CARVING
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vol. 02 CARVING
As a primarily subtractive, the product of this process is a direct result of the forces acting on an object. In architecture, this can be informed through various conditions of site to create a carved form.
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Case Studies
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Contemporary Thinking
Conical Intersection 12 Gordon Matta-Clark | Paris, France | 1975 Double Negative 14 Michael Heizer | Moapa Valley, Nevada | 1969 EWHA Women’s University 18 Dominique Perrault | Seoul, South Korea| 2008 Solar Carve Tower 22 Studio Gang | Manhattan, New York | Unbuilt Simmons Hall 24 Steven Holl | Cambridge, Massachusetts | 2002
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The City Park
Speculation
City Plaza Park Chico, California 36 City Park Manhattan, Kansas 48 Jacob L. Loose Memorial Park Kansas City, Missouri
Flux Metro 74 Annexing the Site Chico, California 76
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carve [kahrv]
verb (used with object), carved, carving. 1. to cut (a solid material) so as to form something 2. to form from a solid material by cutting 3. to cut into slices or pieces 4. to decorate with designs or figures cut on the surface 5. to cut (a design, figures, etc.) on a surface 6. to make or create for oneself (often followed by out)
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Preface While visiting Zion National Park in the Summer of 2011, I was amazed by the beauty of the canyons and the way the water carved through the rocks and told a story of time. Three years later, I read the seminar description for Professor Nathan Petty’s Manmade-Landscapes class and I immediately thought of these canyons. The course is presented as an investigation into “building as landform or synthetic terrain.” In hopes of finding a strategy to create an architecture that is reminiscent of, and as beautiful as the canyon, I enrolled in the class. Within this class I have read and been inspired by excerpts from the likes of Stan Allen, Kenneth Frampton, Peter Eisenman, Rosalind Krauss, Robert Smithson, Rem Koolhaus, and many others. This book is a synthesis of my learnings from these readings; the study of precedents in land art, theoretical design, and the built environment; and my analysis of the city park. As the canyon initially inspired me to take this seminar, I felt it would be appropriate if my operative strategy for investigation was also inspired by the canyon.
This is a volume of my investigation into the operative strategy of
CARVING.
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Case Studies Within the architectural and sculptural context, carving is an operative strategy that can be used to create various embodied experiences. In the case studies explored in the following pages, carving is used within the design process to bring in light and air, to foster neighborhood connectivity, to juxtapose contexts, to create interaction with the site, and to promote activity.
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Figure 1 An image looking down through the deconstructed floors
Figure 2 An image showing the framed view of “old� Paris from within the building
Figure 3 An image showing the juxtaposition of the Conical Intersect alongside the construction of the Centre Pompidou by Norman Foster
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Figure 4 A series of diagrams showing the form and geometries of the Conical Intersect
CONICAL INTERSECT Gordon Matta-Clark | Paris, France | 1969 | Carving through History As part of the 1975 Paris Biennale, Gordon Matta-Clark “non-u-mentally carved through plaster and time to mark the skeletal steel backdrop of the soon-to-be Centre [Pompidou].” This provided a stark contrast between the post modern work of Richard Rogers, Renzo Piano, and Gianfranco Franchini and the 5 story architecture of medieval Paris. This installation was deconstructed with nothing more than a few dedicated minds and a couple of wrecking bars, sledgehammers and power saws. The rugged edges of the walls and floors give evidence to this fact and expose the structure of these pieces to passerbyers as their view of modernity is framed by the wreckage of the 1690’s buildings (Figure 8 and 9). This act of carving brings light and air into this middle class neighborhood of Paris, presenting a commentary on the modern architecture that is supposedly bringing hope to the area.
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Figure 5 Laser Scan renderings of Double Negative showing the view into the carving
Figure 6 Laser Scan renderings of Double Negative showing the valley between the two carvings
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Figure 7 An image with a scale figure from within the piece of land art
Figure 8 An image of the surrounding context of the Moapa Valley
DOUBLE NEGATIVE
Michael Heizer | Moapa Valley, Nevada | 1969 Carving for Interaction Through the removal of 240,000 tons of sandstone rock from the Mormon Mesa, a negative space 1,5000 square feet long, 30 feet wide, and 50 feet deep was created. Although the entire implied volume was not carved from the rock, the opposition of the two trenches gives way for sculpture that seems to span the valley. Despite being over 40 years old, this piece of land art continues to create unique experience for visitors as they reflect on where the landscape ends and the art begins. This piece alludes to the idea that art can be (de)constructed through the process of subtraction as it can through the act of creation. “There is nothing there, yet it is still a sculpture.� Michael Heizer
Figure 9 An image showing the effeect of wind and weathering on the walls over time
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Figure 10 An image looking across the valley from one carved space to the other
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Figure 11 An image looking through the carved space
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Figure 12 An image showing the context of the building and the landscape features on site
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Figure 15 A sketched parti diagram of the carved space
Figure 13 An image from within the carved space for activity
Figure 14 A sketched parti diagram of the carved space
EWHA WOMEN’S UNIVERSITY Dominique Perrault Architects | Séoul, Korea | 2008 | Carving for Activity With the majority of the building being located beneath the street level, the EWHA Women’s University is a great example of a manmade landscape that combines the built environment and the landscape of the site to create a dynamic interaction between the two. The massive site of this building, in conjunction with the surrounding context of the larger campus and the city of Shinchon to the south pushed the architects of this project to give an urban response that meshed these landscapes. This building reacts to these contexts through a carved “campus valley” that stretches across the entire site creating a connection between the university and the city through a plaza space that promotes activity. This carved void draws students and visitors to the base level of the building through a monumental staircase on one side and a slight decline on the other. This void becomes a place for an entry court to the building; a destination where students can gather and exchange ideas; an outdoors extension of the cafeteria; an amphitheater created by the stairs; an exterior gallery space that flows out from the interior galleries; and a flexible space that could be used for any variety of festivals, gatherings or activities. Aside from the carved central plaza, the site also features two strips of park areas that promote interaction between students and passerbyers.
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Figure 16 A model image showing how sunlight will reach the building’s plaza and The High Line
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Figure 17 A series of study models showing the process of carving the building
SOLAR CARVE
Studio Gang | Manhattan, New York | Unbuilt Carving for Sunlight With an anticipated design completion of 2015, this building was carved using the solar incident angles, view sheds, and zoning restrictions to dictate the form of the building in order to maximize the sunlight as well as air flow within the building, the plaza, and the nearby highline park. The Solar Carve Tower exhibits how existing site conditions can be used in a subtractive manner to create the form of a building. Carving was used in this context so as not to disrupt the sunlight exposure on the highline, as well as to increase mechanical performance and views out from the tower. This is a process that would yield a different result with each site it is implemented into, and offers a framework that could be used on a multitude of scales within any city. This example alludes to the idea that rather than infill the voids of the city, architecture could be created through the carving of the urban fabric. Figure 18 A diagram showing how the sunlight carved away pieces of the building
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Figure 19 An image showing how sunlight bounces through the carved spaces into the connumity spaces
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Figure 20 A watercolor showing the air being moved through the spaces in section, as well as the sectional relationships between carved spaces
SIMMONS HALL
Steven Holl Architects | Cambridge, Massachusetts | 2002 | Carving for Social Space and Views In the initial stages of design, Steven Holl sought to reinforce the idea of porosity within this scheme for the dorms of M.I.T. by carving away 25% of the building. As a result of this, the view corridors that provide neighborhood connectivity, main entrances, and activity areas are the first spaces to be carved from the mass of this scheme. The second series of carvings were designed to bring natural light down and air up through the social spaces that create the vertical porosity in the dormitory. This idea of the building as a sponge with negative space relates closely to the idea of carving in its subtractive nature.
Figure 21 A diagram showing the carved spaces in relation to the floors and enclosure
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Contemporary Thinking Carving is an operative strategy that is often mentioned in contemporary thought as it pertains to the subtractive move and the void that is subsequently created. Creation through removal.
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“When accepted as a tool, subtraction can be part of that architectural ethos that promotes essentialist values, an economy of means, or the removal of some excess that does not provide utility or beauty. Or the architect can play the role of sensitive (or brutish) artist who uses subtraction soulfully to ‘carve’ positive shapes within space or excise material to initiate the performance of light.” Keller Easterling, Subtraction
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“Porosity became the theme; the absence of building would be the object of the plan.” Steven Holl, Source Books in Architecture 5
“Refuge is small and dark; prospect is expansive and bright; they cannot coexist in the same space. They can occur contiguously, however, and they must, because from the refuge we must be able to prospect, and from the prospect we must be able to retreat to the refuge.” Grant Hildebrand, Biophilic Architectural Space Man-Made Landscapes: Synthetic Terrains 27
“One of the things this building has is it works in a way that the void in the space is more important than the substantial space. An absence can be more important than a presence... This room is really the absolute proof or evidence of that. It is ultimately perhaps kind of related to moral resistance against architecture and against creating things with incredible effort and difficulty; and I’ve always believed that taking away is easier than putting there.� Rem Koolhaas, A Kind of Architect
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“However productive, insidious, or even violent these deletions may be, the space of the subtraction itself is always a potent new mixture of ingredients previously separated - a new translation of contradictory information.” Keller Easterling, Subtraction
“Not only is the absence of material difficult to perceive, but the processes and tools of subtraction, its instruments as well as its instrumentality, are not part of an architectural repertoire.” Keller Easterling, Subtraction Man-Made Landscapes: Synthetic Terrains 29
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The City Park
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Figure 23 City Plaza Park
Figure 22 Jacob L. Loose Memorial Park
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Figure 24 City Park
Phase 1 Analyzing the basic elements of each park to investigate the organization of parks and realize the similarities and common aspects of city parks.
Phase 2 Examining the idea of permeability within the park, and how it affects prospect and refuge.
Phase 3 Abstraction of the programmed spaces and trees on a grid to notice the similarities of parks, and carving these spaces out of a mass to find spaces of prospect and refuge within the city park.
CHICO PARK | CITY PLAZA PARK | LOOSE PARK Through a series of analytical techniques focused on deconstructing the city park, the objective of these projects was to break down the space into its basic set of conditions. The three parks analyzed were chosen because of the variety of scales that they offered. The smallest of these parks is City Plaza Park located in Chico, California; the next scale of park that is analyzed was City Park in Manhattan, Kansas; the final city park being analyzed is Jacob L. Loose Memorial Park, which is by far the largest of the three parks. Although Manhattan’s City Park was located directly in my backyard, the lack of information available on the other two parks and the nature of the analysis led me to using Google Maps and Street View for the majority of the analysis, this proved limiting in some respects, but also brought realizations that may not have otherwise occurred. Within this investigation of the city park, I sought to find the places of prospect and refuge within each park and examine how each of the common pieces within the park affected this.
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Figure 25 Edge condition does little to provide separation between street and park
CITY PLAZA PARK Chico, California | 2 Acres In the first phase of this analytical process the ground conditions were broken down and exploded to show both the relationship of each ground material as well as their relationships to each other and the street. The exploration in the beginning phases of this project was to explore the similarities and differences between the parks of various scales. Within this park, the primary ground condition was the sidewalk, with green spaces in each of the corners, and circulation paths moving linearly through each space. Of all the parks analyzed, this park had the least separation between the street and the park, and also the least amount of trees. This prompted the investigation of how these factors affected the visual permeability of the park and also how this permeability created areas of refuge within the park.
Figure 26 Top to bottom; circulation, green space, programmed space, tree coverage
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Figure 27 Ground conditions; sidewalk, grass, trees, asphalt, fountain
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Figure 28 Consisting of parking along the street, a fountain in the center, a small band shell, and a restroom facility, programmed space has little affect on permeability or refuge
Figure 29 Tree foliage throughout the park is the primary piece affecting visual permeability and creating refuge
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Figure 30 Grass coverage has little to no affect on permeability within this park, however it does provide prospect
Figure 31 The circulation of this park is entirely linear and has no affect on visual permeability within the park, yet it creates prospect with clear sight lines
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Figure 32 With little change in terrain, the ground conditions do no provide places of refuge within the park, but provide for prospect
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Figure 33 Looking into the park, the programmed spaces along with the trees provide various places of refuge from the city, yet at the same time they limit prospect
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Figure 34 Taking into account each of the factors affecting visual permeability, two levels of refuge are found within the park
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Figure 35 In the final phase of the project, the park was simplified on a grid with solid circles representing programmed areas, and open circles representing trees. This begins to show how
the programmed spaces and trees form clusters
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Figure 36 In accordance to the planting and program clusters in the park, these pieces were grouped together.
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Figure 37 Following the clustering of the programed spaces and trees, the diagram was simplified to remove the individuality of each piece. The clusters shown provide spaces for refuge,
where the spaces negative spaces of the grid show the spaces of prospect.
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Figure 38 By massing out the volumes shaped by grouping of trees, these can be used to carve space from the extruded site. With most of the refuge coming from foliage, the volumes of
trees were elevated from the ground to reflect this
Figure 39 Programmed spaces provide sparse refuge along the ground level.
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Figure 40 Carving the programmed spaces and trees from the volume of the park, the solid volume that remains shows the spaces of prospect, where refuge can be found around the edges
of the negative spaces
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Figure 41 Edge condition does little to provide separation between street and park
CITY PARK Manhattan, Kansas | 45 Acres In the first phase of this analytical process the ground conditions were broken down and exploded to show both the relationship of each ground material as well as their relationships to each other and the street. The exploration in the beginning phases of this project was to explore the similarities and differences between the parks of various scales. Within this park, the primary ground condition was the sidewalk, with green spaces in each of the corners, and circulation paths moving linearly through each space. Of all the parks analyzed, this park had the least separation between the street and the park, and also the least amount of trees. This prompted the investigation of how these factors affected the visual permeability of the park and also how this permeability created areas of refuge within the park.
Figure 42 Top to bottom; circulation, green space, programmed space, tree coverage
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Figure 43 Ground conditions; trees, grass, gravel, baseball fields, asphalt, sidewalk, water, flowers, sand, rubber aggregate, tennis courts, stone
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Figure 44 With the majority of the programmed spaces consisting of sports fields and courts, there is also a water park, flower garden, pavilion, and parks department offices. As they are
not usually occupied, the fields provide prospect, while the buildings provide refuge from the street
Figure 45 Trees located along the edge of the park provide a first level of refuge, but do little to limit visual permeability into the park
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Figure 46 With little open grassed area within the park, this park offers very few spaces of prospect
Figure 47 Circulation along the exterior of the park is reserved for pedestrians, while the interior circulation is primarily for cars and parking. The parking lots within the park provide
prospect for the surrounding areas
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Figure 48 With little change in terrain, the majority of the spaces that could take advantage of the terrain for refuge are taken up by programmed spaces.
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Figure 49 Looking into the park, the programmed fields do little to provide refuge, while the trees are the primary factors limiting visual permeability
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Figure 50 Considering all of the pieces that affect permeability, two levels of refuge can be sought within this park
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Figure 51 By simplifying the programmed spaces and trees onto a grid, clusters of these pieces begin to form, and areas of prospect are found in the negative spaces
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Figure 52 By grouping adjacent programmed spaces as well as trees, the spaces of prospect begin to emerge from the negative spaces of the grid
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Figure 53 In looking at the grid blocks where the programmed space and trees begin to overlap or come close, places of refuge emerge from the diagram; the primary spaces of prospect are
located within the center of the park
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Figure 54 By massing out the volumes shaped by grouping of trees, these can be used to carve space from the extruded site. With most of the refuge coming from foliage, the volumes of
trees were elevated from the ground to reflect this
Figure 55 Programmed spaces provide some refuge along the ground level.
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Figure 56 Carving the programmed spaces and trees from the volume of the park, the solid volume that remains shows the spaces of prospect, where refuge can be found around the edges
of the negative spaces
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Figure 57 Trees along the edge of the park provide refuge from the street
JACOB L. LOOSE MEMORIAL PARK Kansas City, Missouri | 74 Acres The biggest park investigated, Loose Park features the most green space as well as the most tree coverage. Within this park, the primary ground condition was the sidewalk, with green spaces in each of the corners, and circulation paths moving linearly through each space. Of all the parks analyzed, this park had the least separation between the street and the park, and also the least amount of trees. This prompted the investigation of how these factors affected the visual permeability of the park and also how this permeability created areas of refuge within the park.
Figure 58 Top to bottom; circulation, green space, programmed space, tree coverage
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Figure 59 Ground conditions; grass, trees, flowers, asphalt, water, rubber running track, sidewalk, tennis courts, stone
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Figure 60 Programmed spaces consolidated into one half of the park do little to affect visual permeability as they are primarily ground conditions such as tennis courts, flower gardens, a
playground, and a small water park.
Figure 61 Trees located along the edge of the park provide refuge within much of the park, while there are
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Figure 62 With many variations in terrain and small hills throughout the park, the changing terrain offers places of refuge as the are lower than the street level
Figure 63 With multiple rings of circulation within the park, these paths provide refuge through separation between the park and the street edge
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Figure 64 With little change in terrain, the ground conditions do no provide places of refuge within the park, but provide for prospect
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Figure 65 Looking into the park, the programmed spaces along with the trees provide various places of refuge from the city
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Figure 66 With little change in terrain, the ground conditions do no provide places of refuge within the park, but provide for prospect
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Figure 67 Looking into the park, the programmed spaces along with the trees provide various places of refuge from the city
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Figure 68 With little change in terrain, the ground conditions do no provide places of refuge within the park, but provide for prospect
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Figure 69 Looking into the park, the programmed spaces along with the trees provide various places of refuge from the city
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Figure 70 By massing out the volumes shaped by grouping of trees, these can be used to carve space from the extruded site. With most of the refuge coming from foliage, the volumes of
trees were elevated from the ground to reflect this
Figure 71 Programmed spaces provide some refuge along the ground level.
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Figure 72 Carving the programmed spaces and trees from the volume of the park, the solid volume that remains shows the spaces of prospect, where refuge can be found around the edges
of the negative spaces
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Speculation Carving, as an operative strategy offers many opportunities within the modern design process. As a subtractive strategy, carving can be used to cut mass to create form in response to site conditions, or also to reinforce an idea within a the designed environment.
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Figure 73 A view from Flux Metro showing how sightlines carve the building
Figure 74 A view showing how height limitations influence the building form
Figure 75 A view showing how heritage trees carve out volumes within the form
Figure 76 With each piece carved, the program features a dialogue box showing every piece
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of code that carves away from the building form, as well as a link to applicable codes
Figure 77 A view showing each code or zoning restriction that shapes the form of the building.
FLUX METRO Flux | Austin, Texas | 2014 | Carving with Sightlines and Zoning “We simply cannot continue building the way we have. We need to leverage new technologies, massive data sets, and new processes to increase productivity, scale the scope of design, and improve the places where we live and work� Steve Jurvetson, Flux Board of Directors Breaking off from Google X, Flux Metro is a building generator that uses site factors to influence the form of a building. Austin, Texas is the first city to be released to the public for use with this software. In the program, a site is chosen and then extruded towards the sky. The software takes into account zoning laws, districts, heritage trees, capitol viewing corridors, capital dominance, and site requirements and carves away from the extruded site to give a form that is dictated purely by code. One of the engineers of this program spoke of how the global population is growing at rates which we cannot sustain, and this will demand places to live, however with current design and construction techniques we cannot keep up. Therefore, she proposes that developers use a program like Flux Metro to mass produce architecture. Although this idea is provides opportunity for quick production of building schemes, one downside to the program is that it views the zoning laws and codes as the final word, where many buildings today have worked around zoning laws or gotten an exemption. However, the concept is still strong, and it is something that could be implemented as a design strategy as well. I am particularly interested in how buildings can be formed as a result of the existing site conditions and how these site conditions (things every architect takes into account) can influence design. With a site in any metro area, this idea could be implemented and expanded to allow for views, circulation paths, transportation networks, and sustainable practices.
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Figure 78 An advertisement by Google for their Street View Car that is being used around the whole world
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Figure 79 Elevations and plan view of the Google Street View car, showing the positioning of the camera
ANNEXING THE SITE City Plaza Park | Chico, California | 2 Acres Carving for Refuge, Green Space, Street Connection, and Program With technology advancing faster than we can keep up with, new information constantly being taken and added to the internet. At the forefront of this movement, Google has become one of the most influential trackers of this information; as they likely have the capability to access any information they should wish to know. With satellite technologies, Google has grown to become a watching eye over every inch of the earth as out privacy descends into technological oblivion. Not only is this information available to Google, but they are making this information available to any person who has access to a computer through programs like Google Earth, Google Street View, and Google Maps. The power of these programs is clearly visible as they allowed me to research all of the parks in this volume without ever having to step foot on site. As Chico City Plaza is the closest of the parks I analyzed to the Silicon Valley, I chose this site to be the place for a reaction to the overbearing eye of Google. Using Google Street View to look at permeability and refuge within these parks, I found this park in Chico to offer no refuge from the street and city that it is situated in. Responding to this, I sought to rethink this park in a way that provided refuge from the eyes of Google and the entire world.
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Figure 80 Starting with the existing program and trees of the park, a place of refuge was made in the space was left untouched
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Figure 81 Maintaining the proportions of the park, the programmed spaces and trees were reorganized to emphasize the refuge in the park
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Figure 82 To create more overlap with the various aspects of the park, additional program was added. Spaces represented include refuge, trees, programmed spaces (parking, fountain, and
bandshell), rooftop seating. and circulation
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Figure 83 These programmatic elements were grouped to create spaces within them
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Figure 84 The circles that made up these groups are removed to give more of an allusion to the space created
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Figure 85 To determine the height of the park, the cone of vision was projected from the camera of the Street View Car from the farthest possible lane. The resultant height is 19’
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Figure 86 The profile used to carve spaces for trees is reflective of the shape of the trees on site, and allows for the trees to grow vertically as time progresses
Figure 87 These profile used to carve the band shell space was shaped so as to create a proper stage in front of the spaces of refuge
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Figure 88 The profile carved for the parking spaces was shaped so as to allow for circulation on the street side of the park
Figure 89 The profile used to carve the fountain space provides a place for the water to pool, a place for seating, and is open to the sky
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Figure 90 The profile used to carve the roof top seating was shaped so as to create an edge condition similar to a railing, as well as a space for seating
Figure 91 These profile used to carve the circulation spaces was proportioned to create a hall based on human scale
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Figure 92 The profile used to carve for refuge features bench seating and is elevated from the ground to separate it from street level
Figure 93 The resultant form derived from carving all of the necessary spaces from the extrusion of the park footprint
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Figure 94 An aerial perspective of the park, showing the different levels of refuge in the center of the park
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Figure 95 A rendering from the corner of 4th and Broadway Street
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Figure 96 A matrix of views taken from the Google Street View cars; of these 16 views, none of the give a view into the refuge area
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Figure 97 A rendering from the corner of 5th and Broadway Street
Figure 98 A rendering from the corner of 4th and Broadway Street
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Figure 99 A rendering from the corner of 5th and Main Street
Figure 100 A rendering from the corner of 4th and Main Street
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CITATIONS “Architecture in the Expanded Field: Precedent Diagrams.” CCA Wattis WBA3 ARCHITECTURE IN THE EXPANDED FIELD. Ila Berman/ Douglas Burnham, 27 Nov. 2011. Web. 08 Dec. 2014.
Conical Intersect | Page 13 | Figure 4
“A Better Way to Visualize Austin’s Development Code.” Flux Metro. Flux, n.d. Web. 08 Dec. 2014.
Flux Metro | Page 74 | Figure 73-77
Cantle, Chris. “Double Negative: Michael Heizer’s Lasting Desert Impression.” Road & Track. N.p., 18 Sept. 2014. Web. 08 Dec. 2014.
Double Negative | Page 14-15
carving. Dictionary.com. Dictionary.com Unabridged. Random House, Inc. http://dictionary.reference.com/ browse/carving (accessed: December 08, 2014). Curel, Michele. “Simmons Hall.” Behance. N.p., 15 May 2012. Web. 08 Dec. 2014. “Day 2.” Jawstins Blog. N.p., 9 Aug. 2010. Web. 08 Dec. 2014.
Simmons Hall | Page 24 | Figure 19
EWHA Women’s University | Page 18-19
Easterling, Keller, Nikolaus Hirsch, and Markus Miessen. Subtraction. N.p.: n.p., n.d. Print.
Contemporary Thinking | Page 28-31
EWHA Women’s University. Dominique Perrault Architecture, n.d. Web. 08 Dec. 2014.
EWHA Women’s University | Page 20-21 | Figure 12-14
Kellert, Stephen R., Judith Heerwagen, and Martin Mador. Biophilic Design: The Theory, Science, and Practice of Bringing Buildings to Life. Hoboken, NJ: Wiley, 2008. Print. Contemporary Thinking | Page 28
Gannon, Todd, Jeffrey Kipnis, and Michael Denison. Steven Holl/Simmons Hall MIT Undergraduate Residence. New York: Princeton Architectural, 2004. Print.
Contemporary Thinking | Page 29
Jawaid, Waqas. “Every Cloud Has a Silver Lightning.” MIT’s Radiant Landscapes. N.p., 16 Nov. 2010. Web. 08 Dec. 2014.
Simmons Hall | Page 25 | Figure 20-21
“John Locke.” John Locke RSS. N.p., n.d. Web. 08 Dec. 2014.
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Double Negative | Page 14-15 | Figure 8-9
“Land Arts of the American West.” Land Arts of the American West. Texas Tech University, n.d. Web. 08 Dec. 2014. Double Negative | Page 14-15 | Figure 6
Maskin, Alan. “Degenerate Art Stream: The Adjective Version.” Degenerate Art Stream: The Adjective Version (post by Alan Maskin). N.p., 25 Jan. 2012. Web. 08 Dec. 2014. Conical Intersect | Page 13 | Figure 4
“Oda a Gordon Matta-Clark.” Jorge Dol Arquitecto. N.p., 14 Jan. 2014. Web. 08 Dec. 2014.
Conical Intersect | Page 12 | Figure 3
Ouroussoff, Nicolai. “Timely Lessons From a Rebel, Who Often Created by Destroying.” The New York Times. The New York Times, 02 Mar. 2007. Web. 08 Dec. 2014.
Conical Intersect | Page 13
Scott, Irwin. Carved. Digital image. Flickr. N.p., 21 May 2012. Web. <https://www.flickr.com/photos/
irwin-scott/7306708570/in/photolist-c8EMTY-hrTDsP-dKkfie-7Ld8mX-4ymaiM-8DR5RG-8JFgby-3KAZBs-aekwxZ-ogYiAh- pdjXea-7Upeq3-awKVWR-6Np6WK-9jqpT-8bCPMd-nfErts-doFc67-bYkNeS-dZGDG9-acoQ87-8P4HX9-9Xi8Ru-LpvuC-kR7crz- dAUjQV-7G8Awy-n1RH9v-eagnZH-byT76T-BTaNA-fXggUM-2sdnCC-aTvYmp-jKBbPC-ajKu3a-asP835-h94LET-nAdz2c-dHTRp9- 5vSPpA-4J9fmN-3KCDqX-bX3bhP-ngRtMG-dPAw6b-8DR67Y-4zhpMK-hFepQb-hdmiu>. Cover Image
“STEVEN HOLL ARCHITECTS.” Simmons Hall. N.p., n.d. Web. 08 Dec. 2014.
Simmons Hall | Page 25
Taylor, Chris. “Chris Taylor Sends a Field Report from Land Arts of the American West.” Smudge. N.p., 18 Sept. 2009. Web. 08 Dec. 2014.
Double Negative | Page 14-15 | Figure 5
“Work.” Studio Gang Architects. N.p., n.d. Web. 08 Dec. 2014.
Solar Carve | Page 22-23 | Figure 16-18
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BIO STATEMENT Nic Hnastchenko | Minnetonka, Minnesota | Kansas State University | 5th Year Spending my entire childhood in the house that my father designed, my decision to pursue architecture may have been influenced slightly by the fact that my dad was an architect; my mom on the other hand, was an artist and did everything that she could to get me to put my creativity onto paper for her to keep for herself. In my younger years, I spent countless hours sorting through the large tupperware box I had filled with Lego pieces building anything I could imagine; I also spent much of my time doing drawings (primarily of sharks, dogs and pokĂŠmon), precisely cutting anything I could get my hands on with my trusty pair of scissors, and combining these things to create anything with three dimensions. At 22 years old and coming into my final semester of the Masterâ&#x20AC;&#x2122;s Program at Kansas State University, I still very much enjoy drawing, sketching, painting, model making, and apply all of these things to my studies of architecture. In the rare moments where I have a break from my architectural studies, I enjoy traveling and visiting Gothic Churches (Sagrada Familia, Notre Dame Cathedral, and Milan Cathedral topping the list of those I have visited), experiencing new cities (having lived in Minneapolis, Chicago, Kansas City, and Orvieto, Italy during my time at Kansas State), feeling small in a vast natural landscape (canyons especially), getting outdoors and moving (usually in the form of running, biking, longboarding, climbing, or playing soccer), washing down a slice (often more than one) of pizza with a craft beer (sometimes more than one), and spending time with my dog, friends, and family doing all of those things. With many years still ahead of me, the items currently topping my bucket list are seeing the northern lights, the Redwood Forest, and the completed Sagrada Familia.
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Colophon1
Man-Made Landscapes: Synthetic Terrains A multi-volume set of pamphlets studying new relationships between building and site. 1 :: Blending :: Roger Heady 2 :: Carving :: Nicholas Hnastchenko 3 :: Extruding :: Dylan Rupar 4 :: Folding :: Timothy Tse 5 :: Interlacing :: Renee Petty 6 :: Patching :: Lauren Harness 7 :: Thickening :: Kelsey Helland 8 :: Warping :: Brandon Lambrecht 9 :: Weaving :: Brian Conklin 10 :: Wrapping :: Sara Todavchick Volume Editor + Designer: Nicholas Hnastchenko Edition: Volumes 1-10: 1st Edition. First published in the United States of America in December 2014 by the student publishers of ARCH 711 using their original work composed of creative site documentation, original text and speculative propositions on the future of architects working in the landscape. Course Information: Assistant Professor Nathan Petty ARCH 711 / Fall 2014 / Wednesdays, 7:05 - 9:55 PM / Class ID: 14236, Section B, 3 Credits This speculative, multi-volume pamphlet publication accompanies the conclusion of a design-oriented research seminar focusing on alternative approaches to the integration of building and site entitled ‘Man-Made Landscapes: Synthetic Terrains’ conducted by Assistant Professor Nathan Petty for the Department of Architecture in the College of Architecture, Planning and Design (APDesign) at Kansas State University during the Fall Semester of the 2014 - 2015 academic year. The course is a project-based seminar offered to advanced Master of Architecture (M.ARCH) candidates during their fourth or fifth year of study.
Imprint Specifications: Distribution by lulu.com Perfect Bound Cover Dimensions: 8.5” x 8.5” / 21.59 cm x 21.59 cm Cover Paper: 100# / 270 gsm laminated cover stock Interior Paper Dimensions: 8.5” x 8.5” / 21.59 cm x 21.59 cm Interior Paper: 80# / 118 gsm coated matte white paper Typography: The text is composed of: Garamond, Garamond Bold and Garamond Italic, Version 2.40, developed by Claude Garamond. Copyrights: Monotype Typography, Ltd 1991-1995. All rights reserved. Distributed by Agfa Monotype Corporation Bibliographic Entry: Hnastchenko, Nicholas, H. Synthetic Terrains: Carving, vol. 2 of Man-Made Landscapes: Synthetic Terrains. Manhattan: KSU APDesign ARCH 711, Fall 2014. All rights reserved. No part of this publication may be reproduced in any manner without permission of the aforementioned publisher(s) listed above. Every effort has been made to ensure the accuracy of this publication with respect to citations, inaccuracies or omissions. The contents are believed to be correct at the time of going to press, but changes may have occurred since that time. If proper copyright acknowledgment has not been made, or for clarifications and corrections, please contact the individual publishers and we will correct the information in future reprinted editions, if any. apdesign.k-state.edu | The College of Architecture, Planning + Design | Kansas State University | Manhattan, KS, US | 66506
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Additional interesting background information:
http://www.mohawkconnects.com/feltandwire/2012/07/23/colophonscopyrights-delightin-the-details/
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