JOHN LIN ARCH 133 SPRING ‘15 PROF. ANGELA BRACCO CAL POLY SLO
CONTROVERSY SERVES AS A MEANS FOR ONE TO COMMUNICATE THE INEQUALITIES OF A SOCIETY. ANY CONTROVERSY, GOOD OR BAD, IS A REFLECTION OF SOCIETY’S CURRENT VIEWS. BY PUSHING THE BOUNDARIES OF WHAT IS “NORMAL”, WE ARE ABLE TO FURTHER THE POLITICAL, SOCIAL, AND ECONOMIC EQUALITY OF MANKIND. IT IS OUR CIVIL RESPONSIBILITY TO CREATE CONTROVERSY, TO GO AGAINST THE FLOW, TO LEARN.
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DESIGN VILLAGE INTERNATIONAL DWELLING MOTION STUDIO
DESIGN VILLAGE GROUP 203 VACANCY
IN TWO QUARTERS WE HAD GONE FROM MINISCULE STUDY MODELS TO DECENTLY SIZED SHOP PROJECTS TO FULL SCALE INSTALLATIONS. DESIGN VILLAGE WAS SUPPOSE TO BE THE PINNACLE OF OUR ACHIEVEMENTS IN THE FIRST YEAR OF OUR EDUCATION HERE. IT WOULD BE OUR FIRST STAB AT SOMETHING LIVABLE - A DWELLING. IT WOULD BE OUR JOB TO DEFINE WHAT A DWELLING MEANT TO US. FOLLOWING A VERY “HUMBERTO-ESQUE” MENTALITY, WE DESIGNED TO PUSH OURSELVES, TO PUSH WHAT WE COULD ACHIEVE, TO PUSH THE LIMITS WE WERE GIVEN. WE DESIGNED FOR FAILURE AND IN THE END THAT’S ALL WE WERE LEFT WITH. FAILURE. THE ULTIMATE DOWNFALL OF OUR GROUP WAS LACK OF COMMUNICATION INTERNALLY, AND THE MISLEADING AND LACK OF GUIDANCE WE RECEIVED. OUR LACK OF COMMUNICATION SET US BACK AND CONTINUED TO DELAY OUR PROGRESS WHILE THE LACK OF GUIDANCE ONLY LED US MORE ASTRAY. WE BELIEVED IN A PROJECT THAT WAS IMPOSSIBLE TO COMPLETE. WHILE I AM ANGRY WITH WHAT HAPPENED, I AM PROUD WITH WHAT WE WERE ABLE TO COMPLETE IN TWO DAYS.
INTERNATIONAL DWELLING HOUSE FOR A PHOTOGRAPHER II
CARLOS FERRATER BORN IN BARCELONA 1944 OPENED OAB 2006
CARLOS FERRATER HAS SHOWN A STRENGTH IN SITUATING BUILDINGS INTO THEIR SETTINGS. HIS ABILITY ALLOWS FOR A TRANSFORMATION OF THE SETTING IN WHICH STRENGTH, CLARITY, AND PRECISION DOMINATE. BY ENDOWING PUBLIC SPACES WITH SUCH CHARACTERISTICS, HE CREATES INTIMATE OPEN SPACES.
SOURCE : FERRATERSTUDIO.COM
ALCANAR, SPAIN BUILT IN 2006 HOUSE FOR A PHOTOGRAPHER II WAS DESIGNED AS A WEEKEND HOME FOR HIS BROTHER AND PARTNER. HIS BROTHER, JOSÉ MANUEL FERRATER, IS AN INTERNATIONALLY RENOWNED PHOTOGRAPHER WHO HAD RETIRED FROM THE PUBLIC EYE AND WANTED A PLACE WHERE HE COULD ESCAPE TO. THE INFORMALITY OF WEEKEND LIVING ALLOWS THE HOUSE TO BE STRIPPED DOWN TO ITS PURE NECESSITIES.
SOURCE : PABLOPICASSO.ORG
SOURCE : ARCHDAILY.COM
CARLOS FERRATER DREW INSPIRATION FROM THE PICASSO PAINTING, HOUSES ON THE HILL. INSPIRED BY PROTO-CUBISM, HE CREATED THREE GEOMETRIC FORMS THAT SURROUNDED A CENTRAL SPACE. THE PAVILLION FORMS ARE NOT ONLY ALTERED STYLISTICALLY BUT ALSO FUNCTIONALLY. ALL THE CHANGES SERVE TO PROTECT THE CENTRAL SPACE. IN ADDITION, BY ORGANIZING THE OPENINGS TO THE CENTRAL SPACE ORTHOGONALLY AND GIVING THEM A UNIFORM HEIGHT OF 7 FEET, HE CREATES A SENSE OF UNITY AND SENSE OF HUMAN SCALE.
WIND FLOW SUNLIGHT PAVILLION EXTERIOR SPACE ROUTE OF ACCESS CENTRAL SPACE
KITCHEN BEDROOM BATHROOM LIVING ROOM PAINTING STUDIO
INTERIOR EXTERIOR
HOUSE FOR A PHOTOGRAPHER II IS SIGNIFICANT IN IT’S ROLE IT PLAYS BRIDGING THE CONNECTION BETWEEN CUBISM AND MODERN ARCHITECTURE. FERRATER TRANSLATES MANY CUBIST ELEMENTS INTO HIS ARCHITECTURE SUCH AS USING SIMPLE GEOMETRIC SHAPES, BLURRING THE BOUNDARY OF INSIDE AND OUTSIDE, AND DECOMPOSITIONING OF THE PERSPECTIVE.
BECAUSE OF MY PERFORMANCE IN DESIGN VILLAGE, I CAME IN THIS PROJECT WANTING TO PROVE MYSELF. I WANTED TO SHOW THAT I AM CAPABLE OF GOOD WORK AND THAT I HAVE THE ABILITY TO FINISH SOMETHING. I BELIEVE THAT MY STRENGTHS LIE IN DIGITAL WORKS AND I WANTED TO SHOWCASE IT. I ENJOY MODELING AND RENDERING. ULTIMATELY I BELIEVE THAT THIS PROJECT IS THE STRONGEST OUT OF THIS QUARTER. ALTHOUGH I WAS BUMMED THAT THIS PROJECT DID NOT HAVE ANY HANDS ON WORK, IT WAS LIBERATING TO WORK ON DIGITAL CRAFT FOR ONCE. IT WAS DIFFICULT LEARNING NEW RENDERING SOFTWARE AGAIN. I BELIEVE THAT MY RENDERS CAN GET EVEN BETTER AND WITHOUT THE TIME CONSTRAINTS I WOULD HAVE BEEN ABLE TO COMPLETE THEM TO THE BEST OF MY ABILITY.
MOTION STUDIO BUILDING 52
WE WERE FINALLY BEGINNING TO DELVE INTO ARCHITECTURAL WORK. IT’S WHAT WE WOULD BE DOING FOR THE REST OF OUR TIME HERE. WE’RE STEPPING OUT OF THE DESIGN REALM AND FINALLY INTO REALITY. THERE WERE SIZE CONTRAINTS. THERE WERE TOPOGRAPHIC FACTORS. THERE WERE MATERIALITY CONCERNS. EACH AND EVERY CHOICE WE MADE WAS CRUCIAL TO THE SUCCESS OF OUR FORM AS A BUILDING. MATERIALITY ENDED UP BECOMING THE LARGEST ASPECT OF MY MODELS. INSTEAD OF STICKING WITH GENERIC MATERIALS, I WANTED TO PLAY WITH PLASTER. IT WAS FUN LEARNING HOW PLASTER WORKED AND ITS PROS AND CONS. HOWEVER, BECAUSE I PAID SO MUCH ATTENTION TO MATERIALITY, I LACKED IN DIFFERENT AREAS. ONE OF THE MAIN PROBLEMS FOR ME, WAS WITH HOW MY STRUCTURE MET THE EARTH AND THE TOPOGRAPHY. I COULD HAVE COMPLIMENTED MY CURVED STRUCTURE WITH TOPOGRAPHIC MANIPULATION.
THIS YEAR I BEGAN COLLEGE WITHOUT THE FAINTEST CLUE WHAT IT WOULD BE LIKE. NOT KNOWING THE STRESS. NOT KNOWING HOW MANY PEOPLE I’LL MEET PULLING ALLNIGHTERS. NOT KNOWING WHAT ‘EDGE CONDITION’ OR ‘MATERIALITY’ WAS. NOT KNOWING IF I EVEN WANTED TO DO ARCHITECTURE. THIS YEAR I’VE MET A COMPLETELY NEW FAMILY. PUSHING CONCRETE BENCHES ACROSS THE STREETS. TAKING TURNS NAPPING. FEEDING EACH OTHER. DREAMING UP TATTOOS. STAYING UP ALL NIGHT. FAILING ALL OUR EXAMS. RUNNING AROUND CAMPUS LIKE LUNATICS. TELLING EACH OTHER OUR DREAM, ASPIRATIONS, GOALS. TELLING EACH OTHER OUR SECRETS AND FEARS. PLAYING HOT OR NOT. LEARNING THAT WE DON’T WANT TO DO ARCHITECTURE YET WORK OUR ASSES OFF HERE. THIS YEAR I’VE BEEN ABLE TO LET MYSELF FREE. I HAVE BEEN ABLE TO BE WHO I WANT. LEARNED TO STAND UP FOR MYSELF, FOR MY BELIEFS, AND FOR MY FRIENDS. BEGUN TO THINK AS AN INDIVIDUAL. LEARNED TO LOVE. TO OPEN MYSELF UP. TO BECOME FREE AGAIN. THIS YEAR HAS BEEN FREEING. THIS YEAR HAS BEEN EXHILARATING. THIS YEAR HAS BEEN MINE.