Material sense 2nd year studio

Oteiza material variations

MATERIAL SENSE 2nd year Studio

-1st problem, the material. They have to choose one material and experiment with it to study its physical qualities. Following their intuition they should generate a sequence of attractive objects where they should be looking at the logic of the material and how it performs or reacts against manipulation. Folding, bending, carving, extruding, mixing or scratching one material looking at the quality of the space: texture, color, light, structural behaviour‌

-2nd problem a shelter. Functional adaptation to human scale. They should play with the size of the object and find the right scale to transform that object into a space that could be inhabited.

This space should have a structure related to the material selected. This space should be documented with pictures where they put special attention on how dierent types of natural light perform with the material.

-3rd problem an extreme site. They should select a site with extreme weather conditions and figure out ways to adapt the previous object to the specificities of a site. They should be looking at the dialogue between the object and the site and how material qualities such us lightness or heaviness could be reinforced or diminished by how the object is landed in the ground. They should find alternatives of how this material could be used to perfectly perform with the extreme weather selected. The shelter should be adapted into a house

-4th problem the program. An specific program would be given and the students (a school? a library? a museum? a sport facility?) so they should shift again the scale of the previous problem to transform it into a building. The physical qualities and the material discoveries of the previous exercises should be kept but adapted to the constrains of a very specific program in a very specific site. This would be the main exercise of the semester

MATERIAL SENSE

INSTRUCTORS:

ARCH 2101 DESIGN I1I M/W/F 12.20-430

TEACHING ASSOCIATES

IÑAQUI CARNICERO, LESLIE LOK, ARTHUR OVASKA,VAL WARKE, JOHN ZISSOVICI

STEFANY ROSALIA AMASIFUEN, HONG YEOL IN

OTEIZA EXPERIMENTAL LABORATORY

PROJECT 2: Baird Prize Competition. The shelter.

Schedule: September 4th: September 14th:

P2 Distributed P2 Reviewed

The Baird Prizes were established in 1927 by Mrs. M. Z. Baird of Cleveland Ohio, the mother of two former students in Architecture, Thomas J Baird '25 and Lincoln Baird '28. The prize directs that one or more prizes will be awarded to a winner(s) of a special second-year design competition.

PROBLEM Functional adaptation to human scale should be applied to one of the models developed in the previous problem. By shifting the scale of the object, the student should explore various ways to make it inhabitable. The material qualities discovered during the previous week in relationship to texture, mass, structure, color, and light should define the properties of this space and adapted to human scale.

The specific program for the shelter — a shelter for/from what? — should be carefully considered and clearly indicated on the presentation and title.

A site for this shelter should be chosen to define a consistent dialogue with the landscape. Students are encouraged to study sites where the extreme weather conditions or complex topographies could inform unconventional solutions for the shelter in terms of form, scale, material, or use.

A very detailed plan and section should explain the logic that relates program, material, and structure. A human figure should be included in the plans to perfectly explain the interactions between the user and the space.

By rendering, photoshoping or collaging, an interior image should be carefully developed to perfectly convey the atmosphere created by the dialogue between material and light.

PRESENTATION One sheet 36” X 72” (vertical) to include the following drawings (drawings may be combined, overlaid, etc.): -One site plan and site section @ 1/16” = 1’-0” or 1:200 -One plan, section, and elevation @ 1/2” = 1’-0” or 1:20 -One axon @ 1/2" = 1'-0" or 1:20 -One interior render that perfectly explains the quality of space (light, texture, mass, structure, color…) and the human scale -One exterior render showing the scale and site engagement.

All orthographic representations are to be hardline hand drawings or digital drawings and should accurately indicate occupiable spaces, overhead elements (dashed line), material thicknesses, seating areas, building context, etc.

Included on the lower right hand corner of the drawing is an anonymous project title, and a brief description of the project (not to exceed 100 words). Attach to the back of each drawing an envelope containing your name, section, and student ID#).

SCHEDULE Problem distributed: Friday September 4th @ 12:30pm Milstein Auditorium Problem due: Monday September 14 @ 12:00pm SHARP Milstein Dome NB: ALL WORK MUST BE PINNED UP BEFORE 12:05 PM. ANY WORK THAT IS NOT PINNED UP AT THAT TIME WILL RECEIVE AN AUTOMATIC GRADE OF F, WILL NOT BE REVIEWED, AND WILL NOT BE IN CONTENTION FOR A PRIZE. (Competition rules)

ABERLARDO MORELL

ABELARDO MORELL

PROJECT 3 :

The House

Schedule: September 14th: October 9th:

P3 Distributed P3 Reviewed

INSTRUCTOR IĂ‘AQUI CARNICERO

The shelter should be adapted into a house. A site with extreme conditions will be chosen by each student. The house should reinterpret the previous design of the shelter and adapt it to the specificities of the new site.

The type of user/users will be decided by the students trying to stay away from conventional stereotypes. The particularities on the way of living will be giving key aspects to inform the plan.

Special attention should be put on the dialogue between the object and the site and how material qualities such us lightness or heaviness could be reinforced or diminished by how the object relates to the ground. You will be encouraged to study alternatives of how this material could be used to perfectly perform with the extreme site selected.

A time frame of 100 years should be considered, and the hypothesis of how the user/users may change the conditions of living will inform how the house will accommodate this variations.

PRESENTATION Two sheets 36” X 72” (vertical) to include the following drawings (drawings may be combined, overlaid, etc.): -site plan and site section @ 1/16” = 1’-0” or 1:200 -plans, section, and elevation @ 1/2” = 1’-0” 1:20 or 1:50 -axon @ 1/2" = 1'-0" 1:20 or 1:50 -interior and exterior models -One interior render that perfectly explains the quality of space (light, texture, mass, structure, color…) and the human scale -One exterior render showing the scale and site engagement.

All orthographic representations are to be hardline hand drawings or digital drawings and should accurately indicate occupiable spaces, overhead elements (dashed line), material thicknesses, seating areas, building context, etc.

SCHEDULE Problem distributed: September 7th @ 12:30pm Problem due: October 9th @ 12:30pm

PROJECT 4 :

The Museum

Schedule: October 14th: December 3rd:

P4 Distributed P4 Reviewed

INSTRUCTOR IĂ‘AQUI CARNICERO

The house should be adapted into a museum. By scaling, repeating, embedding, expanding or transforming the previous design, certain aspects, especially those related to the materiality of the house, should be brought to a new level and adapted to a very different context in a much bigger scale.

The site will be located inside of the medieval tissue of the city of Madrid, currently occupied by the Cebada´s market, a historic building with a very impressive concrete structure, that soon will be demolished. The building should be interpreted not only as a museum but also as an extension of the neighbourhood and respond to their public necessities.

Special attention should be put on the dialogue between the building and the site and how the material research developed in previous problems is brought to define the main qualities of the space and structure of the new building.

The student will be responsible to define the exhibition content and to envision the relationship between the spectator and the object exhibited. The circulation of the building should define the order in the plan and the methods used to capture natural light and distribute it inside of the building should be perfectly reflected in the main sections.

ABERLARDO MORELL ABELARDO MORELL

PRESENTATION Two sheets 36” X 72” (vertical) to include the following drawings (drawings may be combined, overlaid, etc.): -site plan and site section @ 1/16” = 1’-0” or 1:200 -plans, section, and elevation @ 1/2” = 1’-0” 1:20 or 1:50 -axon @ 1/2" = 1'-0" 1:20 or 1:50 -interior and exterior models -One interior render that perfectly explains the quality of space (light, texture, mass, structure, color…) and the human scale -One exterior render showing the scale and site engagement.

All orthographic representations are to be hardline hand drawings or digital drawings and should accurately indicate occupiable spaces, overhead elements (dashed line), material thicknesses, seating areas, building context, etc.

SCHEDULE Problem distributed: October 14th @ 12:30pm Problem due: December 3rd @ 12:30pm

COCO CHI TING TIN Fall 2015 Cornell University

A MUSUEM PROPOSAL FOR MADRID, SPAIN mu¡se¡um

[noun]

a building in which interesting and valuable things (such as objects of historical, scientific, artistic, or cultural interest) are collected and shared with the public.

Located in the heart of Madrid, this proposal interchanges the existing make programme of Mercado de la Cebada with a museum designated for hanging ceiling art. At first glance, the medical trace of the city creates irregular city blocks, which in actuality are fragmented buildings arranged in a puzzle like manner, offering moments of relief through its courtyards. In conjunction with the main concept of sold and void, the museum is intended to be its own object in the site - much like the individuality of each city block. With the East Wing cantilevered to create a covered plaza, a path building from Plaza de Moros leading metaphorically towards Plaza Mayor is formed, redistributing the current circulation and encouraging visitors towards the museum and its public space. Influenced by the previous material research of a tree branch, the organization inside the building is similar to the layers of tree rings. A central void acting as the core of the museum, circulation wraps around it, with exhibition spaces next, and service areas on the outermost. Responding to the need for heigh in the display of art hanging from the ceiling, the muse rises above its surroundings, simultaneously offering spectacular views of the city.

MUSEUM PROPSAL 01

EXPLODED AXONOMETRIC

MUSEUM PROPSAL 02

MUSEUM PROPSAL 03

MUSEUM PROPSAL 04

SITE MODEL

MUSEUM PROPSAL 05

SITE MODEL // PERSPECTIVE

MUSEUM PROPSAL 06

CONCEPTUAL MODEL OF INTERIOR SPACES MUSEUM PROPSAL 07

STRUCTURE, MASSING, CIRCULATING MODELS

MUSEUM PROPSAL 08

TELESCOPE HOUSE house

[noun]

a building for human habitation, especially one that is lived in by a family or small group of people.

Located deep inside the Calloway Forest Park of Scotland, this is the home of a star gazer. Almost Literally utilizing the initial research of a tree branch, this house plays with the idea of inhabiting a tree. Here, activities are carried out during the night - a peculiar emphasis on how the client adverts light during the day. Although the exterior form blends in seamlessly with the forest, it rises from its surroundings, offering clear views of the beautiful night sky.

TELESCOPE HOUSE 01

TELESCOPE HOUSE 02

PLANS, SECTIONS, ELEVATIONS

TELESCOPE HOUSE 03

CONCEPTUAL MODEL

TELESCOPE HOUSE 06

INITIAL SKETCHES

TELESCOPE HOUSE 07

MATERIAL EXPLORATION 02

MATERIAL EXPLORATION 03

MATERIAL RESEARCH Concrete and wax study

Hallie Black Using the materials of Rockite and wax, the material research study began to discover the intricacies of solid and void. To create the complex Rockite negatives, wax was heated to a liquid state and then cooled immediately in ice water. The wax solids were then cast into a Rockite cube and then melted out to create hollow interiors. Sectioning the cube and melting out the wax discovered the hollow interiors, creating a dynamic between the monolithic and ephemeral. This reciprocal process established a method of thinking that carried over to the next step of the project—the shelter.

BAIRD PRIZE The Petrified Hollow Shelter

Hallie Black The Petrified Hollow shelters hikers from the hot days of the Mojave Desert.

Right off the Pinto Basin Trail, a series of walls create a wind tunnel for mellow breezes to pass by as the inhabitant explores the encased negative spaces. Each partition provides a specific program for sleeping, sitting, or standing according to the volume and density of the voids. As the night cools, the materiality of the concrete walls dissipates heat to warm weary trekkers. This petrified retreat provides a shelter from the blistering sun and a warm place to watch the stars. The Baird Prize sumbission won first prize.

AXONOMETRIC

WALL INFOGRAPHIC

LATITUDINAL SECTIONS

PLAN

ELEVATION

THE SCATTERED STRATUMS OF MADRID MUSEUM FOR PLAZA DE CEBADA Steven Ren

LIGHTING CONDITIONS

AXONOMETRIC

6:00 AM

7:00 AM

8:00 AM

5:00 PM

5:30 PM

TERTIARY SECTIONS (LATITUDINAL)

4:00 PM

TERTIARY SECTIONS (LONGITUDINAL)

WEST ELEVATION

LEVEL 2

SOUTH ELEVATION

LATITUDINAL SECTIONS

LONGITUDINAL SECTIONS

LEVEL 3

LEVEL 4

LEVEL 5

NORTH ELEVATION

LEVEL 6

EAST ELEVATION

LONGITUDINAL ELEVATION

MATERIAL STUDIES

SHELTER

HOUSE

END

Magdalena Zink Studio III: Material Sense Cornell University Department of Architecture

Professor Inaqui Carnicero

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Problem I: Material Study Corrugated Cardboard & the effects of Light

The corrugations of cardboard are oriented such that in one direction, light can pass through, and the other direction, the light is blocked. Using the geometry of the circle so as to view the spectrum of the corrugations, I created lanterns to emphasize the effects of light.

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Problem II: Shelter Circadian Solace

Situated in the Blue Ridge Mountains, this remote retreat allows an individual to go back to the basics of nature and sunlight. Morning light passes through the corrugated steel and awakens the inhabitant. Light continues to shift throughout the day, lowering height and circulating around the structure.

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Magdalena Zink

Problem II: Shelter

Circadian Solace

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Problem III: House Workaholic / Alcoholic

Situated in the pivot irrigated croplands of Colorado, this house facilitates the interaction between two distinct individuals through the use of rotating programmatic walls and a specific sense of light and time. The corrugated steel facade allows light to pass through only when directly perpendicular, leading to different effects and spaces throughout the day.

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Magdalena Zink

Problem III: House

Workaholic / Alcoholic

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Problem IV: Museum Museum of Movement & Dance

Situated in the medieval trace of Madrid, this museum of dance is raised above the ground by inverted structural domes that provide light. The semi-spheres create interesting programmatic courtyards used for everyday city life and public performances. The accessible roof offers a sculpture garden, running track, and patios for public dance classes and performances.

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Sketch models investigating different forms.

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Magdalena Zink

(Top) Site model of Madrid in mahogany with a scaled site model.

(Bottom) Final model at 1:250.

Problem IV: Museum

Museum of Movement & Dance

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Magdalena Zink

(Top) Final site plan.

(Bottom) Final section.

Problem IV: Museum

Museum of Movement & Dance

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Magdalena Zink

Floor plan of the museum on top and roof plan with site context below.

Problem IV: Museum

Museum of Movement & Dance

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MATERIAL SENSE JOHN SCHEELER

MATERIAL STUDY An exploration into the fundamental elements of stone, metal, and light aimed at finding the ways in which they could be combined and played to create stunning visual properties and unique design experiences. Through a series of many different models we created a toolbox of different ways to work with our material properties, highlighting the aspects that made them unique.

SHELTER Located in Normandy, France, this idyllic sanctuary gives new life to the site of an old WWII bunker. Instead of being sheltered from incoming artillery, visitors today can find shelter from the world around them, as a space of reflection, mourning, and introspection. The walls are carved straight into the french marble, creating a space that remains sheltered from weather or seasonal climate change. Suspended above the visitors’ head rests a complex structural matrix serving to separate the interior from the surrounding world, while also filtering the light in a way that creates a breathtaking reflections. The structural canopy is constructed using a rigorous modular system designed to span the bunker roof while remaining porous.

MADRID CITE

WOOD AND LEAVES Material Research

Vanille Fricker

WOOD AND LEAVES | 01

WOOD AND LEAVES | 02

WOOD AND LEAVES | 03

WIND ONDULISS Pavilion Competition

Vanille Fricker Strong winds blown through the flat valley of Carrizo Plain in California plays with the metal strips of the first part of the structure and distorts them, creating both visual effect and sound. Made from the same material but struc- tured differently, the second part of the structure acts as a protection from the wind. The orientation and pinning of the metal in different ways allows for these two drastically different results: rigidity and flexibility, opacity and trans- lucency, silence and sound.V

WIND ONDULISS | 01

WIND ONDULISS | 02

HOUSE IN THE VINEYARDS House

Vanille Fricker Strong winds blown through the flat valley of Carrizo Plain in California plays with the metal strips of the first part of the structure and distorts them, creating both visual effect and sound. Made from the same material but struc- tured differently, the second part of the structure acts as a protection from the wind. The orientation and pinning of the metal in different ways allows for these two drastically different results: rigidity and flexibility, opacity and trans- lucency, silence and sound.V

HOUSE IN THE VINEYARD| 01

S

HOUSE IN THE VINEYARD| 02

HOUSE IN THE VINEYARD| 03

HOUSE IN THE VINEYARD| 04

HOUSE IN THE VINEYARD| 05

SITE PLAN

CITY VEINS MUSEUM | 02

SITE ANALYSIS AND SKETCH MODELS

CITY VEINS MUSEUM | 03

SITE MODEL

CITY VEINS MUSEUM | 04

AXON DIAGRAM

CITY VEINS MUSEUM | 05