SCI
Arc
May
2020
JASPER NICOLE GREGORY
G JN
Jasper Nicole Gregory jasperngregory@gmail.com https://issuu.com/jaspergregory @jaznicc
May
2020
JASPER NICOLE GREGORY
Southern California Institute of Architecture M.Arch II
G JN
Architect. Artist. Student. Visionary. Creator. Woman. HER. Living in this world: Growing, Learning, Designing, Thriving. Architecture has possessed HER eyes. Architecture has stolen HER time. Architecture has imprinted its poise into HER mind to the edge. of. total. obsession. The world through HER veil is forever abstracted. The Lover of Light: Shadow Play. Angles. Texture. Linework. Crease. Beam. Glow. Absorb. Reflect. Refract. Soft. Warm. Cool. Bounce. Hard. Rays. The Form Finder: Smooth. Volume. Plush. Rough. Porous. Grated. Plane. Surface. Tensile. Sleek. Chunk. Rotate. Shift. Envelope. Slide. Twist. Extrude. Boolean. Move. Explode. Joint. Seam. The Brain: Color. Power. Will. Strength. Pressure. Absorption. Dream. Vision. Create. Distruct. Break. Build. Inspire. Believe. Gradient. Knowledge. Skill. Confidence. Elegance. Synesthetic. Raw. Real. Imaginary. The Future: Peace. Sharing knowledge. Inspiring. Teaching. Learning. Dancing on the line of the forbidden and the certain. Living. Bending rules. Creating. Loving. The Future for HER is Lit. As the Lover of Light, Form Finder and The Brain continue the battle of engaging the other. HER world will evolve. HER mind will flourish. HER. A Future of the Architect. Artist. Student. Visionary. Creator. Woman. HER.
contents
DS1201
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2.5D MUSÉE VS4201
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ANNIHILATION HT2201
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AESTHETICS OF COUNTERSEXUALITY DS1200
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OPTICAL PHENOMENA VS4200
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{COLOR + ROBOTS} = PLAY; AS3200
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QATAR NATIONAL LIBRARY x2 AS3302
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ESTÁDIO CORREDEIRA HT2200
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WORLD MAKING IN THE STATE OF MIND + BODY
2.5D MUSÉE
2GBX
DESIGN STUDIO II SPRING 2020 Instructor
JACKILIN BLOOM Team
KOVARTHINI SEKAR Our proposal for the new LACMA is a museum of episodic spatial experiences, providing an array of backdrops for the art being viewed. Building upon today’s social media culture and the way in which art is consumed, the new LACMA aims to engage its participants by producing a visual experience of art that is unique to the individual. Figural geometries were derived from LACMA’s artifacts making up a graphic overlay of volumetric extrusions that hover between flatness and three-dimensionality. Although synthesized together into a museum building where the art can be curated in multiple ways, at any given moment, photographs taken by viewers would never be the same. The museum creates a viewing environment that is in a constant state of flux and indeterminacy.
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2D
Figural geometries were derived from LACMA’s artifacts making up a graphic overlay of volumetric extrusions that hover between flatness and threedimensionality.
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DESIGN STUDIO II
JASPER GREGORY
2.5D MUSÉE
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SCI_ARC
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DESIGN STUDIO II
JASPER GREGORY
The graphic overlay spills from the structure onto the landscape creating entrance plazas and inviting the visitor to interact with the museum. The geometries, colors and transparent views of the multiple levels from the exterior of the structure add to the sense of a constant state of flux.
2.5D
2.5D MUSÉE
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The interactive experience begins as one approaches the site. With each step a unique varying perspective is experienced adding to the excitement and involvement of each individual.
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DESIGN STUDIO II
Translation from 2D - 3D
JASPER GREGORY
2.5D MUSÉE
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SCI_ARC
Moving through the structure one sees where moments of intersection and collision are created from the interlocking design of form and texture. The graphic overlay colors highlight main intensity points in the structure. The exhibition spaces will be filled with light and intensely hued walls creating interchangeable moods according to the art pieces that are on display.
1� = 0.083’
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DESIGN STUDIO II
JASPER GREGORY
2.5D MUSÉE
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SCI_ARC
The intrinsic design of the new LACMA encourages intrigue and circulation. The large openings between rooms and floors invite the viewer to explore the art from different vantage points.
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DESIGN STUDIO II
As Above, So Below.
JASPER GREGORY
The spaces are meant to interact with each other. As the user enters an exhibition through the ground floor they may find the exhibit continues to the floor above.
2.5D MUSÉE
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RETAIL STORAGE
STORAGE CAFE STORAGE
GALLERY
GALLERY
GALLERY
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DESIGN STUDIO II
JASPER GREGORY
The program consists of exhibition space dispersed throughout the building. Offices are offered on the floors above, and storage is below. The auditorium, retail and cafe spaces are located at the main entrances. The main entrances and exits are located on the site’s diagonal points. The graphic spots on the ground level are public plazas.
GALLERY
2.5D MUSÉE
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Although synthesized together into a museum building where the art can be curated in multiple ways, at any given moment, photographs taken by viewers would never be the same. The museum creates an environment that lives in a state of flux that exists within an indeterminate middle.
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DESIGN STUDIO II
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Flux.
https://vimeo.com/showcase/6988124/video/409782227
2.5D MUSÉE
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SCI_ARC
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DESIGN STUDIO II
JASPER GREGORY
2.5D MUSÉE
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ANNIHILATION
2GBX
VISUAL STUDIES II SPRING 2020 Instructor
DAMJAN JOVANOVIC Team
NIKHIL BANG The world we created exists when Earth's technological civilization has collapsed. When the humans and animals of Earth have obliterated themselves, these foreign creatures will inhabit our planet we now know as home. Our scene has transgressed into a world that no longer exists as a backdrop but is now the main focal point of the story. These creatures were first invented by humans, as the human species slowly annihilated themselves the creatures began to take over. Curating a world for themselves, their own way of communication, socialization, and existence within our own planet.
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Swarm.
The creatures swarm, curating a world for themselves. Their own way of communication, socialization, and existence within our planet.
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VISUAL STUDIES II
JASPER GREGORY
https://vimeo.com/408073813
ANNIHILATION
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VISUAL STUDIES II
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ANNIHILATION
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Post Apocalyptic.
The gloaming atmosphere of our scene is designed to invoke an eerie sense. Lighting, landscape, and the creatures themselves were created in combination to generate the post apocalyptic scene.
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VISUAL STUDIES II
JASPER GREGORY
ANNIHILATION
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AESTHETICS OF COUNTERSEXUALITY 2GBX
THEORIES OF CONTEMPORARY ARCHITECTURE II SPRING 2020 Instructor
JOHN COOPER The Aesthetics of Countersexuality is a project of experimentation, discovery and pure expression. This project is intended to stimulate certain emotions and thoughts while experiencing the visual and sonic creation. The work is a direct translation of what the topic of countersexuality means to me. The project derived from there not being enough visual information on the topic, thus the creation of my own interpretation was born. Envisioning what countersexuality can be is only the beginning of what this project can embody.
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SEARCH > Pinterest “COUNTERSEXUALITY”
SEARCH > Instagram “COUNTERSEXUALITY”
PHASE 01; SEARCH > Tumblr “COUNTERSEXUALITY”
The process began with research of the topic “countersexuality” through the most popular image searching platforms on the internet. The search for images in each of these platforms resulted in zero hits.
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THEORIES OF CONTEMPORARY ARCHITECTURE II
JASPER GREGORY
AESTHETICS OF COUNTERSEXUALITY
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SCI_ARC
PHASE 02;
The next step in the process was discovering artists and individuals who I thought represented countersexuality. Through this research I discovered many artists produced art through multiple mediums, music being one of them. While collecting images from these artists’ Instagram profiles, I listened to their music simultaneously. I gathered images and songs that immediately caught my attention.
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THEORIES OF CONTEMPORARY ARCHITECTURE II
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DISCOVER > Instagram @Truekanda @Arca1000000 @Crimesagainstshoemanity @dazedbeauty @glamcult @camillemompach @sickymag @jillgattegno @leoadef @ravvebeauty
Then came the time to indulge in the images and music I collected to produce my own visual representation of what I envisioned countersexuality to be. This was an act of pure expression through emotion and intuition.
DISCOVER > Music ‘Preface’ - FKA twigs ‘Numbers’ - FKA twigs ‘Closer’ - FKA twigs ‘Kicks’ - FKA twigs ‘Figure 8’ - FKA twigs ‘Glass & Patron’ - FKA twigs ‘@@@@@’ - Arca ‘2 Blunted’ - Arca ‘Nastasya’ - Doon Kanda ’Burning’ - Doon Kanda ‘Human’ - Sevdaliza ‘Shahmaran’ - Sevdaliza
AESTHETICS OF COUNTERSEXUALITY
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SCI_ARC
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THEORIES OF CONTEMPORARY ARCHITECTURE II
JASPER GREGORY
AESTHETICS OF COUNTERSEXUALITY
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SCI_ARC
PHASE 03;
SOURCE > COUNTERSEXUAL MANIFESTO - Paul B. Preciado
While conducting my Instagram research, I was reading and annotating the book Countersexual Manifesto by Paul B. Preciado. I interpreted the readings and notes into another visual representation.
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THEORIES OF CONTEMPORARY ARCHITECTURE II
JASPER GREGORY
SOURCE > COUNTERSEXUAL LECTURE NOTES - Jasper Gregory
AESTHETICS OF COUNTERSEXUALITY
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THEORIES OF CONTEMPORARY ARCHITECTURE II
JASPER GREGORY
AESTHETICS OF COUNTERSEXUALITY
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INDULGE > I then combined the two images with a song.
[to truly connect, experience the visual and sonic creation here]: https://vimeo.com/411630637
PHASE 04;
“It doesn’t start with a call for revolution, but with the realization that we are the revolution that is already taking place.” - Paul B. Preciado
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THEORIES OF CONTEMPORARY ARCHITECTURE II
JASPER GREGORY
AESTHETICS OF COUNTERSEXUALITY
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OPTICAL PHENOMENA
2GAX
DESIGN STUDIO I FALL 2019 Instructor
JENNY WU Team
NIKHIL BANG After Image is an optical phenomenon whereby a person experiences the image through hallucination or sensations and remains lingering in an altered state. The project is a direct translation of an after image. The texture corresponds with the geometry, producing a transformation of resolution within the images. The texture is a direct transgression of the surrounding urban context of Los Angeles. Our project acts as a distortion mechanism, containing multiple layers. The translation of 2D to 3D, from image to object, physical to digital. The effect of the distortion becomes legible while viewing our project from different perspectives. When viewing from elevation, the textures seem to alter the geometry. Making certain moments seem flattened or give the allusion of depth where none is present. There are different resolutions within the texture. Certain areas appear more defined while others are stretched, conforming to the geometry. 47
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Detail.
The objects were 3D scanned from the Chinatown site located in downtown Los Angeles. The objects were then taken into a photogrammetry software and transgressed into unique objects obtaining their own geometrical qualities.
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OPTICAL PHENOMENA
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SCI_ARC
The intersection process included preserving the geometrical qualities of each object, while creating combinations of form. These intersections generate complex interior and exterior spaces .
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Intersection.
JASPER GREGORY
OPTICAL PHENOMENA
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SCI_ARC
53 DESIGN STUDIO I
JASPER GREGORY
Relation of texture to massing.
OPTICAL PHENOMENA
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SCI_ARC
The texture was taken directly from photos of the surrounding buildings in downtown Los Angeles. The photos were distorted through a combination process and then projected onto the geometry.
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Texture + Color.
JASPER GREGORY
OPTICAL PHENOMENA
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SCI_ARC
The objects produce a geometric relationship. Each object weaves into the other, creating a series of negative and positive interior spaces. They intersect with moments of internal tubes that envelop the object from inside-out.
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JASPER GREGORY
OPTICAL PHENOMENA
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SCI_ARC
59 DESIGN STUDIO I
JASPER GREGORY
The internal spaces of our project were formed purely by geometry. While combining the objects, we discovered moments of involutions. These moments created a prolonging effect of one object enveloping into the other. Using morphological methods of designing the spaces.
Involution.
OPTICAL PHENOMENA
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SCI_ARC
61 DESIGN STUDIO I
JASPER GREGORY
Altered State.
After Image is an optical phenomenon whereby a person experiences the image through hallucination or sensations and remains lingering in an altered state.
OPTICAL PHENOMENA
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{COLOR + ROBOTS} = PLAY;
2GAX
VISUAL STUDIES I FALL 2019 Instructor
ANDREA CADIOLI + CURIME BATLINER Team
HEENA PATEL
Following the contemporary explorations of the 2.5d canvas in the post-digital area, the project investigates the architectural facade as a space of multiplicities and singularity, deeply public and in an infinite state of fluxation. The interaction with the robot, scripting software, and architect created a series of parametric and generative designed patterns playing with repetition, tiling and overlapping.
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{Colors
Design 3 vector images to serve as the catalog for color and form inspiration.
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JASPER GREGORY
{COLORS + ROBOTS} = PLAY;
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SCI_ARC
Using geometries from the catalogue images. A script was used to design a series of lineworks which would scan over geometry to produce visual art.
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Linework + Color.
JASPER GREGORY
{COLORS + ROBOTS} = PLAY;
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SCI_ARC
Exhibition.
The animation was represented through a single frame and then printed. Installed on the walls and floors creating an experiential space. A world of stickers.
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JASPER GREGORY
{COLORS + ROBOTS} = PLAY;
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SCI_ARC
+ Robots}
The linework and color from the sticker was placed on a panel. The robot was then the designer in creating a facade of panels.
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JASPER GREGORY
{COLORS + ROBOTS} = PLAY;
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SCI_ARC
73 VISUAL STUDIES I
JASPER GREGORY
{COLORS + ROBOTS} = PLAY;
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= Play;
Playing with the final outcomes of each project in a processing workshop by Casey Reas.
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JASPER GREGORY
{COLORS + ROBOTS} = PLAY;
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Q
A
T
A
R
NATIONAL LIBRARY x2 2GAX
ADVANCED MATERIALS + TECTONICS FALL 2019 Instructor
MAXI SPINA + RANDY JEFFERSON Team
CRISTINA COTRUTA, DEVANGI KANSAGRA, KARIM KHAYATI Our main goal was providing light within the building and developing an envelope which could be both aesthetically and functionally interrelated. Qatar weather is desert, with very hot and sunny summers/mild winters. This had implications for our design, since the overall functional program of the structure is Library, which implies extremely calculated and well-thought out light amount predictions. Based on computational design, we were able to understand where our building could allow us to introduce either more or less amounts of insulation. In order to decrease the level of heat transfer, we used composite panels, consisting of 2 aluminum cover sheets and a 0.5 mm mineral-filled core.
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Different angles to the beam is achieved by welding them together.
Steel Tube Boxed Brace Frames 150mm x 150mm
Steel I-Section Connectors The grid beams are connected to the Periphery Beams through steel connectors at its calculated angle. Bottom I-Section Steel Beams for the formwork for the uplift forms vary in thickness and placed densely together for stiffness and rigidity. Bottom Box-Section Periphery Beam
PERIPHERAL BEAMS (PRIMARY BEAMS)
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TRUSS AND SECONDARY BEAMS
ADVANCED MATERIALS + TECTONICS
JASPER GREGORY
Flat I-Section Steel Trusses Depth: 2500mm I-Section Steel Beams Web: 2450mm, Flange: 700mm I-Section Peripheral Beam Web: 2450mm, Flange: 700mm The full shell is broken down in 5 parts and each have its peripheral beams.
I-Section Periphery Beams Web: 1100mm, Flange: 350mm The full structure has a periphery that supports the drainage and plays the primary role in transferring loads.
Steel brackets, welded and bolted to the periphery beam for the GFRC envelope to fit on.
Two different angled beams welded together at the junction.
STEEL BOXED TUBE BRACING FRAMES
QATAR NATIONAL LIBRARY x2
BOTTOM BEAMS (SECONDARY FORM STRUCTURE)
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SCI_ARC ENVELOPE SYSTEM
SLANTED ROOF ENVELOPE DETAIL
FLAT ROO Glass Fiber Reinforced Concrete Cladding 50mm thickness 1000mm x 2500mm Steel Bracing Square Beam 150mm x 150mm
Steel I-Beam Web: 380mm Flange: 180mm Steel I-Beam Web: 1100mm, Flange: 350mm
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ADVANCED MATERIALS + TECTONICS
JASPER GREGORY Glass Skylight Glass Fiber Reinforced Concrete Cladding 50mm thickness Waterproofing Membrane 4mm thickness Thermal Insulation 100mm thickness Corrugated Galvanized Steel Steel I-Beam Web: 2450mm, Flange: 700mm Steel Diagonal Truss System 2500mm depth Glass Fiber Reinforced Plastic 50mm thickness Steel Bracing Steel I-Beam Web: 1100mm, Flange: 350mm Steel Reinforced Concrete 900mm diameter Corrugated Curtain Wall Reinforced Concrete Slab 1500mm Steel Square Beam 1100mm x 350mm
OF ENVELOPE DETAIL 1
FLAT ROOF ENVELOPE DETAIL 2 Glass Fiber Reinforced Concrete Cladding 50mm thickness 1000mm x 2500mm Steel Shear Stud 290mm
Steel Shear Stud 290mm
Steel I-Beam Web: 380mm Flange: 180mm Steel Diagonal Truss System 2500mm depth Steel I-Beam Web: 380mm, Flange: 180mm
QATAR NATIONAL LIBRARY x2
Glass Fiber Reinforced Plastic Column Cap 40mm thickness
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Corrugated curved glass panels
Flat portion of glass The glass windows at the office are flat so the workers views are not distorted.
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ADVANCED MATERIALS + TECTONICS
JASPER GREGORY GLASS CONNECTION TO MULLION
Crislan Inside Glazing 8mm Heat Strengthened Float Silkscreen (Black Vertical Bands) 0.76mm clear PVB-Soluta RB 41 8mm Heat Strengthened Climaguard DT Crislan Outside Glazing 8mm Heat Strengthened Float Silkscreen (Black Vertical Bands) 0.76mm clear PVB-Soluta RB 41 8mm Heat Strengthened Sunguard Solar Neutral Joint Element steel outer casing Steel Mullion Casing Concrete column/structural system element
STEEL MULLION CONNECTION TO COLUMN
Steel Mullion Casing 1330mm Joint Element steel outer casing(connection of glass to column for additional strength/ wind load) Metal Joint Plate 1 Metal Joint Plate 2
QATAR NATIONAL LIBRARY x2
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SCI_ARC REMODELED ENVELOPE SYSTEM
ROOF ENVELOPE WITH SKYLIGHT DETAIL
ALUMINU Voranoi Patterned Aluminum composite panels, consisting of 2 aluminum cover sheets and a 0.5mm mineral-filled core. Prefabricated Aluminum Frame Circular, Double-Glazed Skylights, Clamped and Bolted to Structural Beams
100mm Skylight rim cut out for drainage
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ADVANCED MATERIALS + TECTONICS
JASPER GREGORY Voranoi Patterned Aluminum composite panels, consisting of 2 aluminum cover sheets and a 0.5mm mineral-filled core. Prefabricated Aluminum Mullion for skylights Double Glazed Glass Skylight Voranoi Generated Glass Fiber Reinforced Concrete 50mm Waterproofing Membrane 4mm Thermal Insulation 100mm Corrugated Galvanized Steel Steel I-Beam Web: 2450mm, Flange: 700mm Steel Flat Truss System 2500mm deep Glass Fiber Reinforced Plastic 50mm Steel Reinforced Concrete Columns Prefabricated Aluminum Frame Circular, Double-Glazed Skylights, Clamped and Bolted to Structural Beams Toughened Glass fin curtain wall, held together by Spider Clamps and hung from top
UM GUTTER DETAIL
SKYLIGHT DETAIL Steel Shear Studs Prefabricated Aluminum Mullion 200mm Gutter system attaching to the main Drainage System Aluminum Gutter Bolted to Main Structural Beam
Steel I-Beam Web:2450mm, Flange: 700mm Steel Flat Truss System 2500mm deep Glass Fiber Reinforced Plastic 50mm
QATAR NATIONAL LIBRARY x2
Prefabricated Aluminum Mullion Ring 100mm Gutter Drainage
Neoprene Pad to hold Glass Double Glazed Skylight Steel I-Beam(Secondary) Web: 1100mm Flange: 350mm
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E S T Ă D I O CORREDEIRA
2GAX
ADVANCED STRUCTURAL SYSTEMS FALL 2019 Instructor
GREG OTTO
Estadio Corredeira is located in the capital of southern Brazil's state of Santa Catarina, made up mostly of the 54km-long Santa Catarina Island. The design is inspired by the dynamic form of the island. The stadium is mostly open air to allow the cool ocean breeze to flow throughout the structure, while its occupants experience a football match or other events. The stadium consists of two mega arches which support the cable-tied canopy roof membrane. The arches are meant to be seen from far to serve as an icon of the island. The arches consist of a 5 x 7m steel hollow box, with 3.5 x 5m steel hollow box cross beams. The roof is PTFE-coated membrane which admits 50% of the sunlight into the arena while also providing shade. This membrane is attached to the arches by 95mm diameter prestressed steel cables.
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TOP VIEW
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ADVANCED STRUCTURAL SYSTEMS
JASPER GREGORY
The facade is constructed of teflon-coated, glass-fibre in combination with polyester fabric coated with PVC. This membrane is meant to provide an enclosure to block winds while allowing natural light to pass through the entire stadium. The facade is supported by prestressed steel cables which are connected to the ground and compression ring on the outer edge of the roof.
PERSPECTIVE
ESTADIO CORREDEIRA
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LONGITUDINAL SECTION
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ADVANCED STRUCTURAL SYSTEMS
JASPER GREGORY
TRANSVERSE SECTION
ESTADIO CORREDEIRA
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The main structural supports are the two mega arches. The arches are connected by cross beams which hold the two arches together to resist lateral movement. The cable system is connected to the arches which then attach to the external edges of the roof, carrying the weight of the roof’s inner membrane. The compression ring and seating are carried on precast concrete columns. The façade is held by tension cables which are connected to the compression ring and the ground floor slab. The load of the inner roof membrane is transferred down through the arches to the ground. The steel cables will always be in tension, pulling the compression ring and the arches into place. The mega arches have additional support with smaller arches acting as a brace to support the long span. To prevent torsion of the main arches, there are beams that connect the arches to the ground. This combination of beam and column transferrers the loads from the main arches to the ground.
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ADVANCED STRUCTURAL SYSTEMS
JASPER GREGORY
ARCH TENSION CABLES COMPRESSION RING CONCRETE COLUMNS (COMPRESSION)
LONGITUDINAL SECTION LOAD TRACING DIAGRAM
ARCH CROSS BEAMS COMPRESSION RING TENSION CABLES
PERSPECTIVE LOAD TRACING DIAGRAM
ESTADIO CORREDEIRA
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W O
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MAKING IN THE STATE OF MIND + BODY 2GAX
THEORIES OF CONTEMPORARY ARCHITECTURE I FALL 2019 Instructor
MARCELYN GOW + JOHN COOPER An individual’s world is generated by their state of mind. The world we create for ourselves is unique to each mind. We are able to control our minds through states of meditation. Meditation can be practiced through many forms. Many individuals may not even realize they are meditating. Whether their choice of meditation is through listening to music, reading, writing poetry or exercise, they are all achieving the same state of mind. Utilizing the senses as the tools to navigate the worlds which we create affects our state of mind. Our surroundings and the effect they have on our senses alters our reality, thus generating a new world. Whether that world is one of stillness or chaos, the individual decides how their world will be generated through their state of mind. 95
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Jasper Gregory original artwork.
The notion of “self-generating worlds” particularly caught my eye w Ocean Sensing and Navigating the End of this World. Gabrys begins h of Harun Farocki’s films, immediately establishing the sense of selfvirtual realm, “While the riding is swift and purposeful, it also folds back that would make or give sense to the journey.”1 This notion of ‘folding conditions’ alludes to a self-generating process. Gabrys makes the po and generating this ‘world’ Farocki’s films present, in this case, it is the c to be something that generates these ‘worlds’, AI, computers, and God a the history of human existence as these generators.
Gabrys proceeds to explain “self-generating worlds” further, “The con navigational practices that simultaneously unfold the narrative and games.”1 The navigation of these worlds becomes a key element to und generated and the structure of their mechanics, “Farocki tests the limi structure, as well as what they operationalize… staging confrontations The limits of these worlds can be tested because they are virtual and t altered, re-arranged, or entered by playing them. In terms of mechan contains physical mechanics designed by the programmers/animator generators are and how they navigate their constructed worlds using sp
" This notion of ‘folding back on itself’ and ‘creating conditions’ alludes to a self-generating process. "
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THEORIES OF CONTEMPORARY ARCHITECTURE I
JASPER GREGORY
while reading Jennifer Gabrys’ her journal using the example -generating worlds within the k on itself, creating conditions g back on itself’ and ‘creating oint that something is guiding computer. There always seems are all represented throughout
ntours of these worlds propel d structure of the computer derstand how these worlds are its of worlds… mechanics and s with these edge conditions.”1 tangible. These worlds can be nics and structure, this world rs. We begin to see who the pecific tools.
1. Gabrys, “Ocean Sensing,” 1. 2. Gabrys, “Ocean Sensing,” 3. 3. Gabrys, “Ocean Sensing,” 5. 4. Gabrys, “Ocean Sensing,” 7. 5. Gabrys, “Ocean Sensing,” 8. WORLD MAKING IN THE STATE OF MIND + BODY
The way you use your senses is unique to each world. In the context of computer games, your senses are determined by the environment of the scene. Your heart rate could increase, feelings of being scared, suspense or love are all altered by the digital realm. It then becomes a matter of the tools used to navigate the world, and how these tools can serve as methods of encountering worlds. Gabrys states how ocean sensing tools can become worlds themselves “to be acted upon and navigated.”2 She mentions limit conditions and points of transformation with the ocean sensing tools, and how these tools can navigate the world and its’ limits through their measurements and structure. Gabrys exemplifies different ways of "sensing" the plasticity in ocean data, one method is through Google Earth. The sense of sight is once again being introduced to view this plastic ocean world. Though you cannot see the plastic patch with the naked eye or through the eyes of the machine satellites, we can still sense the anthropogenic debris through other ocean sensing tools. Using the ocean sensing tools we can navigate the edge conditions which we cannot sense using our human tools. This brings the question of the edge conditions. Do they exist, how can we test the limits? These tools must adapt to the conditions of the world it is navigating “Oceans might then be seen as an environmental medium … guiding and informing the sensing instruments.”3 The world which the tools are sensing conforms them to adapt. These tools end up creating their own world, “all that circulates through oceans also makes worlds.”4 Ironically the tools end up creating piles of debris when they are no longer in use, creating an endless cycle of use and waste. “There are multiple worlds and multiple endings layered into these discussions.”5 There are layers within layers of worlds, Gabrys discusses how we could reconstitute the endings of these worlds. If that is even possible, how can we access the ends or edges of the worlds we create?
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The ideology of creating worlds within worlds and using meditation t transform the state of mind can be expressed through a combination o yoga and architecture. While practicing yoga the body is in constant motio allowing the mind to transcend into the meditative state. In the practice o architecture, scale, light, materials, and color are just some elements tha affect and correspond to keeping the body in motion. Many individuals see spaces that alter their state of mind and/or body. These four architectura examples create self-generating worlds within their realm of design.
Claude Parent an architectural visionary who designed on the obliqu Parent designed his spaces to keep the body in constant motion. Creatin his own world within the oblique, “The oblique is fundamentally intereste in how a body physically experience a space. The slope implies an effort t climb up and a speed to climb down; this way the body cannot abstract itse from the space and feel the degrees of inclination.”6 The body is fluid an full of energy, it should not rest on a flat plane “The tilted bunkers, with the pulling-and-pushing effects on the body.”6 Parent wanted his designs t reflect this notion of dynamic instability.
https://thefunambulistdotnet.files. wordpress.com/2010/12/claudeparentbiennalevenise4.jpg
Parent designed the space to be active, not passive. He wanted th inhabitants to feel the push and pull of gravity. This creates a self-generate world by the body in movement. The tools needed to navigate this worl would be the individuals’ body and senses. The senses are activated in th world of the oblique. The angular floor distorts the sense of stability. Th texture of the materials used may affect the light, color and shadows whic reflect to the line of sight. The misrepresentation of scale effects the sens of self, creating a new scale of the individual’s own interpretation. The wa the walls are oriented may affect the way sound is bounced throughout th space, distorting the noise. The individual’s body or tool then self-generate their own world within the space. Each having their own experience of th designed oblique realm.
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to of on, of at ek al The Site of Reversible Destiny by Madeline Gins and Shusaku Arakawa is another example of architecture and space which allows the body to be in constant motion. With each part of the park designed to transport the individual to a realm of illusion, losing all sense of the parallel. It is an “experience park” with the theme of “encountering the unexpected”. The space concerns the body and its specific relation to its surroundings, “The best way to get a handle on how a person is situated in the world is actually to construct one, a handle expressly made for the purpose.”
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This world is generated by orientation of gravity and re-ordering the senses. The park is constructed of undulating planes and disorienting spaces providing a “purposeful experimentation”. When the individual experiences the site they are encouraged to question what constitutes them to be an individual, “To reverse destiny one must first re-enter destiny, re-positioning oneself within the destiny of being slated to live without ever knowing how and why.”7 https://thefunambulist.net/architectural-projects/great-speculations-the-oblique-function-byclaude-parent-and-paul-virilio
6. Brave Drawn World, “Oblique Function.” 7. ArchEyes, “Site of Reversible Destiny.” WORLD MAKING IN THE STATE OF MIND + BODY
Yoro Park: The Site Of Reversible Destiny / Arakawa & Gins
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The Rothko Chapel by Philip Johnson is a space which transforms the mind upon entering. The chapel interconnects art, spirituality and compassionate action. The space is lit with natural diffused soft light from the hidden skylight, on each wall hangs solid black paintings with nothing else in the space besides benches and cushions. The space is designed with the intent to alter the state of mind of the visitor. There is an immediate sense of calmness within the quiet walls. Many visitors close their eyes and allow their other senses to take control. Although there are not any angular floors or walls to alter the experience of the body, the visual aspects of the chapel are what transgress the mind to the meditative state. By bringing the mind to this state, it affects the body. Bringing both mind and body together in the architectural space. The tools needed to navigate the world generated in the Rothko Chapel are solely the senses. The body is at rest while the mind wanders through the emotions emerging from the surroundings. The space is designed to have the mind be in a state of exercise or stillness. It is according to the individual to determine their state of mind upon entering the space. Their state of mind will affect the result of their other senses. The Rothko Chapel is a space which many different events take place, such as the contrasting occasions of weddings and funerals. The space is left for the interpretation of the individual, thus becoming a self-generating world. Where the individual generates their own world upon experience.
https://publicdelivery.org/mark-rothko-chapel/
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THEORIES OF CONTEMPORARY ARCHITECTURE I
https://thefunambulist.net/architectural-projects/ heterotopic-architectures-onefivefour-by-lebbeus-woods
JASPER GREGORY
Underground Berlin by Lebbeus Woods is another self-generated world that affects the individuals’ senses. This world Woods creates is “a world of seismic wind and electromagnetic flux, a world of constant and not unpleasant temperatures, but also of continuous change.”8 Woods designs this world to affect not only the inhabitants he creates but the readers of his story. Underground Berlin is designed to correspond with the changes of the planet above, while maintaining its own structure below. Woods provides vivid explanations with his writings and drawings, transcending the reader into the world of his illustrations. This architectural realm of the drawing alters the mind to a state of imagination. Woods is able to allow the viewer to experience his drawings from a first-person perspective. The viewer utilizes all senses, textures, light, color and moods are created within his illustrations “Like musical instruments, they vibrate and shift in diverse frequencies, in resonance with the earth and also with one another.”8 Simply by using the sense of sight to view the drawings and descriptions, the individual is self-generating a world within Woods’ underground world. Woods uses very simple tools to navigate his worlds. The tools utilized are within the story “gravitational electromagnetic, and seismic forces that come to shape the forms and relationships comprising life in the underground city itself.”8 The city is generated by the surrounding environment, and navigated by the individuals who experience it with their senses.
8. Funambulist, “Heterotopic Architectures” WORLD MAKING IN THE STATE OF MIND + BODY
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Original photograph by Jasper Gregory.
These self-generating worlds within the architectural realm have addres the design to the movement of the body and senses. While experiencin senses are altered. Sight is the first to be affected, seeing the archit interpretation of the space. Walking through the space allows the sen the body. The way gravity is oriented gives specific sensations to the can affect the way the mind reacts to the surroundings. The tools need are experiencing are already within them. The individual has the ability world through their state of mind “’A world generated by the gaze that mind will then affect their body and their interpretation of their surrou world contains architecture which creates its own self-generated world to the architectural world thus capturing the essence of worlds with cycle between the individual, the mind, the body and the architecture. T generating worlds between each concept.
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Bibliography
“# CLASSIC ARCHITECTURES /// Claude Parent for the Venice Biennale 1970.” THE FUNAMBULIST MAGAZINE, July 8, 2015. https:// thefunambulist.net/architectural-projects/classic-architecturesclaude-parent-for-the-venice-biennale-1970. “# HETEROTOPIC ARCHITECTURES /// OneFiveFour by Lebbeus Woods.” THE FUNAMBULIST MAGAZINE, July 8, 2015. https:// thefunambulist.net/architectural-projects/heterotopicarchitectures-onefivefour-by-lebbeus-woods.
ssed the notion of conforming ng these spaces, the mind and tecture from afar effects the nse of touch to be felt through body. The light and shadows ded to navigate the world they y to alter their self-generated t falls upon it.’”1 Their state of unding world. The surrounding d. The body and mind respond hin worlds. There becomes a This relationship creates self-
Bravedrawnworld. “Claude Parent & Paul Virilio // The Oblique Function.” Brave Drawn World, November 18, 2015. https:// bravedrawnworlddotnet.wordpress.com/2015/11/16/claude-parentpaul-virilio-the-oblique-function/. Gabrys, Jennifer. “Ocean Sensing and Navigating the End of This World.” e-Flux Journal, no. 101 (June 2019): 1–9. https://www.e-flux. com/journal/101/272633/ocean-sensing-and-navigating-the-end-ofthis-world/. “Yoro Park: The Site Of Reversible Destiny / Arakawa & Gins ArchEyes.” ArchEyes, August 8, 2016. http://archeyes.com/reversibledestiny-arakawa-gins/.
1. Gabrys, “Ocean Sensing,” 1. WORLD MAKING IN THE STATE OF MIND + BODY
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