.

Philosophy then comes into play in the mind of the Architect. It makes an Architect high-minded and not self-assuming, but rather renders him courteous, just, and honest without avariciousness. In other words, it allows the Architect to open his mind to other ideas and other perspectives, and isn’t selfish about their own thoughts. The Architect looks at the overall picture from different points of views to get a better understanding of anything. Philosophy then sets a stamp on an Architect’s character overall. Philosophy requires the Architect to think deeply about ideas and answer theoretical questions. It shows the mixture of manually creating something alongside the creative mind of what Architecture could be described as from a philosophical viewpoint.

The Architect should also be familiar with more science-based subjects aside from humanities. They should have general knowledge of Medicine. It seems odd that Architects should even possess knowledge of this, but at the time Vitruvius wrote this, it seemed to be a critical.

The reason an Architect should know Medicine is on the account of the questions of climates,

air, the healthiness and unhealthiness of sites, and the use of different waters. An interpretation of this is that the Architect should be familiar with the site and possibly the landscape around it and what it can provide for those who inhabit the environment. Air quality would be beneficial to feel healthier; especially since Vitruvius believed that if there were marshes in the neighborhood that the mist would blow toward the town accompanied by the poisonous breath of the creatures of the marshes would make the site unhealthy. Air quality is of importance for a city to feel healthy. Otherwise the “poisonous breath” that Vitruvius talks about would allow for viruses to float through the city causing its inhabitants to fall ill. So it is with practice that one studies the effects the air would have in order for it to become theory.

The mind of the Architect must also be proficient in Arithmetic. The Architect is in charge of keeping tabs on the amount that is being spent on the project and it also helps with music theory. Math plays into this because of the mathematical theory that goes behind music. It may appear frivolous for an Architect to care about music, but it does matter when they design theaters and concert halls. Acoustics are a major importance to this genre of buildings therefore it is of importance for an Architect to know the basics of Music theory. Also, Arithmetic goes hand-in-hand with Geometry due to the calculations one has to make to get the right proportions; and with Arithmetic comes the reiteration of order, which is fundamental to Classical Greek Architecture. Order can be derived from arithmetic and geometry. There are rules that are established from mathemati-

cal theory that is proven when an Architect uses both to construct a building. Alongside the idea of math and music comes the idea of astronomy.

Vitruvius says that Astronomers have a common ground for discussion with musicians in the harmony of the stars and musical concords in tetrads and triads and with geometricians in the subject of vision. This highlights the common link between the science-based subjects and brings up the concept that all subjects are somehow interrelated to one another depending on how you put together the information in a cohesive manner. The Architect should be familiar with the sky again because of climate observation and also to practice theory in geometry and the practice of their hand-drawings to familiarize them in mapping out things.

The different subjects that Architects touch on eventually overlap with one another turning into common sense in terms of an Architect. In the end, they are knowledgeable in all subjects even if it means the most basic information. The point is that they are able to have conversations based on the knowledge they have acquired.

It makes sense that an Architect must touch almost every subject possible in order to be well versed since they act as the middleman between clients and engineers among the various other people they work with in the overall scope of a project. The knowledge that an Architect acquires must touch all subjects that could possibly be studied as it they must be able to draw upon some knowledge that they’ve acquired when trying to explain a concept to anyone from any field.

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1B CULTURAL STUDIES

RESEARCHING ARCHITECTURE

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In this paper we research and present the early development of Gothic architecture as represented in the choir and overall church of the Abbey Church of St. Denis, France, 1135-1144. We focus on Abbot Suger’s theory and spirituality, other medieval religious philosophers, and resultant innovations that led to the design and symbolism embodied in this building.

SYMBOLISM IN GOTHIC ARCHITECTURE Gothic Architecture is well known for its monolithic structure as well as the grandiose detail that goes into it. More importantly Gothic Architecture is influential in the construction of Cathedrals, especially through the eyes of Abbot Suger. Suger has been credited with the rise of the Gothic Cathedral and what was the best way to represent many ideas. With the use of Gothic Architecture Architects were able to create these beautiful buildings that are revered for not only its beauty, but also the underlying religious meanings that were showcased in either the structure or the decoration.

We look at the entrance first. We look at the regality of the church in awe at the monolithic structure that stands before us. Abbot Suger added three entrance doors to the new west front, and were recessed behind the ranks of successive jamb columns and eccentric archivaults, all covered with carefully organized sculpture that relates to the biblical kings and queens and by extension the monarchs of France. This shows the relational tie that the cathedral had to the rulers of that city. In the case of Suger, he was akin to King Louis VI; they were the people that gave the money to erect these monuments. The entrance to St. Denis is also marked with battlements doubtless intended to invest the front as a whole with military overtones appropriate to a building symbolizing the Kingdom of Heaven.

These symbols articulate the church’s importance especially the relationship of God and his

1 Establishing view of the St. Denis church 2 Wide-angle shot emphasizing the height of the interior of the church.

the social status scale, the quest was to achieve ever-greater interior height. The grandeur of the cathedral were central to the most fundamental issues of social power. This shows the other hidden meanings to why Cathedrals were so grand in scale; it seemed to be a competition between many different bishops that believed they should be better than everyone else.

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followers. It also showcased the idea that you were protected in God’s kingdom.

Height is the most obvious part of the design.

The key innovations at St. Denis were an accentuated verticality. Suger is credited with having been the first Gothic building. The reason for this is that the structure is only a means to an end. The real qualities that make the Gothic style Gothic are light and unity of design. The design of the verticality in the church is considered to be a grandiose suggestion to reaching for the heavens, reaching towards God and becoming part of his kingdom. With this in mind, we can see that the verticality of the building actually helps emphasize the utility of the windows through the design. The verticality of the building also highlights the liturgical processions, Suger assigned the liturgical functions of the enlargements of the western and eastern parts to the original basilica of King Dogbert, which was consecrated by Christ himself, and thus presented the entire basilica as a unified liturgical space. Among the religious aspects of the height of the building, there is also the other view of why the height was important. On

The windows play a major role in the construction of the church. The opening up of the wall for stained-glass windows was first achieved in the new abbey Church at Saint-Denis. It appears that Suger wanted to open up the wall for more reasons than the religious kind. The glow of windows and the glitter of goldsmiths’ work were not vulgar and impious ostentation but a means of transporting the worshipper beyond earthly beauty towards the divine beauty of Christ, the ‘true light’. Although the Gothic Cathedral has a rich interior, it hardly has any real décor. They kept it simple as a way to humble their faith. They probably felt that it wasn’t important to lavish the interior with anything else as it may take away from the worshipping of God in the Cathedral. This puts an emphasis on how important the church was viewed in

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society up until this day: a place of worship, to feel closer to God. The light, symbolizing divine light, illuminates the interior as though the walls were porous. The light that Suger attempts to capture creates a surreal and ephemeral effect during prime moments of the day.

The idea behind the importance of light in Gothic architecture is that as the most noble of natural phenomena, the least material, the closest approximation to pure form, light can mediate between what is bodiless and what is corporeal. It became essential in Gothic architecture because it was capable of revealing the divine reality that Gothic churches were meant to disclose. The light through the stained glass windows is diffused and filtered giving a soft glow to the interior that would exhibit the qualities of what they expected heaven to be.

In continuing to talk about the windows, more specifically we analyze the Rose Window as a more specific iconic piece of the cathedral that is beautiful yet contains many meanings in one object. Rose windows clearly go far beyond merely letting in light and displaying edifying scenes. They express a whole range of ideas fundamental to the medieval view of the world: number, geometry, hierarch, concepts of cycles, or even the universe. The rose window alone can carry many different meanings, but it is important to analyze the part of the window that describes what the ideals were of the time. The circle symbolized not only the spiritual but also that which is infinite: the universe or the cosmos, including everything created and uncreated. The circle is a symbol that has carried on throughout all of Architecture, the meaning of it has been shifted over time to mean different things, but it has never strayed from religion.

The divine nature keeps all things in their proper order, without confusion, in such a manner that all are linked together in a concrete coherence, each retaining its specific purity. Rose windows, with their circular form, neat subdivisions and large dimensions were the perfect vehicle for

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1B CULTURAL STUDIES

RESEARCHING ARCHITECTURE

1

demonstrations of this ‘coherence’. Every Rose has a centre, a focus, where the most important imagers – often Christ or the Virgin— invariably gets concentrated. The rose window held an opportunity for the diffusion of light as well as to convey a story to those who enter the church.

Next, we should look at the choir. The choir has many tangible readings that are easily overlooked. At St. Denis the new choir was Sion, and its twelve inner columns (strictly, ten columns and two west responds) resembled the twelve foundation stones of St John’s vision in signifying the twelve apostles. Just about anyone could easily overlook such a specific detail of design, but the fact that Suger thought about this shows his dedication to the church and what the church should symbolize overall.

Suger portrayed the choir as a place where heaven touched the earth, a space where the living could glimpse heaven. Suger also intended the columns to represent an event or, better, a state of conditions in heaven into which people also strive to enter (and figuratively do by joining those pillars/apostles standing around the altar) to become, according to Suger, citizens and fellow residents of the kingdom of God. This large space in comparison to the human size was a grand scale, but it was supposed to give you an uplifting feeling as you processed through the spaces. As you entered these spaces, it was apparent that the pillars were not only used as a support system but as a guide to help you reach towards the front, the altar where you could be closer to God. Tying all these elements together we now view the church as a whole. There was a clear geometrical compositional scheme, which, Suger

2

1 View of a rose window inside St. Denis 2 Another view of the interior - showing the quality of light with the expansive height

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wrote, was devised “by means of geometrical and arithmetical instruments” and which governed the placement of the masses of the tower and the position of the grouped window openings. This is symbolic of the orderliness of God’s universe and of the role assigned to all things in His scheme. The construction of the church already meant working on the realization of the kingdom of God. Building a church was in itself a religious act. All this shows how the construction of the church held more to it than the eye could see. The underlying religious meanings were subtle but sacred to the builders and to those who commissioned it. Therefore everything put into the building had some truth to it. Constructional truth meant that the construction of a building should be evident: ornament could be used, but it should not obscure the construction and it should be appropriate in form and meaning. Truth to materials meant that all materials should be chosen for their particular qualities and they should not be painted to look like other materials.

It is with symbolism that drives the cathedral’s design. Each church is supposed to represent Creation in miniature. Through the unity of design one can appreciate the subtle physical details that hold so much meaning to a religion.

With the use of perfect geometric symmetry one should experience what was considered heavenly, especially with the light that filters through the windows that wrap around the top of the cathedral and the rose window. All these elements play a crucial role in the symbolism of religion in the building of the Cathedral.

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1B CULTURAL STUDIES

INTRODUCTION

HUMANITIES I: ANTIQUITY TO MIDDLE AGES This class covers art, literature and culture, with the occasional introduction of various subjects such as music, architecture and drama, from the end of the ice ages to the start of the middle ages. While European sources will be the primary focus, information from non-western traditions are incorporated when applicable. The development of movements and trends in the arts will be placed in the broader context of the social and historic conditions of the time.

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1B CULTURAL STUDIES

ANALYZING GREEK CULTURE

After studying the ancient culture of Greece, and viewing the play entitled “Helen” we are asked to answer several questions as an analysis of our understanding.

GREEK NATIONALISM AND THE ROLE OF WOMEN IN HELEN BY EURIPEDES In the play Helen by Euripides, they show the Greek culture while sharing the story of Helen and her stay in Egypt. In this story Helen is actually shipped off to Egypt instead of Troy, and the Helen that went to Troy was actually a ghost.

There are many themes that come from the play.

But the important key themes to understand are the Greek Culture: their attitude towards other cultures and their view of themselves and more specifically the role of Greek women in society.

In the play the role of the woman was exhibited in various ways. In one instance they were given a lot of power and rule. In the play Helen it was apparent that women were in charge of the burial rites of the men, and had total control over what happened. Women were mostly in charge of running the house everyday since the husbands would be gone majority of the time. And with the husbands either off at war or passed on it makes sense that the women would have to take over such responsibilities. Although they were given power over the responsibilities, they were often short lived and the roles were reversed yet again.

There is also another side to the roles that women have that is shown in the play. On one side we see Helen, who had some power and was considered royalty. On the other side we see the other roles exhibited by other women within the palace of Theoclymenus. We have the maids of the house and the ladies in wait-

ing that attend to Helen. In these roles they are merely servants and nothing more. Another underlying and subtle idea of women in this culture, is that they can be devious. Throughout the play we see a “real Helen” then we see the “Ghost” Helen. There can be an implied idea that Greek women, especially those who were beautiful and of royalty used their cunning to get themselves out of trouble, and could easily use seduction as a tactic for getting what they want, as exhibited by Helen in the play when she convinces Theoclymenus to let her grieve her dead husband and getting him to give her whatever she wanted in exchange for marriage. The division between the classes of women is severe in the play, but it shows you the varied spots a woman could be in.

In contrast to that idea that women had power, the Greek men’s masculinity was highly emphasized. They believed in hand-to-hand combat was the epitome of manliness, and thought anything else was wimpy. In the play, Menelaus had mentioned in his dialogue that importance. His character was also arrogant. It makes one wonder if Greek men were actually like that during that time. They have a great sense of pride for their country. It may have to do with the belief that they were blessed by a God as we learned in one of our lectures. It is possible then that the arrogance of the Greeks were due to this idea that “God was on their side”.

In addition to the ideals of men in Greek culture, Nationalism was quite important. As inferred from the play Greek men were prideful, and because of their pride and love for their country Greece, other cultures believed this vibe as well. In the play Theoclymenus makes it known that he is not fond of Greek men. When he finds out there is a Greek man running around his city he seems to be in an uproar about it.

He then makes it clear that he wants the Greek either kicked out of the city or brought to him. It was also made evident that Greek men weren’t looked kindly upon because the servant that answered the call of Menelaus at the palace gate even said that he wasn’t allowed within the palace because he was Greek. The arrogance that the Greek men seemed to have, especially when they are rulers like Menelaus, seems to rub other nations the wrong way.

In conclusion, the play touches on a lot of varying themes of Greek culture, and although this was a play and was found to be humorous it is through analysis that one can see the different layers of roles that were brought out. From the varying differences in women’s role in society to Greek nationalism and the ideals that men had about themselves and what others thought about the Greeks during this time. All parts blended in to create a flowing story that could easily be missed if one is not paying attention.

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FALL 2010

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2A STUDIO

INTRODUCTION

STUDIO 2A: LANDSCAPE URBANISM This studio explores the limits of the variable conditions, both objective and subjective, that characterize a project site. Objective conditions include the geometry describing the landform, global coordinates, ecology, hydrology along with the climatic, legal and infrastructural forces acting on a site. Subjective conditions related the site to a larger body of ideas or criteria, political, cultural, economic, scientific, and sensory.

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2A STUDIO

PRECEDENCE STUDY

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Landscape is a broad term used to characterize both an exterior condition, and that conditions transformation.

In teams of three we did an exhaustive examination of precedences. Our team focused on “The Highline� in Manhattan, NY. We looked at the conceptual and formal underpinnings of each project. In this assignment we discovered how the details of each project played a role in supporting the thesis or agenda of the designer(s), and zoomed in to reveal the techniques behind the use of: path, view, edge condition, field condition, vegetation, section, elevation and topography, and how these elements both serve the tactic of the designer and accommodate human activity.

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1 Highlighting the Highline and how it crosses over 10th Ave. 2 Diagrams depicting the different programmatic areas of The Highline.

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Venice beach becomes the site that we locally examine to be the basis of our landscape urbanism project. Using the tools and techniques we gained in our study of precedences we translate the information we gather at the site at Venice into graphic formats to get a better understanding on how we should approach our design.

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1 Highlighting the site within a larger crop of the Venice area 2 Highlighted site context in Venice 3 Diagram depicting the different types of circulation around the site

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3

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2A STUDIO

DESIGNING THE PARK

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The way I began to design the park through study modes was done in several ways. I approached looking at circulation in two different ways. The first was through the ideas of paths braiding with each other across the site and intersecting at various points, and the other way was through an exploration study of a field condition. By using thread to create layers, and then another colored thread to indicate circulation

Coinciding with the study model we then distributed program throughout the site.

1

2

3

1 Study model using overlapping lines to create a braiding effect 2 Study model using thread to create a field condition to create layers of density 3 Topography map of the infrastructral idea for the park 4 Diagram showing the percentage of the park dedicated to that program 5 Exploded axonometric highlighting the hierarchy of the programs within the park from least to most important: hydrology, ecology, body, infrastructure, culture

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5

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2A STUDIO

79

DESIGNING THE PARK

The idea behind my project is based on the idea of bringing nature back into the city, and integrating infrastructure with landscape.

In creating elevated pathway’s across the site, an individual can experience the site through leisurely walking, bike riding or even running. The pathway’s vary in height and slopes to accommodate rigourous activity.

Below these “bridges” is the actual park itself, using the infrastructure to house an art gallery. The pack starts at street level and slopes down to create depth throughout the park.

1 Exploded axonometric of the 3D model highlighting the programmatic divisions of the park 2 Circulation diagram using the 3D model created in Rhino

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2A CULTURAL STUDIES

INTRODUCTION

HISTORY OF ARCHITECTURE 2: RENAISSANCE TO THE ENLIGHTENMENT This class surveys the development of architecture and architectural culture from the Renaissance through the middle of the 19th century. It surveys the developments of the 15th century, including the revival of the Vitruvian tradition and the rise of a new attitude toward the aesthetic and civic potential of the built domain; the emergence of architectural practice from the traditional workshop system and the establishment of the “discipline� in the modern sense. It also examines the advent of new representational practices; the rise of the institution of the academy in the 16th and 17th centuries for the training of architects and the production of theory; the invention of new building technologies and materials in pace with the aesthetic, scientific and social theories of the 18th and 19th centuries; and the war of style that characterized the 19th century.

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2A CULTURAL STUDIES

COMPARE AND CONTRAST

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CHOOSING BETWEEN BORROMINI AND BERNINI An individual chooses their favorite architectural style or architect based on a set of criteria that they choose for themselves. These criteria can vary since there are numerous subjects within Architecture that an individual could look at.

Vitruvius wrote several books that explained what his definition of architecture was and what the characteristics an Architect should encompass. There are many things that Vitruvius’ books touch on but there are a few ideas of his that directly correlate to Bernini’s San Andrea al Quirinale and Borromini’s San Carlo Alle Quattro Fontane. To be more specific, we will look at Vitruvius’ ideals of geometry, modularity and the harmony of the overall design.

First we look at the geometry exhibited

by Bernini and Borromini. According to Vitruvius: “Geometry…is extremely helpful in architecture, and teaches….the use of straight lines and then of the compasses, thanks to which, above all, the plans of the buildings on their designated sites can be prepared easily with the correct alignments of right angles, horizontals and verticals.” First we look at Bernini’s floor plan of San Andrea al Quirinale. We can clearly see the elliptical plan and the repeated use of curves. This indicates that he wanted to keep a uniform shape throughout his plan of the church.

One could also interpret that the use of this shape allows this small interior space to appear large when an individual is actually inside the structure. According to Wittkower, the pilasters were a replacement to the chapels that normally appear at the end of the transverse axis. This change actually has the spectator’s glance to sweep around the uninterrupted sequence of giant pilasters crowned by the massive ring of the entablature.

In Contrast we look at Borromini’s floor plan of the San Carlo Alle Quattro Fontane. Here we see a layering of geometries. This is much more complicated plan in comparison to Bernini’s. The density of the geometry does not really

allow for a sense of openness like San Andrea al Quirinale. Wittkower writes that the cloisters contain features which anticipate the basic “orchestration” in the church, such as the ring of rhythmically arranged, immensely effective columns that form an elongated octagon. They both exhibit the compression of space as an individual walks through the entrance towards the altar, but their shapes are radically different from one other.

Another view that Vitruvius points out in his book “On Architecture” is the idea of modularity.

“Modularity originates in proportion. Proportion is the commensurability of a predetermined component of a building to each and every part of a given structure…for without modularity and proportion no temple can be designed rationally, that is unless its elements have precisely calculated relationships like those of a well-proportioned man”(66). Again by looking at the plan of Bernini the module that he uses is apparent: the ellipse. The main ellipse of the plan serves as a guideline of proportions for the smaller niches.

The plan is also symmetrical which again links back to the idea of rationality of design through proportions. On the other hand we have Borromini’s plan which has 2 modules: the rectangle and an elongated octagon. According

to Wittkower, it is in the San Carlo alle Quattro Fontane that Borromini’s designs were actually founded on geometric units. Instead of the idea of adding module-to-module Borromini subdivides a coherent geometric configuration into geometric sub-units. Although both ceilings are elliptical in shape, and in geometries; the subdivision of the geometries used that makes a noticeable difference. Looking back to Bernini’s church we see that the ceiling has a repetitive octagonal coffer that lines the ceiling. There is more uniformity in the Bernini ceiling because of the use of the same shape in different scales, although this is simple there is something beautiful about it.

Vitruvius views harmony as: consisting of a beautiful appearance and harmonious effect deriving from the composition of the separate parts. This is achieved when the heights of the building are suitable to their breadth, and their breadth to their length, and, in a word when all the elements match its modular system. In the Quirinale, we see the repetition of the oval from

the floor to the ceiling, but this was not a coincidence. There was a deliberate choice in the use of the oval for the floor plan and the ceiling. The lower oval refers to the “human sphere” where the marble is darker, and the “heavenly sphere” is colored by white and gold, so that when light filters through the ribs of the dome it has a glowing effect on the statues that appear on the entablature and the “ascension of St. Andrew,” while the lower sphere has a different lighting effect that only enhances the upper half. In the Quattro Fontane, the harmony is not so much in the plan but in the column system. There was a clear system that he used to create a rhythm that combined the tie the three bays to the main axes of the church.

In conclusion to the research and the comparison and contrast of the two Architects and two specific projects; it appears that, based on the criteria of Vitruvius alone Bernini had a better grasp of the ideals of antiquity. He used simplistic geometric shapes repetitively and symmetrically throughout this design of the Quiranale. The geometry then of course would coincide with the use of a modular system that further emphasizes that geometric shape in the end. The lighting effects created by the geometric conditions that Bernini constructed allowed for a very harmonious outcome with the lighting conditions.

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2A CULTURAL STUDIES

ANALYZING MARC ANTOINE LAUGIER’S ORIGIN OF ARCHITECTURE

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ORIGIN OF ARCHITECTURE Architecture marks definitive points in time. It marks what typology was established and it’s influences from previous Architectural ideals. In looking at the Renaissance and the Baroque it became clear to Marc Antoine Laugier that he had to write an essay on Architecture and where the origin of Architecture began and what his Architectural ideals were for his time period, the 17th century.

According to Laugier in his Essay on Architecture, “Architecture owes all that is perfect in it to the Greeks, a free nation, to which it was reserved not to be ignorant of anything in the arts and sciences”(3). In looking at the context of this essay and his critique of the Architecture he sees, I would imagine that he is writing in response to French Baroque architecture. It is apparent that he is not at all impressed by the French Baroque style and that it is actually over-decorated and does not hold any of the values of the Greek which he idolizes throughout the essay. He also goes on to write about the origin of Architecture in general, and how nature is what gave way to the Greek’s perfection of Architecture. Laguier describes it as man using: branches broken down in the forest are the proper materials for his design. He chuses [sic] four of the strongest, which he raises perpendicularly and which he disposes into a square. Above he puts four others across, and upon there he raises some of that incline from those sides. This kind of roof is covered with leaves put together, so that neither the sun nor the rain can penetrate therein (11).

Here he is describing what eventually becomes the Greek style of Architecture. The tree trunks are the columns that are used to support the overall building. The branches that span across the columns represent the entablature and the inclined pieces would be considered the pediment. This not only represents his idea of a “primitive hut” but also becomes the basis

for his argument that this is the origin of Greek Architecture, and that Greek Architecture is in essence the origin for Renaissance Architecture.

He appreciates the Greeks for their simplicity of the building and the purpose of the materials.

A primitive hut can be described as the basis of a typology in its simplest form. In today’s Architectural world, it is becoming increasingly difficult to track back to a particular primitive hut that explains the current typology. The styles as of late have varied over the years becoming more organic in shape and form. It is not necessarily the shape that is found in nature according as Laugier had described: the four columns, the pediment and the entablature all set within a square shape. Today’s primitive hut would consist a lot of smooth surfaces and curves like a skin or membrane that’s wrapped around some kind of structure. The structure of the primitive hut would contain more than the four posts and would probably take on a different form than a square. But the question that would then be: What is the origin of the structure hidden behind a membrane?

One could say that the origin of such modern buildings comes from the era of modern buildings in the 1970’s. Buildings in the 1970’s and the modernist movement were very simplistic and boxy. The next step would be to break away from this simplicity and into deconstructivism which led to the carving space out of cubes, which gives us those curvy membranes wrapped around a structure.

Over the years, Architecture has built various typologies and used different styles. The origin of these styles comes from the alteration of the style before; that being elaborating on the style or subtracting the details to make it more simplistic. It is hard to determine what the next type of Architecture would come next, but we will be able to trace some kind of link to the phase before it.

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2A CULTURAL STUDIES

INTRODUCTION

HUMANITIES 2: RENAISSANCE TO ROMANTICISM

This class covers, art, literature and culture, with the occasional introduction of various subjects such as music, architecture and drama, from the end of the Middle Ages to the beginning of Modernism. The development of movements and trends in the arts will be placed in the broader context of social and historic conditions of the time.

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THE PROGRESSION OF THE RENAISSANCE

The Renaissance played a huge role in bringing back the antiquities after the Dark Ages.

Although the Renaissance can be sub-divided further into the Early Renaissance, High Renaissance and the Late/Baroque period, they improved in their studies of antiquity and continued to improve the style as they progressed through time. There were several pieces of Art and Literature that were presented to us as examples of these sub-categories. Both the art and the literature are specific to their time periods respectively and also correlate to one another. We can see this relationship between the three by how they both stay similar but also evolve.

Looking at the styles of each example we can see exactly how they represent the specific time period they were set in. First we look at Boccaccio’s “Decameron” and we notice in the chapter entitled “First Day” the author describes the city of Florence being affected with what can be assumed as the Plague. One can assume that this best represents the earliest part of the Renaissance because that is when the Renaissance was given birth. Florence was “the” city of its time, and one is able to pinpoint certain things in this era. The plague caused the deaths of many in the city of Florence and it allowed those of the lower class to rise up the ladder and enter what became the middle-class. It was because of this rise of people to become aristocrats that more people had the money to become patrons to emerging artists. Just by that small piece alone we can see that this is from the early part of the Renaissance; art was on the rise.

Next to literature, we observe the art of the early Renaissance. Since they are just beginning to look at antiquity and beginning to re-learn the techniques of the past, we see that sculpture makes a return to the arts. For example, we have Donatello’s “David”. Donatello’s patron was Cosmo Medici. The Medici is infa-

mous for being Patron’s for those who excelled in a medium of art; whether it was painting or sculpting. Donatello’s David is a bronze sculpture created in 1430. The story depicted by the statue, is the biblical tale of a young boy named David slaying Goliath. In this statue, we can see that David is a young boy of 11 or 12 years and has just beheaded the giant Goliath.

His long hair indicates a sense of androgyny, which can be seen as an indication of a young boy before puberty; it also evokes some sense of homosexuality, which was considered to be a dangerous theme of its time. Also, we notice the “contro-posto”, or “shifted weight” stance of David, which is also prevalent of the antiquities.

What is the most important thing to note of this statue is that it is the first freestanding bronze statue of the Renaissance.

Alongside the practice of sculpting we see the art of painting re-emerge. For the early renaissance, we look particularly at Sandro Botticelli’s “Primavera” completed in 1478. The title of the painting translates to the word “spring”.

In this painting we see many Greek mythological figures that are in the forest, which could be interpreted as Eden. It seems that Botticelli was trying to figure out how to create perspective in this picture, but does not quite succeed.

We can see the ground, and somewhat of a horizon behind the trees, but other than that, the overlapping of the bodies does not necessarily create a perspective. Also, paying attention to the “ground” of the painting, we see floral details that fill the space. This actually looks quite similar to that of a woven tapestry that would be hung on the walls of a home. It is not entirely clear as to what Botticelli was aspiring for in this painting, but it was said to be a wedding gift that dealt with fertility. As the Renaissance starts off it becomes clear that art and literature starts to flourish, these two examples were just the beginning of a movement that would further the study of the antiquities.

ANALYZING ART IN A SOCIAL CONTEXT

As we proceed into the next stage, often referred to as the high renaissance, we can see some changes occurring in how the literature was written and the execution of their advancing technical skills in painting. But let us first look at the context of the high Renaissance, and how it is reflected in both the written and painted aspects. During this time, the control of Italy was being fought over by many of Florence’s city-states, along with the Papacy, France, Spain and the Holy Roman Empire. Making Italy a scene of intense political conflict. This leads us into the next exemplar piece of Literature that arises in the high Renaissance is Niccolo Machiavelli’s “The Prince.” Machiavelli was a politician who was influenced by what he saw while living in Florence. He had lived to see Italy become a scene of political unrest, and formed his own opinions and attitude towards his ideal government. He actually served under a Pope in creating a Militia that would help reduce Florence’s dependence on mercenaries. Around 1512, the Medici was back in power and Machiavelli was forced to resign. That brings us to why “The Prince” was written to begin with. Machiavelli wanted to be back in the political ring and wrote this book in dedication to Lorenzo de’Medici in order to win his favor and be appointed back into politics. But what Machiavelli did not anticipate was that the Medici family would not entertain the book at all, therefore killing Machiavelli’s dreams of coming back into politics. One could ask why would Machiavelli even write this book in order to win the favor of the Medici?

Simply put, this book served as a guideline of sorts for a “prince” or ruler. That being said, the Medici’s were restored back to power, so it can be assumed that Machiavelli took this opportunity to write this book based on what his experiences were, while the Medici’s were gone, and wrote what basically seemed to be advice for the ideal ruler. It can also be seen why the Medici’s would not even be interested

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in this book to begin with. Their family had been in power before, and in essence they knew what they were doing, so they paid no attention to Machiavelli’s outreach.

Aside the political unrest within Italy, high renaissance art was flourishing. Our first example comes from Leonardo DaVinci’s piece called “Last Supper” located in Milan, Italy and finished by 1499. What is important to note in this painting in comparison to the early renaissance is the use of the one-point perspective correctly. DaVinci, not only used one-point perspective correctly, but he actually used multiple perspectives, so that when you looked at certain people at particular angles, it looked as if the figures were moving, or changing their pose within the scene. This is a prime example of how art was evolving from the early renaissance. Another significant piece of this painting is the facial expressions on the figures in the painting. DaVinci was also known for capturing unconscious “tender moments” on the faces of his people. Following up with this idea of facial expression which was becoming more apparent in high Renaissance art in comparison to early renaissance art is Michelangelo’s statue of David. Michelangelo was an artist that was also sponsored by the Medici family, with special care from Lorenzo. His approach to work was as such: he believed that the forms already existed within the piece of marble, and that it was his job to free them. His approach may have been extremely unique, but his work was exquisitely beautiful. The significance of this statue of David in comparison to that of the Early Renaissance by Donatello, is that instead of seeing David after he slays Goliath, we see him as he is about to throw the stone that will eventually be the end of Goliath. This approach allows a person to be put inside David’s thoughts, and has a psychological and emotional effect on the viewer. The facial expressions change as you move around and look at him in different per-

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spectives. At one view he looks calm, but from another view he actually looks afraid that he has to complete this task alone. It is also clear that Michelangelo studied anatomy. David’s body and muscle structure is a lot more accurate in comparison to Donatello’s David. Michelangelo’s David actually has a sense of awkwardness about it. It is clear that he is a pre-teen boy that has not quite yet completed puberty and filling out. The focus of early renaissance was to get back to antiquity. The focus of high renaissance was the refinement of those details, along with the use of multiple perspectives and having an emotional effect on the viewer by their art.

Which leads us to what the late renaissance, or baroque era would produce.

The late Renaissance, Baroque era comes around the time period where the Catholic Church re-establishes it’s power, because they do not want the people of Europe to keep seceding from the Church. The “Council of Trent” is formed which reaffirms catholic practices. It is here where art becomes a means of communication. The art becomes a means of communication to those that are illiterate.

The themes of the art were to have direct and emotional involvement on the viewer. Therefore, the characters in paintings looked more realistic and less classical. This realistic appearance is the essence of Baroque art, and without the achievements created in the earlier stages of Renaissance that they would not have comes so far. The Baroque encompasses many things and mixes mediums; for example the use of light, and the use of sculpture in Architecture.

Going back to this idea of Baroque being more realistic, and mix that with the idea of light we come to the painter Caravaggio. Most impor-

tantly we look at Caravaggio’s “Judith beheading Holofernes”. His approach to art is that he paints directly from life; and that if there were corrections to be made, they were made directly onto his canvas. He only uses oil to paint, and his use of perspective is quite unique. He does not use perspective to fool the eye, but a way to make you really think about it, to cause to you be slightly confused for a second. He is able to fool you by using the color red quite brilliantly.

Red normally pops out to the foreground of any painting, but somehow Caravaggio managed to use the color red, and keep it in the background.

It is also important to note the lighting of the painting. We see that there is just a flat black background with the red cloth hanging, the light source comes from the left illuminating Judith in white as she beheads Holofernes who is laying in bed. It is also important to note the facial expression on Judith’s face, as well as her body language. She appears perplexed and apprehensive that she must do this job, and is actually quite disgusted that she has gone through with it.

Continuing with this idea of realistic figures we come to Bernini’s statue of Apollo & Daphne”. The story here is that as Apollo chases Daphne, Daphne asks for help from her Father, who then turns her into a Laurel tree to save her. Bernini’s approach to this mythological story is exquisite. There is an indication of movement within the piece of marble. And we are caught in the middle of the scene, as she is becoming to turn into the laurel tree. The trunk of the tree is slowly entombing her lower body and continues up her torso and as she reaches the sky, her fingers become the laurel leaves.

The intricacies of these details are amazing

ANALYZING ART IN A SOCIAL CONTEXT

to say the least; Baroque Sculpture was recognized for their forms, which had a dynamic movement and energy to them. Bernini was one of the most relevant Baroque sculptors, for he had two modes of imagination: things as they are, and things as they appear to be.

Bernini’s approach to the story of Apollo and Daphne encompasses the essence of Baroque sculpture. It has the dynamic movement and the energy throughout the piece.

The literature of the late renaissance, baroque period is very illustrative to its time period, and shows the influence of Italian culture on the rest of Europe. Looking at Tasso’s “Canto 12” otherwise titled, “Jerusalem Delivered”, is essentially an epic poem that describes the fight between Christians and Muslims at the end of the first crusade, where it ends in the capture of the holy city of Jerusalem. Which is exactly what the Venetians had accomplished when taking the city of Constantinople. After capturing the city of Constantinople they become the controllers of Trade between the Adriatic and Aegean sea, making it clear to Europe that they were independent and although a small city they are able to defend themselves, due to their geographic location and using it to their advantage.

The progression of the Renaissance yielded many different forms of art and literature, mostly because each sub-level of the renaissance umbrella evolved from the previous level. The early stages of renaissance was more concerned with getting back to antiquity in general, and becoming patrons to artists that had the talent to do so accurately. This led to the refinement of the art and exploring more specific details such as the body and how it moves to the facial expressions on the faces

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of the subjects. They also focused on the use of multiple perspectives and how that can alter the art-piece by simply moving from one point to another, giving a sense of life to the art.

Baroque Art further expanded on these details by creating more realistic pieces versus the classical humanist style. They actually become Mannerists, by creating long elongated bodies in their art. They create more realistic images because they instead of creating a sense of emotion on the subject, they tried to stimulate emotion from the viewer instead. They also focused on the light source to highlight the subject of their paintings. Italy flourished in this time because the economy was stable and there was a surplus of money for the aristocrats to spend, it also allowed for those of lower ranking people to move up and become the middle-class which gave them the chance of being owners of money and what better way to show off ones wealth than by collecting art, and sponsoring someone brilliantly talented to do the work. The Renaissance allowed a number of things to happen, but most importantly it allowed Art and Literature to not just re-start from antiquity but allowed for the improvement of Art and Literature, which would become the origin for experimentation for the rest of Europe.

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2A APPLIED STUDIES

INTRODUCTION

APPLIED STUDIES: INTRODUCTION TO ENVIRONMENT & CLIMATE Context and environment are two fundamental terms examined in this course. Beginning with an understanding of what constitutes the experience of place, the class develops a series of arguments with which to evaluate environments, the relationship between man and nature, and the architectural notion that constitutes comfort. This course investigates to what extend that understanding of the environment is culturally and biologically determined.

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PRISM STUDIES

Starting with a simple prism, we manipulate the shape according to what would make it “comfortable� in four different climates: hot and arid, hot and humid, temperate, and cold.

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1 Temperate Prism: north-west, eastsouth, and north-east views 2 Cold Prism: east, south, and west perspective views 3 Hot and Arid Prism: west, east, south facades 4 Hot and Humid Prism: Perspective View 5 Hot and Humid Prism: Exploded Axonometric View

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2A VISUAL STUDIES

INTRODUCTION

VISUAL STUDIES: TECHNOLOGIES OF DESCRIPTION 1ANALOG & DIGITAL PRACTICES This class introduces students to the drawing principles related to metric, projective, and descriptive geometries. Geometry is a rational tool that architects use to analyze, describe, and generate architectural form and organization. This class does not put an emphasis on software, but it is more about the disciplined implementation of geometry, through technological means.

We use the principles of observation, measurement, documentation, description, translation, projection, and transformation.

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LINE DRAWINGS

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We focus on the representational modes of 2d geometric constructions of an existing object.

In the first assignment we pick a fruit or vegetable and document using a datum to ensure that we can generate an orientation to the object, and photograph it from four sides as if it were inside an orthogonal bounding box. The photographs then become an underlay to our geometric analysis of the object.

The second assignment was to pick a set of public stairs in the city of Los Angeles, photograph, and measure them, and translate this information into a constructed set of “as-built” line drawings. This type of drawing reveals the “an exact” relationship between geometry and matter.

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1 The “Croissant Problem” - drawing elevations and sections of the vegetable “chayote” 2 The “As-Built” Stairs assignment - using my own measurements taken from a set of stairs near USC’s campus

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SPRING 2011

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2B STUDIO

INTRODUCTION

STUDIO 2B: FRAMEWORKS AND PROGRAMS

In this studio we work as a research laboratory for exploring programming as a means of generating organization models and conceptual narratives that shift basic morphologies into new spatial realms. This demands an understanding of how what we do see and determine as architects affects what we don’t see or don’t determine as architects and vice versa.

By focusing on methods of organization, we engage ourselves in processes that can affect traditional systems of order and transform them into renewed models of spatial interaction. In exploring the role of programming in architecture, this studio proposes formal organizations and their corresponding material form for an Addition to the Los Angeles Film School in Hollywood, California.

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TRANSFORMATIONAL MORPHOLOGIES

Morphology is the study of the form and structure of living organisms free from their function. In contrast, Physiology is the study of the function and activities of living organisms and their parts. Architecture demands a mastering of both morphology and physiology.

In this studio we are asked to develop an understanding of the relationship between the form and the script of the building. It is understood that the relationship between form and script is reciprocal in nature; meaning form informs scrip and in turn script informs form.

As a way to generate architecture on the site at Sunset between Cahuenga and Ivar to house the program of the addition to the L.A. Film School in Hollywood, this studio engages in a methodology of “transformational morphologies”. We generate a series of morphological studies originating in each of the given basic, or primitive, forms and subjecting them to a series of transformations based upon forces identified in the surrounding site.

With each of the origin forms, we use two to give of the operations from an action list, and build one model per form representing the accumulative actions. Along with the models we produce a “transformational plate” which includes the words and drawings representing the sequence of transformational operations from the origin form to the final resulting transformational morphology.

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Mat Origin Form Vertical Slab Origin Form Bar Origin Form Totem Origin Form Mat Morphology using the lift and bulge commands

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6 Vertical Slab Morphology using Pull, Shift and Push 7 Bar Morphology using stretch and lift 8 Totem Morphology using twist and rotate

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2B STUDIO

GRID STRUCTURES

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In the next assignment, we chose two of the four models we built and enlarged the scale from 1/32” to 1/16” = 1’-0”. We implemented the grid system from the original drawings into the physical model, and highlighting the theater with a hot pink color.

In 2d drawings, we start to create the programmatic script and layout, making necessary changes to the plans as needed to incorporate the square footage of the program.

My initial idea was to pursue the design of the morphology of the bar, and basically use the program to simulate the process of how a movie is made. Starting at the ground floor you would have the seminar rooms, where the idea of the movie is conceived then after the storyline is set, one would bounce between casting/rehearsal and filming, the casting/rehearsal is on the second floor, and the sound stage occupies both ground and second level. Editing comes after the filming which occupy the second floor. After editing comes the test run of a movie with a small control group, before being released to the bigger theater, and then it is archived into the film library, all occupying the third floor.

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Theater

Screening Room

Sound Stage

3 Storage Casting/ Rehearsal

Screening Rm.

Screening Rm.

Casting/ Rehearsal

Film Library

Storage

Sound Stage

Seminar

Lobby Area

Seminar Cafe

Seminar

2 1 Bar Morphology with 20’ grid and pink theater 2 Totem Morphology with 20’ grid and pink planes to indicate a theater 3 Section through theater for midterm 4 Third floor plan with grid overlay 5 Ground floor plan with grid overlay

Seminar

Theater

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BREAKING THE GRID

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Post-midterm we were then asked to break the grid, and make the program looks more “elastic�. Instead of trying to force all the programs fit into the existing frame, we looked at the grid to conform to the program versus the program to conform to the grid.

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1 Another iteration of the bar morphology with the theater highlighted in green 2 Green Theater detail with emphasis of the theater physically deforming the grid

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PROGRAMMATIC SCRIPT

We then started looking at the key frames that would say the most about our project, using rendering techniques to tell a story.

Establishing Establishing Short Shot An overall view of the addition to the Los Angeles Film School, with the theater aligning to the overall height of the adjacent An view campus. of the addition to the L.A. Film School, with the theater aligning to the height of the adjacent campus.

Tension Tension Underneath the cantilever there is tension between the person, the ground and the building.

As if the space above is close to falling over as it hovers ten feet off the ground. The bands Underneath the cantilever there is a tension between the that represent animation frames are seen in closer detail from this view as well. person, the ground and the building. As if the space above is close to falling over as it hovers ten feet off the ground.

The bands that represent animation frames are seen in closer detail from this view as well.

Acoustic Lounge Acoustic Lounge The lobby of the theater has a series of bleacher stepped seating to accommodate those The lobby ofshowing theintheater has a asseries ofplacebleacher waiting for the next the theater. It also serves a gathering for students to stepped come to in between classes. From here there is also a flight of stairs that lead to the cafe on seating to accommodate those waiting for the next showing in the ground level. the theater. It also serves as a gathering place for students to come to in between classes. From here there is also a flight of stairs that lead to the cafe on the ground level.

Passing By, Animated Frames Passing By, Animated Frames The openings in between the bands expose those who occupy the space as well as create an obstruction causing thein nextbetween open band to lookthe like the bands next frame in expose an animation. those who The openings occupy the space as well as create an obstruction causing the next open band to look like the next frame in an animation.

Library of Sound Library of Sound This library has an open plan throughout the third floor by being integrated into the benches that surround the atrium It is easily accessible to those walking the throughthird it.

This library hasof theanbuilding. open plan throughout floor by As they sit on the bench there are screens for them to access the library’s catalogue and a port for them to plug their headphones in. being integrated into the benches that surround the atrium of the building. It is easily accessible to those walking through it. As they sit on the bench there are screens for them to access the library’s catalogue and a port for them to plug their headphones in.

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PROGRAMMATIC DISTRIBUTION PRODUCTION 4 Seminar Rooms 400 Sq. Ft. per room

1 Sound Stage 2000 Sq. Ft.

POST-PRODUCTION 3 Editing Rooms 200 Sq. Ft. per room

1 Recording Studio 1821 Sq. Ft.

VIEWING 1 Film Library 2536 Sq. Ft. 1 Theater 2448 Sq. Ft.

PROGRAMMATIC DISTRIBUTION & WILD CARD

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We then looked at distributing the program in a list according to how we laid out the program within our building, and then looked at the program in a three-dimensional way.

For the wild card part of our program, I chose to create a small recording studio since the genre I had chosen to look at was animation. Recording sound is a large part of animation whether it be a voice over or a musical score.

2 Screening Rooms 518 Sq. Ft. per room 1 Cafe 1224 Sq. Ft. 1

Post-Production Viewing

Sound Factory Genre: Animation Sound is important to movies, whether it be a musical score, dialogue, voice-overs or generated sounds for various actions. Animation, in particular, requires voice-overs for the characters of the film, as well as the generated sounds as stated earlier. The addition of this “Sound Factory” is an area specifically for sound-mixing and has sound-proofing in an isolated part of the view. This “factory” will be large enough to hold a small orchestra or a band to record music for an animated film.

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1 Programmatic Distribution list with square footage 2 3d axonometric rendering, highlighting the 3 main parts of the distribution 3 Images of precendence for the wilcard: “Sound Factory”

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FINAL DRAWINGS & DIAGRAMS

The final diagrams consist of a 2d abstract circulation diagram and a axonometric 3d circulation.

The final drawings consist of two detailed plans, one section and one plan. I picked these two drawings in particular to highlight where the most activity would occur in the building, and the section that would be the most interesting.

Theater Film Library

Editing Rooms Casting/Rehearsal Rooms

Screening Rooms

CIRCULATION

Cafe Entry/Exit to Theater & Cafe Public Circulation

Seminar Rooms

2D

Mixed Circulation

Casting/Rehearsal Rooms

Soundstage

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Entry/Exit to Film School Private Circulation

Ivar Ave & Sunset Blvd.

Sunset Blvd.

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CIRCULATION

Mixed Circulation Public Circulation Private Circulation

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1 2D abstract circulation: a non-spatial diagram 2 3D axonometric drawing, highlighting the different types of circulation 3 Section of the building through all 3 of the programmatic pieces 4 Second floor of the building

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FINAL DRAWINGS & DIAGRAMS

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SECTION B

SECTION A 1/8” = 1’-0”

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SECTION A

1 Detailed section through the theater with site context behind 2 Detailed plan of the third floor, with the sound library and theater

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1 Aerial perspective of the final physical model with site manipulation 2 Perspective of the final physical model with circulation in view

2B STUDIO

FINAL DRAWINGS & DIAGRAMS

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INTRODUCTION

TECHNOLOGIES OF DESCRIPTION 2: ANALOG AND DIGITAL PRACTICES This course examines and extends the analytical techniques and strategies for the study of architecture evolving from programmatic and structural systems to external factors affecting site or building. Work is centered on advanced digital 3d drawing and modeling techniques for the construction and evaluation of spatial conditions. We develop techniques for manipulating 3D data that includes rapid modeling, texture mapping, lighting and rendering, and analog drawing.

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FUTURISTIC FURNITURE

‘Digital Collage’. In this assignment we focus on digital assemblages of graphic material and collected surfaces from different cars within Photoshop and Illustrator to create a futuristic furniture design. The digital collage informs the monochromatic surface formation in terms of geometry, aesthetic, component hierarchy and assembly.

‘Modeling’. The second part of this assignment brings an emphasis of digital modeling culture as intrinsic to the discipline of design and requires that the we develop an attitude and understanding of 3D modeling and rendering in Rhino towards the representation of the digital collage. Special focus is on rigorous 3D translation and deployment of geometry while maintaining eloquence in execution.

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1 Monochromatic photoshopped car parts put together to create futuristic furniture 2 Placed, Rendered furniture inside the Maxxi Museum 3 Another view of the modeled and rendered futuristic furniture inside the Maxxi Museum

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SCRIPTING

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In this assignment we use the Rhino plug-in ‘Grasshopper’ to define surface moments within the design. We use scripting techniques to deploy de-lineation and aperture to their monochromatic surfaces as an extension of the logics and characteristics refined from the initial project.

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1 Detailed render of the unit and surface 2 View of surface from the top looking down 3 Another overhead view of the surface as it turns in on itself 4 Line drawing of the surface as it starts to turn in on itself 3

FALL 2011

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INTRODUCTION

STUDIO 3A: FIELD OPERATIONS: STATIC ARCHITECTURAL SYSTEMS The first studio of the core studio sequence locates the idea of architecture at the intersection of varios systems of information: from technical to cultural, from visual to tactile.

The main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation (of simple systems) as a methodological tool to guide a rigorous approach to decision making.

This project concerns the upgrading of the LA Memorial Coliseum for continued use as a venue for major athletic events as well as proposing additional uses for the site in order to increase both the frequency of stadium events and to intensify the daily use of Exposition Park.

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DESIGN CONCEPT

As a team we decided to leave the coliseum as is, preserving the historical context of the coliseum.

The initial concept to reprogramming and adding onto the the LA Memorial Coliseum was to create a science park that hovered just above the exisiting walls of the coliseum. This science park is created by using an intersecting truss system supported by columns at the base. The columns are wide enough to house cores that take visitors up to the science park. Each floor is programmed into different things, ranging from laboratories to art galleries, office spaces to restaurants, and also to the executive suites that can be found on the lowest levels of the trusses.

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longitudinal section scale: 1’ - 0” = 1/40”

geometry & morphology diagram

STRUCTURAL

3 facilities & circulation PRIMARY SUPPORT SYSTEM TERTIARY SECONDARY SUPPORT SYSTEM

Parking

parking

METAL DECK FLOOR

INTERSECTING POINT

CORE

Solar Farm

solar farm

VIERENDEEL TRUSS FOR TRANSITIONAL COMPONET

Rooftop Garden

rooftop garden

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2 1 Section of the truss system

3 Geometry & Morphology Diagram

2 Floor plan of the elevated science park, 4 Facilities & Circulation with the football field below.

level 2 floor plan - luxury suites scale: 1’ - 0” = 1/40”

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3A URBAN SYSTEMS

INTRODUCTION

INTRODUCTION TO URBAN SYSTEMS This class examines the city as a dynamic process composed of so-called “open systems”— infrastructural, economic, environmental and sociocultural—that interact with each other. Through an exploration of their interrelationship, these systems are understood as historically determined, and are presented in the class in rough chronological order, from water and sewage systems to fiber optic and wireless technologies.

Each student was to choose a particular theme or topic that dealt with urban systems. In my case, I chose Decaying freeways, that had eventually been abandoned and needed to either be repurposed or torn down.

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DECAYING FREEWAYS Freeways have become important in the realm of motor vehicles. Especially in the city of Los Angeles. For the most part freeways get people from point A to point B faster than surface streets. As of late, it seems that freeways have been built not only to get someone somewhere faster, but to also replace older freeway systems. With this rise of freeways helping travelers get from place to place faster in and out of major cities, it is hard to say whether it’s a good thing of a bad thing. With the multiple freeways, old and new, it’s hard to say if it helps the circulation of a city or if the congestion of the freeways itself is becoming a problem. If we continue to build freeways around old freeways after finding a new route, what should be done about the older decaying infrastructure that does not seem to be as useful? Would the removal of freeways help or hurt a city?

In the history of the freeway, it could be said that Norman Bel Geddes’ was one of the most important people in the development of the freeway. In his diorama, “Futurama” in the 1939 New York World’s fair he unveiled a look into the future of roadways across the United States.

His diorama was just a glimpse of what he had planned for the future of transportation through the means of the motor vehicle. Geddes was going to use the idea of a superhighway as a way of urban planning which: “would segregate the superhighway from the town in two respects. First the roads linking the superhighway and the city would be bordered by parks ‘to prevent the tendency of industry and small business alike to spread out along the right of way and exploit it’...second, the superhighway would avoid directly going through the city. ‘A great motorway has no business cutting a wide swath right through a town or city and destroying values there.’”

His initial idea to keep the freeway completely separate from the city was actually an appeal to keep city life (work) away from the urban life (home). With the idea of keeping the downtown area separate from where housing it, it is easy to see how fast urban sprawl grew. Another point that Geddes’ had was that he supported the construction of highways to enable people to escape urban chaos for the healthy and beautiful countryside. A freeway attempts to eliminate all contact with distracting elements such as traffic in the other direction, abrupt stops, starts, turns and intersections. They are all modified to go with the constant flow forward. Since freeways were set up in such a way to avoid such interferences it only makes sense that this would divert people outside of cities. In a way to create a shorter path, people are being ushered out of the downtown area and encouraged to take the shorter faster path, versus inviting those to explore the city and see the sights of the city.

After doing further research it became apparent that in an overall generalization: freeways and automobiles have taken much of the blame for the despoliation of the centers of American cities. Thereby reinforcing the idea that freeways actually divert people away from major cities instead of funneling them into the city.

In exploring several case studies across the nation, it has become clear that there is a movement for the removal of freeways. There are several reasons as to why there are groups of people promoting the removal of freeways.

Some of these roads are reaching the end of their useful lives. With more and more roads being built, some roads are becoming less relevant. The newer roads are keen on efficiency on getting from one place to another, while the older roads had a different agenda. Geddes has said that the freeway’s place is in the country where there is ample room for it and where it’s landscaping is designed to harmonize with the land around it. With this ideal of the roads

being integrated into its landscape, it wasn’t just a straight line that cut through to create the shortest distance travelled to get to a destination. With people so consumed with getting to a destination in a shorter time, it’s only natural that the older designed freeways have been abandoned and deteriorated. With that said the removal of freeways comes from an economical standpoint. For example, in Milwaukee, they removed a freeway spur for $30 million.

Officials estimated it would have cost between $50 million and $80 million to fix the roadway.

It appears then that, instead of paying for the repairs of a freeway, it would be a lot cheaper to just tear it down. While the idea of tearing down of old infrastructure is becoming more mainstream, some cities have already done so and prove to be prosperous for it.

The city of Portland in Oregon is one of the first states to implement the removal of a freeway. The city of Portland was seeing a decline in their downtown area and the use of the Harbor Drive was declining as well, especially with Highway 5 and Interstate 405 bypassing the downtown area. In 1974, the plans of the removal of The Harbor Freeway were taken into action. After the removal of the freeway a number of things happened to the downtown area of Portland. The demolition of Harbor Drive helped redevelop the waterfront area as it opened up direct access to the Willamette River and 73 acres of land, providing a greater potential for revitalization. It opened up land for new businesses, housing and other mixed-use buildings as well as a park. As stated earlier, it would be cheaper to tear freeways down compared to putting money in to fix and retrofit it, and in the end it actually promotes economic growth since it frees up the land that was once occupied by the freeway infrastructure.

In the city of San Francisco, they have implemented the removal of a few freeways, but the Embarcadero Freeway would be more relevant

case. The Embarcadero Freeway was a double deck, elevated highway that resulted in a physical and visual barrier between downtown and the waterfront. After the 1989 Loma Pieta earthquake, it was torn down. What replaced the Freeway was a Boulevard called “The Embarcadero”. As with Portland, the removal of the Harbor Freeway revitalized the area. In San Francisco, the same thing happened with the removal of the Embarcadero Freeway. It opened up the view of the waterfront and revitalized the use of the Ferry Building that was hidden in the shadows of the Freeway above it. The opening of the waterfront area helped the tourism industry grow for San Francisco as an end result.

Aside from being more economical, the demolition of unused freeway infrastructures promotes a healthier green sustainable city. In the case of San Francisco’s Embarcadero Freeway, the Boulevard that replaced it served as a “complete street” serving all modes in a beautiful waterfront environment; from vintage streetcars, to bike lanes, to a large promenade crowded with strollers and rollerbladers. With the elimination of the freeways comes with less gas emissions, which then helps reduce the effects of pollution while promoting a healthy lifestyle for those who walk or bike around the Embarcadero. Whereas back in Portland: “The implementation of the DTWF URA (Downtown Waterfront Urban Renewal Area) with the creation of the Waterfront Park that’s located where the Freeway was enabled the city of Portland to promote development around the waterfront amenities that also had positive economic impacts within the city by providing a public good and improving the quality of life for Portland residents, thereby creating measurable financial benefits for the city.”

In creating a place for the citizens of a city to have a mixed-use development, among other

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things such as residential areas and office and retail bring a sense of vibrancy back into the community. More people are spending time outside of their cars and enjoying the walk through these retail shops and parks, and enjoying what was once used as a freeway.

These case studies are relevant in terms of a city like Los Angeles, whose downtown area is surrounded by multiple freeways. The freeways bypass Los Angeles just as Geddes had planned. Due to his idea of keeping these worlds separate from each other inevitably led to what is now called “urban sprawl”. Downtown Los Angeles acts as a hub for all the intersecting freeways around it. But as Geddes had wanted, freeways were to shield the driver from signs of the city from the commuter, which in downtown Los Angeles ends up doing indefinitely.

The downtown area is so overrun by freeways surrounding it, its difficult to understand that the circulation of traffic goes into the city versus around the city. And like the previous case studies has shown, it’s clear that too much infrastructure especially if it’s decaying, or unused actually hinders the progress of a city. It seems that freeways not just hide issues of a city but rather hides the hidden gems of a city. The case studies that are examined are prime examples of when removal of freeways is a positive thing and if anything has helped the city economically.

The freeways encircling Downtown Los Angeles seems to have taken a toll on the area, and has taken away the idea that of downtown as a destination spot for all types of people, business and even tourism. If the downtown area were to rid of some of the surrounding freeways, even just one of them, then its quite possible based on similar cities with the same situation, that it would help reinvent the downtown area and bring people back into it versus diverting people around it.

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3A APPLIED STUDIES

INTRODUCTION

ENVIRONMENTAL SYSTEMS I Context and environment are the two fundamental terms examined in this course. Beginning with an understanding of what constitutes the experience of place, the class develops a series of arguments with which to evaluate environments, the relationship between man and nature, and the architectural notion of what constitutes comfort.

This class investigates to what extent the understanding of the environment is culturally and biologically determined. Students conduct their own research into a chosen area of climatology and develop schematic buildings proposals for various climactic conditions while making design decisions that conserve natural and built resources.

Upon learning some techniques, we were asked to design an annex to the school and implement strategies from class to create a comfortable environment.

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CONCEPT DESIGN

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SCI_Arc Annex In designing the Westside annex in Playa Vista for SCI-Arc several things were done to the exterior and interior to make it more efficient by implementing a passive design approach.

There are two main concepts to the overall approach in redesigning the building that have changed from our initial design strategy. A canopy system and a moveable wall system on the interior.

Previous Design Strategy

In the beginning our team had wanted to create a roof garden and put in a few solar panels. But found that both strategies were a bad idea. The roof garden was inefficient because we would have to reinforce the roof to be able to support a garden and for it to be inhabitable which causes it to be the opposite of an affordable and efficient building. We also decided against any ideas of solar panels after doing some research on it, we found that the roof of the building to be a poor candidate for solar panels, according to an assessment by energy upgrade California.

The Canopy System

Our team came up with the idea of a canopy system that would cover the building completely on the east side while leaving the west side completely open. There is a large opening on the east side of the building to allow the prevailing wind current to enter there and allow accessibility to the building. It’s oriented in this way to block the harsh west light from coming into studio space especially in the mornings.

With the winds coming in from the southeast it would only make sense to take advantage of that by creating panels in the canopy that can pivot and allow the wind to be redirected into the building creating a cross-ventilating system.

The panels are activated manually by the people that occupy it so they have complete control over how much of the air they want to bring

in. The canopy is made of polyethylene material, which is a synthetic fabric that is light and tear resistant, as well as elastic. This elasticity allows for the material to be wrapped around the frame structure that creates the canopy system, and framed into the panels that pivot in some spaces. The canopy system also allows for a microclimate to emerge underneath allowing it to be a useable community space for the students by creating an extended patio space in between the structure of the canopy and the building.

The plant life required in this area is of low water consumption and need to survive in a humid desert climate, which includes: sycamore trees, orange trees, and rosebushes, just to name a few. This microclimate also creates another cooling effect for the overall building since it will also provide some shading underneath the semiclear canopy system.

Interior strategy

The overall interior strategy was to open up the floor plan as much as possible.

We wanted to keep the floor plan as open as possible to keep the cross ventilation efficient.

We decided to use wall partitions that can be oriented to provide enclosed studio spaces.

During major events like jury reviews, open houses, the walls can be rotated for maximum airflow. We also kept the bathroom and kitchenette central to the building to maximize the airflow even more and emphasize the open plan.

We placed the mechanical rooms in the corners, in which they have their own HVAC system to prevent them from overheating. In terms of lighting we decided to stick with a spotlight system.

We also lined the interior walls with a half-inch thick gypsum board to the pin-up spaces. We wanted to keep the aesthetic of the building similar to the original, so it would be more similar to SCI-Arc. We also changed the lighting system a little bit. Originally it was point lights and spot lights but we’ve decided to convert that

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system into fluorescent bar lighting to be more efficient in that it will be a high-diffused white light that has better distribution. We are also changing the current single-paned windows to be double paned windows with a low emissivity rating. The double paned window can reduce energy use when compared to the single-pane.

The reason for a double paned window allows for less infiltration of cold or hot air, as well as solar radiation.

Overall Impact

The overall impacts of these interior changes are significant. Although there is no R-value directly related to the canopy system of the polyethylene fabric, there is a big reduction to what is going on inside the building. The current R-value of the building can be estimated to be around 16 because of the metal siding and four-inch rigid fiberglass insulation. We wanted to push the R-value up to the 20s by using the half-inch gypsum board, previously stated, and the wood space. Adding these two things allowed the R-value to be bumped up from 16 to 23.

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3A VISUAL STUDIES

INTRODUCTION

ATTACK THE BLOCK

The goal of this class is to produce rectangular cuboids (blocks) in which the apparent form differs from the literal form. It was to be approached as a problem of surface or bas-relief geometries and articulations.

Dislocating the classical object from it’s privileged place in architecture has been an explicit or implicit goal for progressive architects since, at least, Peter Eisenman’s House I Project of 1967.

Typically, this has been appraoched as a problem of the form and geometry of the object itself; befuddling its underlying grid, veering its surfaces into novel curvatures, or subjecting it to topological contortions.

The reasons given for this sustained attack when given at all - vary from architect to architect.

At its core, however, is an intuition that the classical presence of objects themselves, as clearly discernable, stable, and autonomous intrusions into a neutral field runs counter to contemporary sensibilities; worse, that it exerts a hegemonic, suppressive influence on a world of open and complex possibilities.

This class approaches this problem through effects that seek a maximum of object disruption with no actual geometric disruption. The content of the class includes an overview of tactics employed by architects in this sustained attack and a discussion of possible attacks. This requires taking inventory of object qualities, and making distinctions amongst objects, forms and shapes. Work will be carried out as a series of models, digital and physical. The models will be approached through a series of surface topics including folding, misregistration, permeability, and camoflauge.

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FINAL PROJECT

MIRRORED DIAGRID In the class discussion of taking a rectangular cuboid and making it appear to not be a rectangular cuboid, there are multiple ways to do so, but in our proposal we have decided to focus on creating an optical illusion using reflection and light refraction.

Optical illusions are often described as a trick of the perceived reality versus the objective reality.

One’s perception is often altered through visual cues. In this project, visual cues will be altered by mirrors that change angles throughout the surface of a rectangular cuboid. First we place mirrored surfaces against each other at an angle, like a deck of cards creating a triangular shape. As we build up the rectangular cuboid we would then rotate the mirrored surfaces as to avoid the sharp edge of a regular rectangular cuboid; thereby creating a diagrid system that is mirrored in two ways: the surfaces itself and the act of rotation.

The surfaces reflect the surrounding environment, while creating a different condition on the interior. To some degree the mirrors on the interior create an optical illusion of infinite space. Several things can affect the outcome of this optical illusion. The environment that the rectangular cuboid sits in will affect the optical illusion. If it’s placed within a patterned environment it would be possible that the object will not just reflect the pattern, but would allow for the exterior shape of the rectangular cuboid to be lost in the pattern and somewhat on the interior also. Although the interior surfaces will be reflecting the other mirrored surfaces surrounding it, refracting the light that enters from the exterior again creating an optical illusion on the interior.

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SPRING 2012

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3B STUDIO

INTRODUCTION

STUDIO 3B: DYNAMIC ARCHITECTURAL SYSTEMS

This semester we were asked to produce a “comprehensive� design that deals with the interrelationships of building systems.

We were asked to articulate a projects performance structurally, thermally, acoustically, and environmentally. We were then asked to mine these systems for spatial and organizational potential. Issues of embedding, figuration, mass and interstice, solid and void as well as contemporary notions of poche incarnated by double skins and thick membranes are all within the family of formal problems related to systemic challenges that the studio challenges.

The site chosen for this particular project is located on the site of the recently completed New Museum, built by SANAA. The New Museum is located on the Bowery at a pivotal geographical and cultural intersection where generations of artists have lived, worked, and contributed to the ongoing cultural dialogue of the nation.

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INITIAL CONCEPT

In approaching the design of the museum, my partner and I wanted to keep a clear distinction between the private and public spaces. We also had originally wanted to do something more circulation driven, but with the tight constraints of the plans, we opted to be more program driven.

Public vs Private Theater Galleries

Public Space

Circulation Study

Program Layout

Skin Study

An earlier concept in which the circulation core is located in the back freeing up the front of the building for the interior and exterior gallery spaces.

The gallery program was kept central to the building, stacking on top of one another, allowing the circulation to surround the galleries.

A study in where the facade or skin of the building would be patterned in such a way that the aperatures of the skin would essentially become the exterior gallery spaces or other public spaces.

urface Manipulation

series of manipulations one to the skin of the building which we looked at different ays to articulate how the uilding’s skin could relate to e urban context of the city or e interior spaces and programs.

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Public Space

orphology

he process that shows the volution of the concept in four ages in which the concept ecomes more structured and ore refined with each iteration.

Private Space

Galleries

Private Space

Theater

Sectional Axo A sectional cut through the 3D model showing the spaces created by the two volumes. This highlights the varying spaces that are created by the two volumes. The internal volume creates a light shaft throughout the whole public space of the building. While the exteior volume shows the separation of the private and public spaces.

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4

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FINAL DESIGN 6

Render

The final design relates to the design by taking the exterior surface of the building and inverting it 5 to become the interior surface. This is done to pull 5 the city into the building, much like a klein bottle, while creating a light shaft that diffuses the light as it filters throughout the space.

The orientation of the tunnel, that is created by winding carbon fiber filament around a form, is orientated on a north south axis that funnels in light and diffuses it throughout the building. The tunnel’s widest opening is on the North side of the building where the best light comes from in a museum. It diminishes in size as it goes towards the south and is slanted at an angle to avoid the harsh light of the south sun.

Second Level 1’= 1/16”

Plans

3 Computer Room

4 Staff W.C.

5 Leader’s Office/Marketing Pre-Ticket Sales

6 Secretary

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1

Seventh Level 1’= 1/16” 14 Gallery

First Level 1’= 1/16” 1 Lobby/Ticket Sales 2 Visitor W.C.

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Render

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3B APPLIED STUDIES

INTRODUCTION

ENVIRONMENTAL SYSTEMS II

This course introduces students to the basic physical principles, design implications and performance of environmental systems by focusing on the behavior of lighting, acoustical and climate modification systems within the built environment.

The course relies upon the assumption that a careful integration of these elements within an architectural project, especially in the impact these elements have on building envelopes, can contribute significantly to improving the quality of our environment. Life-safety systems are also discussed, with a special emphasis on movement systems and egress. The class is divided into three independent modules, each of which addresses a single environmental system and is taught by a professional engineer specializing in the field.

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FINAL PROJECT

For the final project, we were asked to implement strategies that we learned about during the course of the semester into a few buildings that would be considered as part of a SCI_Arc expansion.

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3B APPLIED STUDIES

INTRODUCTION

TECTONICS

This course explores the considerations and concepts that govern architecture within a tectonic tradition of craft, construction, detail and assembly. The class examines techniques and technologies through contemporary precedents as well as through their application in current designs and studio projects. By focusing on various construction principles, materials and their particular use, different methods of fabrication, assembly and detail, and the integration of mechanical and electrical systems within the building envelope, the class focuses on their design impact in the overall conception and experience of a building. Exercises are carried out in model form, both physically and digitally, and simultaneously documented in CAD.

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FABRIC FORM STRUCTURE

In this group we chose to work with fabric form concrete. Our intent was to create a column structure using fabric as form work and testing the use of concrete in such a mold.

We had to test different fabrics and different ways to stitch in order for our prototype come to fruition.

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FABRIC FORM STRUCTURE MIDTERM

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FINAL PROJECT

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FALL 2012

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4A STUDIO

INTRODUCTION

STUDIO 4A: CITY OPERATIONS: ARCHITECTURE IN CRITICAL SETTINGS

The premise of this studio is that cities and buildings are largely shaped by a dynamic flow of interrelated cultural, social, political, and economic forces. Different cities are chosen by individual studio faculty and used as a basis for student projects. During the course of the term, students test the nature of interfaces between architecture and its various settings within the contemporary city. Individual and varied theoretical assumptions, within the separate design studios, are tested and developed as an integral part of the building design process.

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DRAWING CONVENTIONS

In Andrew Atwoods’ studio we focused on drawing conventions, different ways that projects or ideas can be represented, and then taking those conventions to perhaps make a misreading of the project.

In the first set of drawings, as a group, we derived the idea of pulling the elevation of Downtown Los Angeles and pulled them to a surface, ranging from a triangle, circle and a cube. The surface then is folded down into the drawings shown.

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4A STUDIO

MIDTERM

At the midterm we were assigned 3 different sites along main street. Ranging from small, medium, and large. We were also assigned three different shapes: a sphere, a cube, and a tetrahedron. We were to assign each one a site and then somehow implement what we did from the previous exercise into our new designs.

My concept was to designate a front to one of the primitive shapes and place that along main street. My cores then derived from the idea of pulling and lofting curves, and then cutting them in plan to create these different shapes.

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FINAL

After the midterm, we changed gears, and had to find a “habit” in the city in which we couldn’t rationalize or understand, or explain. The habit I saw was that certain streets were closed down for events, or major areas that were considered really busy. With that in mind, I decided that my building should internalize this idea, and create a space that was designed for maximum capacity situations, but would end up being completely empty unless a program was implemented.

To really showcase the vastness of this maxiumum capacity, it meant to not use walls as a divider of program as there is nothing on the streets that serve as a boundary. Patterns were used to show a change in program from the lobby to the banquet hall spaces and to the office spaces.

What was kept from the midterm was the core and I had picked the cube to expand on, because of the three shapes the cube made the most sense to max out.

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4A CULTURAL STUDIES

INTRODUCTION

INTRODUCTION TO CRITICAL STUDIES

ne of the radical shifts in architectural production at the end of the twentieth century emerged from the introduction of new theoretical tools into architectural culture. Architects such as Bernard Tschumi, Peter Eisenman, Daniel Libeskind and Rem Koolhaas began to develop a radically new approach to architecture by appropriating ideas from the world of cultural theory and philosophy.

They recognized that architectural culture—in and of itself—was trapped within a relatively complacent, self-legitimising condition that needed to be destabilized and reinvigorated by fresh impulses from outside. Meanwhile, with the emergence of cultural theory, a whole generation of critical thinkers—such as Jacques Derrida, Jean Baudrillard and Fredric Jameson—began to see architecture as a field of interdisciplinary cultural enquiry.

As a result of this convergence, a new criticality emerged, which has been further developed by a second generation of architects, led by Greg Lynn, Foreign Office Architects and Lars Spuybroek. This course introduces students to the thinking behind this new criticality. The course is based on Rethinking Architecture, a collection of seminal essays on architecture by key thinkers of the twentieth century. Students are asked to read and dissect primary texts from significant fields of study, including critical theory, postmodern studies, phenomenology, structuralism, deconstruction, and post-structuralism, alongside readings from architectural culture.

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FINAL PROJECT: GENDER DYSPHORIA

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For the final project we were to pick a topic that we wanted to research and expand on with our own ideas. We were told to look at it as a prethesis project.

We were then asked to propose an installation as well as write an essay.

GENDER DYSPHORIA

Gender Dysphoria

hazelyn aquino gelareh arbab

“ HairStyle” by Jason Payne.

The installation creates a field with strings and creates a very fluid environment.

“Furry Guys” by Andrew Atwood.

The project represents the progression of a material being rigid to loose and furry. This installation comes after the aluminum which represents aluminum being pulled apart into strands.

“The Changing Room” by UN Studio.

“Alice Tully Hall” by Diller Scofidio.

This Section of the exhibition is the transition point from solid materials and introduces textures and projections.

“Beekman Tower” by Frank Gehry.

This project takes aluminum which is a very rigid material and creates a fluid look with it.

“Rawhide: The New Shingle Style” by Jason Payne.

Although wood is a masculine material it expresses feminine qualities. The material has been broken down into pieces and curved to take away the rigidity of the material and portray it more like a elastic material.

The exhibition portrays solid material to fluid and it explores the transition between solid and fluid.

“Eyeball Massage” by Pipilotti Rist.

The very last installation that is being exhibited is representing fluidity. Projection on fabric creates a very fluid and transparent environment.

“The White Elephant” by Jason Payne.

The intersecting of two different material and form in such away that the The cow skin introduces texture into the project while the outside form and material brings in a complete opposite which is broken shapes and smooth material.

“Yogurt on Skin” by Pipilotti Rist.

By projecting on the walls certain transparency gets created which takes away the solidity of the walls and projects new texture on them. Also pillows on the ground takes away the formality of the space and created a very intimate environment.

Architecture struggles with the idea of gender. What makes a building male or female? What would make a space feminine or masculine? Past critiques have made clear distinctions and definitions of what would be considered feminine and masculine. As time has passed, more and more people try to add to the discourse of Architecture and gender. By blurring the boundaries of feminine and masculine, one can create a dysphoria between the two genders to create a type of androgynous Architecture.

The need to categorize Architecture as feminine or masculine has been something that’s been ingrained since there was a difference between male and female. That difference being gender roles in domestic space, what a woman does in the kitchen, or in a home, and what a man does in a study or in the den. To differentiate between the black and white and to start looking at gray areas is to break very strong ideals that are hard to break. In the essay, “The Burdens of Linearity: Donkey Urbanism”, by Catherine Ingraham talks about the pack donkey and the idea that it opposes orthagonality in order to give orthagonality its force. If we look at the gray areas we’re enforcing the ideas of the black and white. However, we want the black and white to enforce the idea of the gray; we want it to be mixed.

There are different ways to start meshing the idea of masculine and feminine. From lecture in class we discussed the characteristics of feminine versus masculine. We talked about how the Masculine space is considered to be “functional, simple and permanent” while female spaces are characterized as “sensual, ornate, temporary and decorative”. A typical male room was pre-dominantly of wooden ornamentation, and not just any kind of wood but a deep rich mahogany color with leather accents. In a

female room, it was more decorated with fabric, delicate lace curtains, and heavily patterned. In trying to break the two spheres that are separated by aesthetics is one way to start blurring the gender boundaries.

First we can look at the work of Jimenez Lai, whose work sometimes features this idea of a “hard on the outside, soft on the inside”. By specifically looking at his project entitled “White Elephant” there are a few “storylines”, as he could call it, which reflect on our idea of mixing feminine and masculine. One idea behind Lai’s work is that through the juxtaposition of the hard exterior to the soft interior. It is through materiality change in which we can start to create something that is not necessarily gender specific, because how is it that something can look so rigid yet be something that’s comfortably soft.

Metal is a material that has the masculine quality. With the technology as of late, we can mold metal into different forms that are not necessarily linear and rigid. For example, Frank Gehry’s Beekman Tower in NYC. The building is cladded with an undulating surface of metal.

The effect that the Beekman tower has from a distance is that it looks like the façade of the building is in motion, because of the undulated surface. Curves indicate a feminine quality, and with that being expressed through steel is another interesting way to start thinking of merging masculine and feminine qualities of a building concept. h

To continue with the idea of materiality being the merger between the genders, instead of doing what Lai’s project did which is juxtapose two materials together to create that reading of dysphoria, maybe we can look at the materials itself. Jason Payne’s project “Raspberry Fields” is looked at through terms of

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weathering. Wood shingles are rigid and hard which are masculine traits. But with weathering, the shingles start to curl and curve, which then become feminine traits. Another Jason Payne example would be the “Rawhide” installation at SCI-Arc back in 2011. This is physical example of the project “Raspberry Fields” and here the material is exhibited in states, its original flat shingle shape, and its curled shape. Combining feminine traits into a masculine material starts to shift the gender.

Another way to look at blurring these boundaries is through a study of form type. Reiterating that male is synonymous with permanent, it implies the idea of hardness or rigidness, while the female is associated with soft and curvy. In looking at Andrew Atwood’s “Project I”, in which he calls his objects “Furry Guys”. In the iterations of this project you see that there is a progression of something rigid (masculine) to something that looses its from and becomes a “furry” object (feminine). In creating these objects they become indeterminate, which is a term that Atwood uses. The attempt in creating something new often ends in indeterminacy which could also be the result of what we propose in terms of creating a type of architecture that uses both genders.

Aside from form type and materiality, another way to look at merging the ideas of masculinity and femininity is through atmospheric effects. There are a couple of projects that are masculine in shape, but what is done with the space makes it feminine. By looking at UN Studio’s “Changing Room” at the Venice Biennale in 2008. UN Studio states that the “changing room” explores the transformative potential of the material world. The exterior is a hard shell, while the interior changes as an individual walks through the space; they experience a kaleidoscope world of colors and projections that sug-

gest flowing billowing movement, which is often attributed as a female quality. The artist Pipilotti Rist did an installation that does a number of things to a space. The room is the masculine object, a rigid box. What she does to the box is feminize it. How she does this is by using curtains to create another space within the box, and then treats the curtains as a surface to project on. She projects colors like pinks and purples onto the curtains, and the shapes that come arise from it, result in a feminine effect because of the curtains that sway back and forth. This overall installation has a very sensual feel that allows the rigid space to break up and be more alive.

Another atmospheric effect aside from projecting is lighting. Diller & Scofidio’s Alice Tully Hall may not necessarily rely heavily on the lighting effects it produces, but it was enough to start a conversation as to how this could be androgynous. The material of the hall is a type of wood veneer, but what’s fascinating about this hall, is that the walls glow from behind. The effect that the lighting has on the wood paneling has a very soft demure feel to it, therefore softening the hardness of the wood. It is interesting how lighting can affect a mood or a space, but in this case it actually helps accentuates the space, the curved wood pieces being lit up has a voluptuous appeal to it, feminizing a masculine space.

There are different ways to analyze the effects that feminine and masculine traits have on one another to create something new. We have the materiality of a building or an installation that can exhibit masculine and feminine qualities, ranging from wood to metal, and also the idea of the soft and the hard material. Then there’s looking at objects and form and determining what could be masculine, and trying to give a masculine form or shape feminine

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qualities through different iterations. Lastly, we looked at atmospheric effects in a set space.

There are many different ways to soften something that is considered so masculine, but what seems to be an issue is finding a good balance with atmospheric effects. In looking at all these precedence we see also see that aside from it being a masculine feminine problem, it becomes an inside outside problem, an interior versus exterior. There will always be a push and pull between the two opposites, the black and white.

That’s what makes the gray area something that continues to be in discussion, there is no definitive answer to what we seek, but there is always space for exploration.

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INTRODUCTION

MEGACITIES

Currently urbanization and development in mega cities in the industrializing world can be seen to be a dominant locus for the deployment of architecture. because of this oncoming growth it is incumbent upon practioners understand the dynamics of urbanization in these societies and the process by which projects move from the conceptual stage to implementation across a broad variety of social, political and transactional contexts. The goal of the seminar will be to engage in intensive research on the process of urbanization Mega Cities in order to understand the role that architecture can play at varying scales.

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CALCUTTA, INDIA

The city that I had chosen to do my research on was the city of Calcutta, India. I chose this city because it was something I wanted to learn more about and the city I knew least about.

Map of Calcutta, indicating major roadways, waterways, and airport

Population in the millions

Calcutta Urban Area: 1901-2011 14 12 10 8 6 4 2 0

1911 1921 1931 1941 1951 1961 1971 1981 1991 2001 2011

Calcutta, India is the third most populous metro area in India with over 14.1 million people living in the city as of 2012. It is also the capital of the Indian state of West Bengal.

Calcutta is located on the east back of the Hooghly river, and the port of Kolkata is India’s oldest operating port. It is approximately 728.45 square miles. It is the principal commercial, cultural and educational centre of East India.

Mass migration is the main cause for the explosion over the years. The first mass migration occurred in 1949 due to the partition of India, where areas of India were partitioned off based on religious demographics. The second mass migration occurred in 1971 due to the the creation of Bangladesh.

As the city grows in a the developing country of India, the city is forced to deal with substantial urban pollution, traffic congestion, poverty and overpopulation.

Due to mass migration of people to Calcutta there has been a backlash such that there is a huge slum population that is in a Below Poverty Level situation.

Urban and Slum Population of India and West Bengal during 1981-2001

3000 2500 2000 1500 1000 500 0

1991

1981

2001

India Urban West Bengal Urban

80

India Slum West Bengal Slum

64 China India

33

40

25

33% 21.6%

20

11%

0 Life Expectancy (years)

Median Age (number of years)

Population under 15 (%)

Persons in Millions

This graph breaks down the types of Slum there are in Calcutta. The Bustee’s are government owned property in which dwellers pay a rent. Squatter settlements are basically make shift housing for the population.

1.5

0

7.1%

Occupancy of Slum Types in Calcutta

Bustee

2

0.5

This graph depicts the demographics of India in comparison to China. India’s demographic trails slightly behind China’s, except with the population of teenagers and below, this might be due to the fact that China has a law about bearing children in effect.

Population over 60 (%)

2.5

1

Depicts the percentage of slum population in 2001.

Demographic

74

60

3

The percentage of the slum population to the total urban population of India and West Bengal increased during 1981-91 while it reduced during 1991-2001. The slum population to the total urban population in West Bengal is higher than the national level. The reduced percentage of the slum population is higher at a national level compared to West Bengal which may be due to the Slum Eradication Programmes.

Slum Population

Refugee Colony

Pucca Building w/ poor conditions of living

Fringe Area Settlement w/ self help housing

Squatter Settlements Jute Lines

Pavement Settlements

60.01 % +

30.01- 45.00 %

45.01-60%

15.01-30.00%

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INTRODUCTION

DESIGN DEVELOPMENT The Design Documentation course investigates issues related to the implementation of design, including technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character.

The course includes a review of basic construction methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials and the integration of building components and systems.

Students are given the Emerging Professional’s Companion and updated IDP materials. Students are asked to select their studio project from the previous semester to develop, focusing on a detailed design of a single component of the building and the resolution of its structural system and building envelope as a whole.

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INDIVIDUAL WORK

Although, this class meant a lot of group work for one project, I’ve chosen to showcase what I was in charge of, which would be plans, elevations and the general notes.

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