COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE C O R N ELL UNIVERSITY
Spring 2006
miesuse
J u l i á n Va r a s & A A P
with projects by heather beck Erika Hawkins Nathaniel Jones Christopher Mascari Katharine Meagher Brenda Petroff Woo-Young Shim Andrew Smith Victor Tzen Jung-Guee UM Ju-Hyung Yook
MIESUSE TOWARD THE MESOFORMS Edited by Julián Varas
CORNELL UNIVERSITY College of Ar chitecture, Art and Pl a nning De pa rtm e n t
of
A r c hi t e cture
M I E S U S E Toward the Mesoforms
Edited by Juliรกn Varas
Mies van der Rohe, Glass skyscraper. 1922.
“Mies has transformed ordinary buildings into poetry, but his theories, as such, could be applied to half of the factories in this country too… Mies based his art on three things: economy, science and technology, and, of course, he was right. But that is precisely what bores me, what bores us all”. (1) I do not respect Mies, I love Mies. I have studied Mies, excavated Mies, reassembled Mies. I have even cleaned Mies. (2)
[Mrs. Farnsworth is] a highly intelligent, now disillusioned woman, who spent $70.000 building a one-room house that is nothing but a glass cage on stills. (3) Those critics who have fixed their attention on Mies’s slabs, plateaus, and closure-refusing but barrier-creating quasi walls -with their obsessive, multiple curtain and screen effects - have seen the works as Trojan horses, offering shimmering chimeras of flight and freedom but delivering only frustration, obstruction, monotony and intractability. Those who have focused on trajectories -the winding intervals and synaptic spaces - have found something else, a type of flow that is certainly slow, but steady and redolent with the democratic values and the capacious imagination and explicit materiality of the preceding generation’s architecture... (4)
As Mies van der Rohe’s work extends from his early housing studies and the perfection of Brno, it becomes less preoccupied with human activities, more general, more abstract, and through this anonymity gathers to it new alliances: the bussiness, the corporate and the organizations worlds. The architecture that has disengaged itself from its inspired roots in the senses individual pleasure, touch, feeling and sight - has found through an accumulation of its inherent ambiguities unsuspected and chillier usages. (5)
(1) Philip Johnson, 1959 (2) Rem Koolhaas, 2004 (3) House Beautiful Magazine, 1953 (4) Sanford Kwinter, 1999 (5) James Gowan, 1986
JULIAN VARAS
KATHARINE S. MEAGHER ERIKA HAWKINS
CHRISTOPHER MASCARI WOO-YOUNG SHIM
INDEX
JUNGGUEE UM BRENDA PETROFF
HEATHER D. BECK JU-HYUNG YOOK
NATHANIEL JONES ANDREW SMITH VICTOR YU-JUEI TZEN
7 19 29
RESEARCH ASSIGNMENTS THEORY
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TOGETHERNESS
HOUSE FOR A CHILDLESS COUPLE
[INTERSTITIA]
COURT HOUSES
OPTICAL SETUPS RECONFIGURING THE PROTOTYPE
50 ‘ X 50 ‘ HOUSE
ECLIPSE
FARNSWORTH HOUSE
ENVELOPES
PROGRAM GRAFT
BARCELONA PAVILION
RIBBON INSOLATION
HOUSE WITH THREE COURTS
DISMEMBERED TOPOLOGIES
ASSEMBLING INTENSITY
HUBBE HOUSE
DISMEMBERMED
RESOR HOUSE
DISJOINTED TOPOLOGIES
SHORT CIRCUIT
HERMANN LANGE HOUSE
FIELD RE-SEARCH
BRICK VILLA
PATH NODE FIELD
COURT HOUSE WITH GARGAGE
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97 121
165 206 256
INTERIORITIES
LOGISTICS THANKS
research
PRINCIPLES. Miesuse is a design research project that I developed in collaboration with a team of architecture students at Cornell University between January and May 2006. The project is part of an investigation on techniques of formal production in architecture, and it seeks to establish lines of continuity and transformation on the basis of spatial concepts developed by Mies van der Rohe during the period 1920-1945. The overall character of the work is determined by a simultaneous interest in the rigor and precision of polytechnic education and on the ambition for innovation that is the hallmark of the liberal arts. From a cognitive and epistemological viewpoint, the main issue of the research is then focused on the generation of projective novelty, through the application of a model of determinism that operates by optimizing performances, i.e. nonrepresentationally. The cornerstone of this instrumentality lies in harnessing the potential of generative processes, which is deemed higher than that of ideas, in the production of qualitative leaps in a given material condition. Thereby linked are both the distancing of the relationship between author and project, as well as the departure from the modernist agenda according to which innovation is part of an external process (hence Le Corbusier’s “Architecture or Revolution�). Today the discipline of architecture is not categorically different from other fields of elevated technical specificity. The
10 - Francis Shim
case-studies that integrate this research are therefore committed to focusing on a reduced set of variables whose impact is studied and verified through a hybrid model that incorporates quantitative and analytical techniques from the applied sciences. This model, however, seeks neither to produce truthful statements, nor mere utility, but rather, it is driven by principles of affectivity: novelty, difference, excess, robustness, consistency‌
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68/89. MIESUSE belongs to a line of research that has been developed during the last fifteen years by architects of the second generation of late capitalism. Linked to different strands and derivations of advanced forms of materialism, such as cybernetics and systems theory, these experiences are associated to what could well be identified as the generation of 1989 . The coincidence of the downfall of communist Europe and the end of postmodernism (and deconstruction as its last straw) goes far beyond a mere synchrony. In fact, it points to a profound historical fold where the failure of the project of May 1968 gives way to the emergence of a pragmatist Zeitgeist, one that distances itself both from modern utopianism and from the cynicism and criticality of postmodernity. The new disciplinary fabric is characterized by the reformulation of certain ideological alliances: from Robert Venturi’s Complexity and Contradiction to FOA’s Complexity and Consistency, from Christopher Alexander’s diagrammatic representation to UN Studio’s diagrammatic production, from Aldo Rossi’s urban memory, to Rem Koolhaas’s urban performance. The new map
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displays ruptures and continuities in similar proportions, so there is no place in it for the modernist concept of avant garde. Perhaps the deepest motivation for setting these processes into motion was the exhaustion of the regimes of signification on which architectural representation was grounded. The signifying effects of form had taken control over the whole chain of production, thus obscuring architecture’s performance in the realm of what marxist geographer David Harvey calls absolute space. MIESUSE worked on the assumption that these new alliances constitute a fertile ground for the construction of progressive positions in architecture. Yet, rather than working –as many of those practices did- in a consciously generated disciplinary vacuum, the studio left aside the modernist pretence to tabula rasa in favor of disciplinary continuity: innovation by accretion.
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MATERIAL. While the parameters of architectural practice and education are usually defined through a combination of programmatic and site-specific requirements, the Studio diverted from that mode by positioning the work of Mies van der Rohe at its point of departure. Although several publications signal today a renewed vitality of his oeuvre, Mies’s original consecration passed all too swiftly. Despite having embodied one of the most uncompromising expressions of the Zeitgeist, Mies’s heyday had resolved itself by the late 1950’s . The radical achievements and formulations of the previous three decades –from the early studies for skyscrapers in Berlin to the rolled steel constructions of the American phase- came to be seen by the emerging postmodern critique as the veritable expression of the mechanistic, bureaucratic nature of modernism. Mies’s seeming disregard for the figurative in favor of a dry material ethic, his efficiency-driven formalism, his disdain for the romantic sensibility, his obsession with rigor and method: these were used as accusations against his project and often against the project of modernism as a whole. Since twenty years ago, when the last wave of studies on Mies took place on the occasion of the 100th anniversary of his birth date, however, the architectonic debate has overcome the deep scepticism toward his work which –in the words of Luis Fernández Galiano- had prompted Mies’s second death.
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Yet, the contemporary relevance of Mies is not just based on a renewed admiration for a great architect of the past, but on the various ways in which his project has been prolonged, developed and transformed by the advanced architectures of the last fifteen years. Mies’s oeuvre, perhaps more decidedly so than any other modernist architecture, relied for its powerful effects on its extreme reductionism. It idealized figures and tectonic components, in order to generate an hyper-simplified grammar characterized by the construction of categorical oppositions within a coherent Cartesian space. These oppositions are the result of a search for extremes: within the absolute space of a single project, distinctions between plinth, column and roof, or between horizontal and vertical axis, construct clear-cut identities. But oppositions also emerge at a relational level, as a search for ideal formulations that lead Mies to explore the dissolution of the building into a field in the 1920’s or to idealize the object in his American prisms.
Nathaniel Jones - 15
FROM THE TOPOLOGIC DIAGRAM TO THE GEOMETRIC ASSEMBLAGE. The pursuit of the studio consisted in pushing the Miesian principles of coherence and continuity beyond the limits at which the original work had stopped. The extreme application of those principles sought to prolong Mies and, at the same time, to estrange his work from itself by intoxicating it with its own medicine. The differentiation was pursued gradually, by intensifying or slowing down processes, without resorting first hand to qualitative leaps, yet trying to force their occurrence. If Mies’s projects are regarded as architectural forms that have crystallized in relation to a set of behavioral and context-specific parameters, the mesoforms populate a virtual intermediate space of organizational possibilities that opens up as a result of the abstraction and manipulation of such parameters. The research was structured methodologically so that its final output would be a new crystallization based on the dynamic space of the mesoforms. Thus, in its initial stage, the work involved a process of diagramming (as opposed to drawing, which tends to operate as a tracing) programmatic relations, circulatory paths, and surface porosities. These diagrams constituted genetic
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descriptions of the projects which allowed us to determine a topology of components on which to operate. Each individual project then worked on the relations between topology, geometry and porosity by fixing two systems and freeing the remaining one. The transformation techniques can be summarized in: a) topological reassemblies (a sort of seamless collage of the programmatic components with minimal impact on the geometric grid), b) topological dislocations (elongations and twistings with local or distributed geometric effect), and, c) superficial mutations, both geometric (thickness and proportions) and topologic (number of openings). It is important to notice that the programatic consequences are formalized only after the projects have reached an advanced stage of development. Instead of going after a predefined social goal, the emergent social conditions are investigated as a result of the formal operations of the projects.
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INDEX AND PROJECT: THE CRITICAL-INSTRUMENTAL LOOP Several architecture practices still operate today based on discoursive models. This is what Sarah Whiting and Robert Somol refer to on their intelligent and provocative attack on the critical project. The main derivations of this 1968 spirited position are, on the one hand, the work of offices such as Diller and Scofidio, as well as certain strongholds of rampant regionalism, and on the other, the indexical approach of the likes of Peter Eisenman. To counter that, Whiting and Somol present the work of OMA as an example of a strictly projective alternative, in other words, an instrument oriented purely toward the exterior of the discipline. It appears as a position that is no longer interested in any form of registration
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or internal control (which, in itself, is a critique of the discipline), neither according to the semantic model of Diller and Scofidio, nor the syntactic model of Eisenman. But, is it possible to reconcile instrumentality with internal control? How can architecture turn toward its outside, exiting its critical isolation, without either drifting into a purely subjectivist expressionism, or becoming a seemingly objective expression of a set of naturalized external conditions? This theoretical issue was addressed by gradually adopting a model of work in which modernist instrumentality is intensified until its determinism starts to generate non-linear effects: subverting causal determinism without contradicting causality.
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studio assignments
1 - TOPOLOGY: Modelling & Diagramming (2 weeks) Input: Studio brief, bibliography, image dossier. - LYNN, Greg, “Forms of Expression: The Proto-functional Potential of Diagrams in Architectural Design� in El Croquis n. 72/73. - TUFTE, Edward R., The Visual Display of Quantitative Information, Graphics Press, 1990. (pp. 165, 173, 185) - http://zeus.cs.hartford.edu/~anderson/intro.html Goals: Acquaint yourself with the project of your choice and its author: Generate the raw materials / Introduction to digital computation. Usage: Based on the documentation provided, understand the spatial and functional organization of the project, by re-drawing it on Autocad or Rhino. Choose a fragment of the project and model it three dimensionally using solids (Autocad) or surfaces (Rhino). The accessory elements used to transfer the information from paper to screen should be part of the project. Tracing on the screen not allowed.
22 - Brenda Petroff
Deliverables: 1) Plans and sections of the project. Scale 1:100. 2) A model of a fragment of the project at scales between 1:50 and 1:10. 3) A series of 3 diagrams addressing program (spatial and quantitative), structure, and circulation. 4) Brief oral presentation of the project. Clarity and rigor in the process of geometric reconstruction will be of importance in the evaluation of the exercise. Due: Monday, February 6 1:00 pm. Internal pin-up.
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2 - GENERATIVE RULE SYSTEM: Crystalline states (3 weeks) Input: Drawings from exercise 1 - CHU, Karl, “Archeology of the Future”, in Peter Noever (Ed.), Peter Eisenman. Barefoot on White-Hot Walls. MAK & Hatje Cantz, Ostfildern-Ruit, 2004. - VARAS, Julián, “Molecular Landscape”, in TransScape, Nov. 2003. - ZAERA-POLO, Alejandro, “Eisenman’s Machine of Infinite Resistance”, in El Croquis n. 83, 1997. In-class presentations: Rule-based Urbanism (JV) – Sat. 11th – 2:00 pm. Department lectures: Christian Kerez / Claudio Vekstein Reference projects: OMA, Seattle Public Library / FOA, Bundle Tower / Peter Eisenman, Houses I and II. Goals: Re-describe the chosen project by forcing it to emerge through a process of genetic manipulation. (transformation and complexification of simple components)
24 - Andrew Smith
Usage: Simplify the task first by working on a single layer of the project (i.e: structure, enclosure, circulation, services, etc), on an orthographic 2d projection. Describe the organization in a procedural (rather than compositional) mode. Turn all matter-of-factness into explicit decisions determined by a system of rules. The system of production has to be linear at this stage of the work (it can not be based on an overview of the project or a preconceived idea of its final form). Using this technique, match the project’s final form. Refine the system of rules until the results approximate the project with precision. When a layer has been generated successfully move on to other layers, as a derivation of the previous one(s). Deliverables: Organized presentation of at least three different experiments with rule systems, through the following components: 1) Diagrams of the rule systems employed in each case. 2) DIY handbook-style diagrams describing step-by-step the generation of each experiment. 3) At least 3 diagrams addressing the relationship between the sought-for forms, and the results of the experiments. Due: Friday, March 3rd - First interim review.
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3 - MESOFORMS: Smectic-Nematic states. (4 weeks) Input: Re-description of project based on generative system from exercise two. Lectures: Sanford Kwinter / SERVO - DE LANDA, Manuel, “Deleuze and the Use of the Genetic Algorithm in Architecture” in LEACH, Neil, (Ed.), Designing for a Digital World, John Wiley & Sons, London, 2002. - KWINTER, Sanford, “Mies and Movement”, in MERTINS, Detlef, (Ed.) The Presence of Mies, Princeton Architectural Press, New York, 1994. Goals: Investigate the range of adaptability of the project based on the re description of it generated in the previous step. Force the project ot mutate beyond its envelope of perfomance. Usage: Introduce a simple problem into the project by modifying some of
26 - Victor Tzen
its conditions (functional, technical, structural, site-specific, etc) or stating a new desired program / performance. Re-generate the project using the description system created on the previous exercise, but employing the new settings. Repeat this operation as many times as necessary, consistently increasing the preassure placed on the project. Re-define the settings as often as necessary. Deliverables: All of the experiments of this phase will be presented with reference both to the parameters under investigation and to the original configuration of the project. The scales and modes of representation should be consistent with those used since phase I. Due: Saturday, April 1st - Second interim review.
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4 - FRAMING: Evaluation and rationalization (3 weeks) Input: All previous work. Template for final collective book. Goals: Develop own evaluation criteria & rationalize the operations of the project. Determine the differential conditions and the net gain vis-a-vis the source material of the investigation. Incorporate material information and production constraints.Frame the investigation. Usage: In this phase it will be important to update the historical conditions of the project, such that the testing process is oriented to the production of a building that is specific within contemporary givens. In other words: How do changes in lifestyle, technology, or material life affect the project? The production of the semester will be documented and edited for the purposes of presentation and external evaluation. Deliverables: Comprehensive description of the project in physical and digital formats, including a systematic account of the research process. The scales and modes of representation should be consistent with those used since phase I. Output format: Letter-sized format booklet based on template + physical model(s) + Digital presentation.
28 - Victor Tzen
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theory
CYBERNETIC CONCEPTS Functioning as a counterpart to the studio, the seminar exposes participants to some of the theoretical and architectural precedents that the design work seeks to build upon. Encompassing a selection of texts and projects, as well as references from of art and engineering, the seminar contributes both a rigorous working terminology, and a set of resonating images. This loosely structured package works as a starting point for a small-scale investigation that augments the scope of the studio project. The seminar should thus be regarded as a space to sharpen students’ argumentative and critical skills. If the studio sessions are geared toward the actualisation of a series of abstract hypotheses and diagrams, the seminar should reinforce the capacity to articulate concepts and images in a manner that charges both with generative potential. The universe of sources/references of the course constitutes a fragmentary rendering of the post-deconstructivist disciplinary landscape. Although it can be argued that the architectural processes of the last fifteen years can hardly be construed as a homogenous or unidirectional movement, the seminar singles out a number of concepts whose widespread utilization denotes a Deleuzian plane of consistency.
Even if short historical
perspective might discourage conclusions about a structural nature of these phenomena, it is possible to recognize the overall loss of aura of the manual paradigm, in the face of the digital, as the reality where most
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34 - Andrew Smith
of these processes ultimately cohere. While this shift does not necessarily imply the defunction of the hand as a tool of production (a new interface, the mouse-screen, simply replaces the pencil-paper), it irreversibly transfers skill from it to the eye and to the brain (and this, in turn, breeds news skills in the hand). The main effect of this process is the hard-wiring of the digital diagram in all forms of organization-related thinking. In other words, every form of production must now be read through the informational lens. Developing over 5 weeks, each seminar session is centered around a specific topic of discussion. Although every student is be expected to be well acquainted with the weekly readings and projects, each session will be led by a team of two persons, who will be responsible for introducing the topic to the rest of the class. This introduction will consist in an oral presentation based on project images and diagrams, and should not extend for more than 30 minutes. Special consultancy meetings will be scheduled on Monday evenings (flexible) to discuss the presentations for the following Wednesday. The texts included in the reader should be considered as the base for a more extensive research to be conducted by each team, expanding and customising the range of textual and image-references. Because the seminar will focus on the instrumentalization of informational and
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cybernetic concepts, we will skip over a direct engagement with their core definitions, assuming that some background reading will be conducted in parallel to the weekly assignments. The following books are great for attaining a perspective of the central notions of cybernetics: GREGORY BATESON, Steps to an Ecology of Mind.NORBERT WIENER,The Human use of Human Beings: Cybernetics and Society.
THE DIAGRAM: From description to prescription Session 1
Wednesday, Feb. 22nd, 1:30 hs – 101 West Sibley Virtual / Actual - Mediations - Organisation and Form - System and Intutiton MANUEL DE LANDA, “Deleuze, Diagrams and the Genesis of Form” in ANY n. 23, 1998. GREG LYNN, “Forms of Expression: The Proto-functional Potential of Diagrams in Architectural Design” in El Croquis n. 72/73. ROBERT SOMOL, “The Diagrams of Matter”, ANY n. 23, 1998. Suggested projects: Claudio Vekstein, Coastal Park in Vicente Lopez, Province of Buenos Aires - UN Studio, Moebius House – OMA, Seattle Public Library (and many other projects) – Jeremy Bentham, The Panopticon… For inspiration only: www.visualcomplexity.com www.radicalcartography.com Also, see the late work of Jackson Pollock.
DETERMINISM: Genetic / Mimetic Session 2
Wednesday, March 8th, 1:30 hs Information (Genotype) and Form (Phenotype) - Fitness (Selection mechanisms) - Variation operators (Mutation and Recombination) - Mimesis, Indexing and Heredity. KARL CHU, “Archeology of the Future”, in Peter Noever (Ed.), Peter Eisenman. Barefoot on White-Hot Walls. MAK & Hatje Cantz, Ostfildern-Ruit, 2004. “The Unconscious Destiny of Capital”, in LEACH, Neil (Ed.), Designing for a Digital World, John Wiley & Sons, London 2002. MICHAEL HENSEL,“Finding Exotic Form: An Evolution of Form Finding as Design Method” in Architectural Design Vol. 74 N. 3 May/June 2004 Suggested projects: Peter Eisenman, Houses I, II, III, IV – FOA, Bunch Tower (proposal for the World Trade Center site) – Mies van der Rohe, 50 x 50 ft. house. For inspiration only: The work of Canadian artist Brian Jungen, particularly the “heads” and the “skeletons”.
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MACHINIC PRACTICE: Systematic unpredictability Session 3
Wednesday, March 15th, 1:30 hs
Abstract Machines / Concrete Assemblages - Efficiency and Sensitivity Redundancy - Internal and External Consistency
Efficiency and
ALEJANDRO ZAERA-POLO, “Eisenman’s Machine of Infinite Resistance”, in El Croquis n. 83, 1997. SANFORD KWINTER,“Flying the Bullet, or When Did the Future Begin?”, in Rem Koolhaas, Conversations with Students, Princeton Architectural Press, 1996. GREG LYNN, ibid. CIRO NAJLE, “Convolutedness”, in Landscape Urbanism. A Manual for the Machinic Landscape. Architectural Association, London, 2003. Suggested projects: Peter Eisenman, Aronoff Center for Design and Art – OMA, competition project for Melun-Senart (1986) – Various projects by Enric Miralles. For inspiration only: See the work of aerial photographers Alex McLean and Georg Gerster.
MESOFORMS: Intermediate states of matter Session 4
Wednesday, March 29th, 1:30 hs
Fragmentation and Wholeness - Intensive and Extensive Qualities - From Object to Relationship - Differences in degree and Differences in Kind - Critique of identity SANFORD KWINTER, “Mies and Movement”, in MERTINS, Detlef, The Presence of Mies, Princeton Architectural Press, New York, 1994. STAN ALLEN, “From Object to Field”, AD Profile 127, 1997. Suggested projects: Le Corbusier, Venice Hospital - Greg Lynn, Embryological House - Peter Eisenman, Memorial to the Murdered Jews of Europe in Berlin - Nox, World Trade Center Proposal - Herzog&deMeuron, Signal boxes, Basel. For inspiration only: Introductory sequence to A Constructive Madness. (Movie written by Jeffrey Kipins about Frank Ghery’s Lewis House project)
AFFECT: Program & beyond Session 5
Wednesday, April 5th, 1:30 hs
Lifestyle - Production of Subjectivity - Topology, Materiality and Affect.
INAKI ÁBALOS, The Good Life. A Guided Visit to the Houses of Modernity. Editorial Gustavo Gili, Barcelona, 2001. (Chapter 1: Zarathustra’s House + Chapter 6: Huts, Parasites and Nomads: the deconstruction of the house) MARC COUSINS,“The Aeffect”, in BRET STEELE (ed.) Corporate Fields. Architectural Association, London, 2004. ALICE T. FRIEDMAN, Women and the Making of the Modern House: A Social and Architectural History. Harry N. Abrams, Inc., Publishers. (People Who Live in Glass Houses: Edith Farnsworth, Ludwig Mies van der Rohe, and Philip Johnson) FÉLIX GUATTARI, Chaosmosis. (Chapter 1: Production of Subjectivity) Suggested projects: Mies van der Rohe, Farnsworth House - OMA, House Y2K – FOA, Virtual House. For inspiration only: images from BRUCE MAU’S Lifestyles book, Hans Werleman’s photos of OMA’s villas, etc.
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togetherness katharine s. meagher
The House for a Childless Couple (Exhibition House) was displayed as a part of the Werkbund’s Berlin Building Exhibition of 1931. The exhibit, currated by Mies and Lily Reich explored the theme of “The Dwelling in our Time” including existenzminimum. Lily’s exhibition house was attached to Mies’s, positioned perpendicular to the longest extending wall plane. Chronologically located between the Brick Country Villa and the Barcelona Pavilion, the House incorporates the enclosed courtyards of the former and the flowing spaces of the latter, reflecting Mies’ interest in conflating interior and exterior space. Programmatically, however, the House maintains several clear divisions, most notably between public and private. Distinctions are achieved visually, the clearest example being the bathroom that separates the two beds in the single bedroom. This places emphasis on the inhabitants of the House and its resultant double occupancy.
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SIDE DOOR 2 1.70 M sa OUTSIDE AREA 2 5.11 M sq C PLANT 3 1.37 M sq J G STATUE 2.28 M sq M BED 1 4.69 M sq D ZONE 1 4.98 M sq P BEDROOM DESK 4.79 M sq N
OUTSIDE AREA 1 8.19 M sq I CHAISE LOUNGE 1.90 M sq ENTRANCE/EXIT 2 1.59 M sq V Y
DRESSING AREA 1 5.23 M sq BATH 1 0.94 Msq S W LIVING ROOM 9.49 M sq Q R BATH 2 5.62 Msq
OUTSIDE AREA 3 10.71 M sq
K POOL 10.07 M sq F PLANT 2 7.80 M sq A
DINING ROOM 7.64 M sq Z AA DINING TERRACE 5.34 M sq LILY'S HOUSE
BEDROOM TERRACE 6.72 M sq DRESSING AREA 2 5.23 M sq SIDE DOOR 2 1.70 M sa H AREA 2 5.11 M sq OUTSIDE AREA 1 8.19 M sq C 1 2.34OUTSIDE PLANT M sq BED 2 6.14 M sq PLANT 3 1.37 MTsq I J E INTERIOR PLANT 2.93 M sq O G SIDE DOOR 1 1.77 M sq KITCHEN 9.46 M sq U STATUE 2.28 M sq CHAISE LOUNGE 1.90 M sq 1 1.59 M sq BB B ENTRANCE/EXIT M OUTSIDE AREA 4 2.73 M sq X ENTRANCE/EXIT 2 1.59 M sq V BED 1 4.69 M sq Y LD ZONE 1 4.98 M sq P BEDROOM DESK 4.79 M sq N DRESSING AREA 1 5.23 M sq BATH 1 0.94 Msq S W LIVING ROOM 9.49 M sq Q R BATH 2 5.62 Msq
OUTSIDE AREA 3 10.71 M sq
K POOL 10.07 M sq F PLANT 2 7.80 M sq A
CC
DINING ROOM 7.64 M sq Z AA DINING TERRACE 5.34 M sq LILY'S HOUSE
BEDROOM TERRACE 6.72 M sq DRESSING AREA 2 5.23 M sq H T PLANT 1 2.34 M sq BED 2 6.14 M sq E INTERIOR PLANT 2.93 M sq O SIDE DOOR 1 1.77 M sq KITCHEN 9.46 M sq U B ENTRANCE/EXIT 1 1.59 M sq BB OUTSIDE AREA 4 2.73 M sq X L
CC
Space Coding: Activities, spaces and functions identified
Boundaries and Nodes: Boundaries (corners of walls, door jambs, columns) and nodes (coded spaces) redefine usable space
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44 - Katharine Meagher Relative Distances from Origin to Destination
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45 Relative Distances from Origin to Destination
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Entrance/Exit 2 to Dressing Area 2 (27.63m)
Dressing Area 2 to Bathroom 1 (4.59m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathrooms
Entrance/Exit
46 - Katharine Meagher
t1
4
5
6
Dressing Area 2 to Dining Terrace (27.95m)
Dining Terrace to Dining Room (4.88m)
Dining Room to Entrance/Exit 1 (11.98m)
10
11
12
Kitchen to Bedroom Terrace (40.48m)
Bedroom Terrace to Side Door 1 (5.05m)
Entrance/Exit 1 to Kitchen (10.68m)
16
17
18
Dressing Area 2 to Entrance/Exit 2 (22.27m)
Entrance/Exit 2 to Lily’s House (25.28m)
Lily’s House to Entrance/Exit 2 (32.21m)
22
23
Bathroom 2 to Living Room (15.01m)
Living Room to Bed 2 (20.78m)
1.7 ft Room Boundary
Scanning
Movement Paths
Circulation occurs in two ways: visually (scanning) and physically (movement). Scanning assumes Robin and Pat know the location of their destination; openings are detected and movement adheres to a comfortable distance from the boundaries.
Entrance/Exit 2
Kitchen
Distinct Movement Paths and Scans: Robin’s Summer Weekday
47
1
2
3
Bed 2 to Bathroom 1 (Length of Path: 12.33m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Bedroom Terrace (9.86m)
7
8
9
Dressing Area 1 to Dining Room (18.96m)
Dining Room to Living Room (8.94m)
Living Room to Bathroom 1 (15.09m)
13 Bathroom 2 to Bed 1 (4.41m)
Bathrooms
Entrance/Exit
48 - Katharine Meagher
t1
4
5
6
Bedroom Terrace to Dressing Area 1 (12.16m)
Dressing Area 1 to Entrance/Exit 2 (18.21m)
Entrance/Exit 2 to Dressing Area 1 (22.77m)
10
11
12
Bathroom 1 to Bedroom Terrace (14.72m)
Bedroom Terrace to Dressing Area 1 (12.16m)
Dressing Area 1 to Bathroom 2 (5.65m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen
Distinct Movement Paths and Scans: Pat’s Summer Weekday
49
1
2
3
Bed 2 to Bathroom 1 (Length of Path: 12.33m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Dressing Area 2 (5.70m)
7
8
9
Entrance/Exit 1 to Kitchen (10.68m)
Kitchen to Bedroom Terrace (40.48m)
Bedroom Terrace to Kitchen (37.00m)
13
14
15
Kitchen to Zone 1 (40.84m)
Zone 1 to Bathroom 2 (13.16m)
Bathroom 2 to Dressing Area 2 (5.70m)
19
20
21
Entrance/Exit 2 to Dressing Area 2 (27.63m)
Dressing Area 2 to Bathroom 1 (4.59m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathrooms
Entrance/Exit 1
50 - Katharine Meagher
4
5
6
Dressing Area 2 to Dining Terrace (27.95m)
Dining Terrace to Dining Room (4.88m)
Dining Room to Entrance/Exit 1 (11.98m)
10
11
12
Kitchen to Bedroom Terrace (40.48m)
Bedroom Terrace to Side Door 1 (5.05m)
Entrance/Exit 1 to Kitchen (10.68m)
16
17
18
Dressing Area 2 to Entrance/Exit 2 (22.27m)
Entrance/Exit 2 to Lily’s House (25.28m)
Lily’s House to Entrance/Exit 2 (32.21m)
22
23
Bathroom 2 to Living Room (15.01m)
Living Room to Bed 2 (20.78m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen
Distinct Movement Paths and Scans: Robin’s Summer Weekend
51
1
2
3
Bed 1 to Entrance/Exit 2 (Length of Path: 19.91m)
Entrance/Exit 2 to Dining Terrace (10.70m)
Dining Terrace to Bathroom 1 (28.71m)
7
8
9
Dining Terrace to Kitchen (8.40m)
Kitchen to Dining Room (6.79m)
Dining Room to Entrance/Exit 1 (11.98m)
13
14
15
Plant 3 to Kitchen (42.56m)
Kitchen to Dining Room (6.79m)
Dining Room to Side Door 2 (36.84m)
19
20
21
Statue to Zone 1 (2.23m)
Zone 1 to Bathroom 2 (11.52m)
Bathroom 2 to Dressing Area 1 (5.64m)
25
26
27
Entrance/Exit 2 to Bathroom 1 (25.06m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Dressing Area 1 (5.64m)
Bathrooms
Entrance/Exit 1
52 - Katharine Meagher
1
4
5
6
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Dressing Area 1 (5.64m)
Dressing Area 1 to Dining Terrace (23.76m)
10
11
12
Side Door 1 to Plant 1 (3.38m)
Plant 1 to Plant 2 (4.41m)
Plant 2 to Plant 3 (13.23m)
16
17
18
Side Door 2 to Pool (13.81m)
Pool to Side Door 2 (18.39m)
Side Door 2 to Statue (5.45m)
22
23
24
Dressing Area 1 to Entrance/Exit 2 (18.21m)
Entrance/Exit 2 to Lily’s House (25.28m)
Lily’s House to Entrance/Exit 2 (32.21m)
28 Dressing Area 1 to Bed 2 (8.49m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen
Distinct Movement Paths and Scans: Pat’s Summer Weekendt
53
1
2
3
Bed 2 to Kitchen (Length of Path: 34.70m)
Kitchen to Bathroom 1 (29.14m)
Bathroom 1 to Bathroom 2 (7.61m)
7
8
9
Dressing Area 2 to Interior Plant (18.76m)
Interior Plant to Living Room (7.88m)
Living Room to Bathroom 1 (13.27m)
13
14
15
Chaise Lounge to Dining Room (9.54m)
Dining Room to Kitchen (6.79m)
Kitchen to Living Room (19.95m)
Bathrooms
Entrance/Ex
54 - Katharine Meagher
xit 1
4
5
6
Bathroom 2 to Dressing Area 2 (5.70m)
Dressing Area 2 to Entrance/Exit 1 (31.66m)
Entrance/Exit 1 to Dressing Area 2 (25.08m)
10
11
12
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Dining Room (22.95m)
Dining Room to Chaise Lounge (9.54m)
16
17
18
Living Room to Bathroom 2 (14.24m)
Bathroom 2 to Dressing Area 2 (5.70m)
Dressing Area 2 to Bed 2 (5.28m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen
Distinct Movement Paths and Scans: Robin’s Winter Weekday
55
1
2
3
Bed 1 to Bathroom 1 (Length of Path: 7.10m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Dressing Area 1 (5.64m)
7
8
9
Dressing Area 1 to Bedroom Desk (7.02m)
Bedroom Desk to Bathroom 2 (4.34m)
Bathroom 2 to Dining Room (24.21m)
13
14
Bathroom 2 to Dressing Area 1 (5.64m)
Dressing Area 1 to Bed 1 (4.25m)
Bathrooms
56 - Katharine Meagher
4
5
6
Dressing Area 2 to Entrance/Exit 2 (18.18m)
Entrance/Exit 2 to Living Room (9.69m)
Living Room to Dressing Area 1 (13.37m)
10
11
12
Dining Room to Bedroom Desk (24.25m)
Bedroom Desk to Bathroom 1 (9.24m)
Bathroom 1 to Bathroom 2 (7.61m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen Entrance/Exit 1
Distinct Movement Paths and Scans: Pat’s Winter Weekday
57
1
2
3
Bed 2 to Bathroom 1 (Length of Path: 13.80m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Kitchen (29.03m)
7
8
9
Dining Room to Dressing Area 2 (26.36m)
Dressing Area 2 to Entrance/Exit 2 (22.27m)
Entrance/Exit 2 to Outside Area 1 (6.97m)
13
14
15
Dressing Area 2 to Entrance/Exit 1 (31.66m)
Entrance/Exit 1 to Kitchen (10.68m)
Kitchen to Entrance/Exit 2 (14.26m)
19
20
21
Living Room to Kitchen (14.33m)
Kitchen to Bathroom 1 (29.14m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathrooms
Entrance/Exit 1
58 - Katharine Meagher
1
4
5
6
Kitchen to Living Room (19.98m)
Living Room to Kitchen (14.33m)
Kitchen to Dining Room (6.79m)
10
11
12
Outside Area 1 to Outside Area 2 (29.49m)
Outside Area 2 to Entrance/Exit 2 (29.47m)
Entrance/Exit 2 to Dressing Area 2 (22.12m)
16
17
18
Entrance/Exit 2 to Living Room (9.72m)
Living Room to Dining Room (8.94m)
Dining Room to Living Room (8.94m)
22
23
Bathroom 2 to Dressing Area 2 (5.70m)
Dressing Area 2 to Bed 2 (5.28m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen
Distinct Movement Paths and Scans: Robin’s Winter Weekend
59
1
2
3
Bed 1 to Entrance/Exit 2 (Length of Path: 27.72m)
Entrance/Exit 2 to Bathroom 1 (26.66m)
Bathroom 1 to Bathroom 2 (7.61m)
7
8
9
Kitchen to Dressing Area 1 (28.66m)
Dressing Area 1 to Bedroom Desk (7.02m)
Bedroom Desk to Entrance/Exit 1 (32.96m)
13
14
15
Entrance/Exit 1 to Kitchen (10.68m)
Kitchen to Living Room (19.95m)
Living Room to Kitchen (14.33m)
19
20
21
Entrance/Exit 2 to Bathroom 1 (26.66m)
Bathroom 1 to Bathroom 2 (7.61m)
Bathroom 2 to Dressing Area 1 (5.64m)
Bathrooms
Entrance/Exit
60 - Katharine Meagher
4
5
6
Bathroom 2 to Living Room (15.01m)
Living Room to Dining Room (8.95m)
Dining Room to Kitchen (6.79m)
10
11
12
Entrance/Exit 1 to Outside Area 3 (31.12m)
Outside Area 3 to Outside Area 4 (9.39m)
Outside Area 4 to Entrance/Exit 1 (21.97m)
16
17
18
Kitchen to Dining Room (6.79m)
Dining Room to Living Room (8.95m)
Living Room to Entrance/Exit 2 (11.39m)
22 Dressing Area 1 to Bed 1 (4.25m)
1.7 ft Room Boundary
Scanning
Movement Paths
Entrance/Exit 2
Kitchen 1
Distinct Movement Paths and Scans: Pat’s Winter Weekend
61
SIDE DOOR 2 OUTSIDE AREA 2
PLANT 3
OUTSI
STATUE
CHAISE LOUNGE BED 1
ZONE 1 BEDROOM DESK
DRESSING AREA 1
OUTSIDE AREA 3
BATH 1
POOL PLANT 2
LIVING ROOM
BATH 2
BEDROOM TERRACE DRESSING AREA 2
PLANT 1 SIDE DOOR
OUTSIDE AREA 4
62 - Katharine Meagher
BED 2
INTERIOR PLANT
ENTRAN
IDE AREA 1
ENTRANCE/EXIT 2
DINING ROOM DINING TERRACE
LILY'S HOUSE
KITCHEN
NCE/EXIT 1
63
Robin and Pat’s movements impact the materiality of the house’s envelope, redefining new usable space.
Heavily
trafficked areas develop an increased volume. Scan paths are incorporated as visual tunnels that reflect the height difference between Robin and Pat and represent the condition of double occupancy.
In the evaluation process, the most frequented areas of the house are reincorporated as usable space and exterior space is reclaimed through a path that allows for complete circumambulation. Finally, the material pattern of the original house is projected onto the surfaces of the excavated solid, simplifying the void and solid sections of the home.
64 - Katharine Meagher
Movement Paths Spatialized: 6ft wide
Movement Paths
Scan Paths
Robin
6 ft
10 ft
Robin
5.5ft
Pat
Pat
6 ft
Scan Paths Spatialized: Robin 6 in X 6 in located 5.5 feet from ground
Scan Paths Spatialized: Pat 6 in X 6 in located 6 feet from ground
65
66 - Katharine Meagher
67
reconfiguring the prototype christopher mascari
The fifty by fifty foot house was a housing prototype designed for America by Mies Van der Rohe. The building like all prototypes was designed without a site. Although it was siteless; its all glass faรงade created a direct visual relationship with whatever context it was placed. The vision into and within played an important role in the placement of program, partitions, and furniture. Their placement is not based upon a specific site, but upon a relative relationship between public to private. The prototype was developed around a flexible program which was interchangeable and adaptable to the family unit proposed to live within. While the family living within might change the house adapted within the limits of the fifty by fifty foot square. The various elements of furniture, partitions, and walls were used to divide the space based on a visual continuity or discontinuity determined by the need of the space. Some spaces protected from view others fully exposed. The elements were moved around in only two dimensions.
70 - Christopher Mascari
71
PROTOTYPE 4
72 - Christopher Mascari
GATHERING
1 2 3 4 5 6 7 8 9 10 11 12
GATHERING
252 252 252 252 252 252 252 252 252 252 252 252
GATHERING
252 252 252 232 166 94 38 26 5 0 0 0
100.00% 100.00% 100.00% 92.06% 65.87% 37.30% 15.08% 10.32% 1.98% 0.00% 0.00% 0.00%
GATHERING
13 14 15 16 17 18 19 20 21 22 23 24
GATHERING
252 252 252 252 252 252 252 252 252 252 252 252
GATHERING
0 0 0 0 66 194 233 233 238 243 252 252
0.00% 0.00% 0.00% 0.00% 26.19% 76.98% 92.46% 92.46% 94.44% 96.43% 100.00% 100.00% 50.07%
DINING
DINING
DINING
TOTAL SQFT SQFT VISIBLE % VISIBLE 130 125 96.15% 130 130 100.00% 130 130 100.00% 130 104 80.00% 130 18 13.85% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00%
1 2 3 4 5 6 7 8 9 10 11 12
DINING
DINING
DINING
TOTAL SQFT SQFT VISIBLE % VISIBLE 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 3 2.31% 130 22 16.92% 130 39 30.00% 130 63 48.46% 130 95 73.08% 130 118 90.77% 130 130 100.00% 130 116 89.23% 130 117 90.00%
13 14 15 16 17 18 19 20 21 22 23 24
38.78%
KITCHEN
1 2 3 4 5 6 7 8 9 10 11 12
KITCHEN
TOTAL SQFT SQFT VISIBLE 148 148 148 148 148 148 148 148 148 148 148 148
KITCHEN
3 1 0 0 0 0 0 0 0 0 0 0
% VISIBLE 2.03% 0.68% 0.00% 0.00% 0.00% 0.00% 0.00% 0.00% 0.00% 0.00% 0.00% 0.00%
KITCHEN
13 14 15 16 17 18 19 20 21 22 23 24
KITCHEN
KITCHEN
TOTAL SQFT SQFT VISIBLE % VISIBLE 148 40 27.03% 148 74 50.00% 148 96 64.86% 148 100 67.57% 148 84 56.76% 148 76 51.35% 148 64 43.24% 148 35 23.65% 148 31 20.95% 148 61 41.22% 148 16 10.81% 148 7 4.73% 19.37%
SLEEPING_1
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_1
SLEEPING_1
TOTAL SQFT SQFT VISIBLE % VISIBLE 228 47 20.61% 228 21 9.21% 228 5 2.19% 228 0 0.00% 228 0 0.00% 228 0 0.00% 228 0 0.00% 228 0 0.00% 228 0 0.00% 228 34 14.91% 228 163 71.49% 228 210 92.11%
SLEEPING_1
13 14 15 16 17 18 19 20 21 22 23 24
SLEEPING_1
SLEEPING_1
TOTAL SQFT SQFT VISIBLE % VISIBLE 228 204 89.47% 228 211 92.54% 228 216 94.74% 228 225 98.68% 228 228 100.00% 228 228 100.00% 228 228 100.00% 228 228 100.00% 228 228 100.00% 228 197 86.40% 228 138 60.53% 228 78 34.21% 52.80%
SLEEPING_2
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_2
SLEEPING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE 337 0 0.00% 337 2 0.59% 337 16 4.75% 337 83 24.63% 337 243 72.11% 337 305 90.50% 337 311 92.28% 337 320 94.96% 337 324 96.14% 337 328 97.33% 337 324 96.14% 337 322 95.55%
SLEEPING_2
13 14 15 16 17 18 19 20 21 22 23 24
SLEEPING_2
SLEEPING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE 337 325 96.44% 337 328 97.33% 337 337 100.00% 337 273 81.01% 337 144 42.73% 337 77 22.85% 337 45 13.35% 337 22 6.53% 337 5 1.48% 337 0 0.00% 337 0 0.00% 337 0 0.00% 51.11%
GATHERING_2
1 2 3 4 5 6 7 8 9 10 11 12
GATHERING_2
GATHERING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE 130 112 86.15% 130 124 95.38% 130 130 100.00% 130 130 100.00% 130 130 100.00% 130 130 100.00% 130 130 100.00% 130 130 100.00% 130 130 100.00% 130 115 88.46% 130 89 68.46% 130 55 42.31%
GATHERING_2
13 14 15 16 17 18 19 20 21 22 23 24
GATHERING_2
GATHERING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE 130 32 24.62% 130 16 12.31% 130 4 3.08% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 0 0.00% 130 26 20.00% 130 95 73.08% 130 116 89.23% 54.29%
73
PROTOTYPE 5
74 - Christopher Mascari
GATHERING
GATHERING GATHERING GATHERING GATHERING
GATHERING GATHERING
GATHERING GATHERING GATHERING GATHERING
GATHERING
GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 376 58 15.43% 13 376 359 95.48% 1 376 58 15.43% 13 376 359 95.48% 376 36 9.57% 14 376 354 94.15% 2 376 9.57% 14 % VISIBLE 376 354 94.15% TOTAL36 SQFT SQFT VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 376 8 2.13% 15 376 360 95.74% 3 376 8 2.13% 1558 376 360 1 376 15.43% 13 376 95.74% 359 95.48% 376 0 0.00% 16 376 366 97.34% 4 376 0 0.00% 1636 376 366 2 376 9.57% 14 376 97.34% 354 94.15% 376 0 0.00% 17 376 360 95.74% 5 376 0 0.00% 17 8 376 360 3 376 2.13% 15 376 95.74% 360 95.74% 376 0 0.00% 18 376 369 98.14% 6 376 0 0.00% 18 376 369 98.14% 4 376 0 0.00% 16 376 366 97.34% 376 0 0.00% 19 376 376 100.00% 7 376 0 0.00% 19 0 376 376 5 376 0.00% 17 376 100.00% 360 95.74% 376 39 10.37% 20 376 376 100.00% 8 376 39 20 0 376 376 6 376 10.37% 0.00% 18 376 100.00% 369 98.14% 376 236 62.77% 21 376 376 100.00% 9 376 236 21 0 376 376 7 376 62.77% 0.00% 19 376 100.00% 376 100.00% 376 353 93.88% 22 376 349 92.82% 10 376 353 2239 376 349 8 376 93.88% 10.37% 20 376 92.82% 376 100.00% 376 376 100.00% 23 376 238 63.30% 11 376 376 23 376 238 9 376 100.00% 236 62.77% 21 376 63.30% 376 100.00% 376 373 99.20% 24 376 128 34.04% 12 376 373 24 376 128 10 376 99.20% 353 93.88% 22 376 34.04% 349 92.82% 11 376 376 100.00% 23 376 238 63.30% 60.84% 12 376 373 99.20% 24 376 60.84% 128 34.04%
1 2 3 4 5 6 7 8 9 10 11 12
60.84%
DINING
1 2 3 4 5 6 7 8 9 10 11 12
DINING DINING 177 1 177 2 177 3 177 4 177 5 177 6 177 7 177 8 177 9 177 10 177 11 177 12
DINING DINING 0 177 0 177 17 177 20 177 9 177 59 177 103 177 139 177 163 177 177 177 177 177 177 177
DINING DINING
DINING 0.00% 13 0 0.00% 14 0 9.60% 15 17 1 11.30% 16 20 2 5.08% 17 9 3 33.33% 18 59 4 58.19% 19 103 5 78.53% 20 139 6 92.09% 21 163 7 100.00% 22 177 8 100.00% 23 177 9 100.00% 24 177 10 11 12
DINING DINING
DINING 177 0.00% 177 0.00% 177 9.60% 177 177 177 11.30% 177 5.08% 177 177 177 33.33% 177 177 58.19% 177 177 78.53% 177 177 92.09% 177 177 100.00% 177 177 100.00% 177 177 100.00% 177 177
13 14 15 0 16 0 1717 1820 19 9 2059 21 103 22 139 23 163 24 177 177 177
DINING DINING
DINING 177 177 177 177 177 177 0.00% 177 177 0.00% 177 177 9.60% 162 177 11.30% 164 177 5.08% 166 177 33.33% 154 177 58.19% 111 177 78.53% 5 177 92.09% 0 177 100.00% 100.00% 100.00%
DINING
DINING 100.00% 177 100.00% 177 100.00% 177 13 100.00% 177 14 100.00% 177 15 91.53% 162 16 92.66% 164 17 93.79% 166 18 87.01% 154 19 62.71% 111 20 2.82% 5 21 0.00% 0 22 23 63.28% 24
DINING 100.00% 100.00% 177 100.00% 177 100.00% 177 100.00% 177 91.53% 177 92.66% 177 93.79% 177 87.01% 177 62.71% 2.82% 177 0.00% 177 177 177 63.28%
DINING
177 177 177 177 177 162 164 166 154 111 5 0
100.00% 100.00% 100.00% 100.00% 100.00% 91.53% 92.66% 93.79% 87.01% 62.71% 2.82% 0.00% 63.28%
KITCHEN
KITCHEN KITCHEN
KITCHEN KITCHEN
KITCHEN KITCHEN
KITCHEN KITCHEN
KITCHEN KITCHEN
KITCHEN
KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 163 16 9.82% 13 163 61 37.42% 1 163 16 9.82% 13 163 61 37.42% 163 28 17.18% 14 163 95 58.28% 2 163 17.18% 14 % VISIBLE 163 58.28% TOTAL28 SQFT SQFT VISIBLE TOTAL95 SQFT SQFT VISIBLE % VISIBLE 163 53 32.52% 15 163 102 62.58% 3 163 53 1516 163 102 1 163 32.52% 9.82% 13 163 62.58% 61 37.42% 163 118 72.39% 16 163 70 42.94% 4 163 118 1628 163 70 2 163 72.39% 17.18% 14 163 42.94% 95 58.28% 163 105 64.42% 17 163 22 13.50% 5 163 105 1753 163 22 3 163 64.42% 32.52% 15 163 13.50% 102 62.58% 163 23 14.11% 18 163 13 7.98% 6 163 23 18 163 13 7.98% 4 163 14.11% 118 72.39% 16 163 70 42.94% 163 4 2.45% 19 163 7 4.29% 7 163 4 2.45% 19 163 7 4.29% 5 163 105 64.42% 17 163 22 13.50% 163 0 0.00% 20 163 3 1.84% 8 163 0 0.00% 2023 163 3 1.84% 6 163 14.11% 18 163 13 7.98% 163 0 0.00% 21 163 0 0.00% 9 163 0 0.00% 21 4 163 0 0.00% 7 163 2.45% 19 163 7 4.29% 163 37 22.70% 22 163 0 0.00% 10 163 37 22 0 163 0 0.00% 8 163 22.70% 0.00% 20 163 3 1.84% 163 43 26.38% 23 163 0 0.00% 11 163 43 23 0 163 0 0.00% 9 163 26.38% 0.00% 21 163 0 0.00% 163 50 30.67% 24 163 0 0.00% 12 163 50 2437 163 0 0.00% 10 163 30.67% 22.70% 22 163 0 0.00% 11 163 43 26.38% 23 163 0 0.00% 21.73% 12 163 50 30.67% 24 163 21.73% 0 0.00%
1 2 3 4 5 6 7 8 9 10 11 12
21.73%
SLEEPING_1
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1
SLEEPING_1 SLEEPING_1
SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1
SLEEPING_1
SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 224 216 96.43% 13 224 4 1.79% 1 224 216 96.43% 13 224 4 1.79% 224 210 93.75% 14 224 7 3.13% 2 224 210 93.75% 14 % VISIBLE 224 7 3.13% TOTAL SQFT SQFT VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 224 181 80.80% 15 224 13 5.80% 3 224 181 15 224 13 5.80% 1 224 80.80% 216 96.43% 13 224 4 1.79% 224 113 50.45% 16 224 34 15.18% 4 224 113 16 224 34 2 224 50.45% 210 93.75% 14 224 15.18% 7 3.13% 224 7 3.13% 17 224 82 36.61% 5 224 7 3.13% 17 224 82 3 224 181 80.80% 15 224 36.61% 13 5.80% 224 0 0.00% 18 224 134 59.82% 6 224 0 0.00% 18 224 134 4 224 113 50.45% 16 224 59.82% 34 15.18% 224 0 0.00% 19 224 171 76.34% 7 224 0 0.00% 19 7 224 171 5 224 3.13% 17 224 76.34% 82 36.61% 224 0 0.00% 20 224 185 82.59% 8 224 0 0.00% 20 0 224 185 6 224 0.00% 18 224 82.59% 134 59.82% 224 0 0.00% 21 224 202 90.18% 9 224 0 0.00% 21 0 224 202 7 224 0.00% 19 224 90.18% 171 76.34% 224 0 0.00% 22 224 215 95.98% 10 224 0 0.00% 22 0 224 215 8 224 0.00% 20 224 95.98% 185 82.59% 224 0 0.00% 23 224 211 94.20% 11 224 0 0.00% 23 0 224 211 9 224 0.00% 21 224 94.20% 202 90.18% 224 2 0.89% 24 224 215 95.98% 12 224 2 0.89% 24 0 224 215 10 224 0.00% 22 224 95.98% 215 95.98% 11 224 0 0.00% 23 224 211 94.20% 40.96% 12 224 2 0.89% 24 224 40.96% 215 95.98% 40.96%
SLEEPING_2
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2
SLEEPING_2 SLEEPING_2
SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2
SLEEPING_2
SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 213 104 48.83% 13 213 0 0.00% 1 213 104 48.83% 13 213 0 0.00% 213 156 73.24% 14 213 0 0.00% 2 213 156 73.24% 14 % VISIBLE 213 0 0.00% TOTAL SQFT SQFT VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 213 185 86.85% 15 213 16 7.51% 3 213 185 15 213 16 7.51% 1 213 86.85% 104 48.83% 13 213 0 0.00% 213 203 95.31% 16 213 0 0.00% 4 213 203 16 213 0 0.00% 2 213 95.31% 156 73.24% 14 213 0 0.00% 213 200 93.90% 17 213 0 0.00% 5 213 200 17 213 0 0.00% 3 213 93.90% 185 86.85% 15 213 16 7.51% 213 195 91.55% 18 213 0 0.00% 6 213 195 18 213 0 0.00% 4 213 91.55% 203 95.31% 16 213 0 0.00% 213 198 92.96% 19 213 0 0.00% 7 213 198 19 213 0 0.00% 5 213 92.96% 200 93.90% 17 213 0 0.00% 213 198 92.96% 20 213 0 0.00% 8 213 198 20 213 0 0.00% 6 213 92.96% 195 91.55% 18 213 0 0.00% 213 156 73.24% 21 213 0 0.00% 9 213 156 73.24% 21 213 0 0.00% 7 213 198 92.96% 19 213 0 0.00% 213 79 37.09% 22 213 0 0.00% 10 213 79 22 213 0 0.00% 8 213 37.09% 198 92.96% 20 213 0 0.00% 213 16 7.51% 23 213 0 0.00% 11 213 16 7.51% 23 213 0 0.00% 9 213 156 73.24% 21 213 0 0.00% 213 1 0.47% 24 213 43 20.19% 12 213 1 0.47% 2479 213 43 10 213 37.09% 22 213 20.19% 0 0.00% 11 213 16 7.51% 23 213 0 0.00% 34.23% 12 213 1 0.47% 24 213 34.23% 43 20.19% 34.23%
SLEEPING_3
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_3 SLEEPING_3 SLEEPING_3 SLEEPING_3
SLEEPING_3 SLEEPING_3
SLEEPING_3 SLEEPING_3 SLEEPING_3 SLEEPING_3
SLEEPING_3
SLEEPING_3 SLEEPING_3 SLEEPING_3 SLEEPING_3 SLEEPING_3 SLEEPING_3 TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 214 40 18.69% 13 214 134 62.62% 1 214 40 18.69% 13 214 134 62.62% 214 95 44.39% 14 214 95 44.39% 2 214 44.39% 14 % VISIBLE 214 44.39% TOTAL95 SQFT SQFT VISIBLE TOTAL95 SQFT SQFT VISIBLE % VISIBLE 214 150 70.09% 15 214 73 34.11% 3 214 150 1540 214 73 1 214 70.09% 18.69% 13 214 34.11% 134 62.62% 214 195 91.12% 16 214 29 13.55% 4 214 195 1695 214 29 2 214 91.12% 44.39% 14 214 13.55% 95 44.39% 214 214 100.00% 17 214 9 4.21% 5 214 214 17 214 9 4.21% 3 214 100.00% 150 70.09% 15 214 73 34.11% 214 214 100.00% 18 214 3 1.40% 6 214 214 18 214 3 1.40% 4 214 100.00% 195 91.12% 16 214 29 13.55% 214 214 100.00% 19 214 0 0.00% 7 214 214 19 214 0 0.00% 5 214 100.00% 214 100.00% 17 214 9 4.21% 214 214 100.00% 20 214 0 0.00% 8 214 214 20 214 0 0.00% 6 214 100.00% 214 100.00% 18 214 3 1.40% 214 214 100.00% 21 214 0 0.00% 9 214 214 21 214 0 0.00% 7 214 100.00% 214 100.00% 19 214 0 0.00% 214 214 100.00% 22 214 0 0.00% 10 214 214 22 214 0 0.00% 8 214 100.00% 214 100.00% 20 214 0 0.00% 214 188 87.85% 23 214 0 0.00% 11 214 188 23 214 0 0.00% 9 214 87.85% 214 100.00% 21 214 0 0.00% 214 165 77.10% 24 214 28 13.08% 12 214 165 24 214 28 10 214 77.10% 214 100.00% 22 214 13.08% 0 0.00% 11 214 188 87.85% 23 214 0 0.00% 48.44% 12 214 165 77.10% 24 214 48.44% 28 13.08% 48.44%
OFFICE
1 2 3 4 5 6 7 8 9 10 11 12
OFFICE OFFICE
OFFICE OFFICE
OFFICE OFFICE
OFFICE OFFICE
OFFICE OFFICE
OFFICE
OFFICE OFFICE OFFICE OFFICE OFFICE OFFICE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 164 164 100.00% 13 164 0 0.00% 1 164 164 100.00% 13 164 0 0.00% 164 164 100.00% 14 164 0 0.00% 2 164 164 100.00% 14 % VISIBLE 164 0 0.00% TOTAL SQFT SQFT VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE 164 164 100.00% 15 164 0 0.00% 3 164 164 15 164 0 0.00% 1 164 100.00% 164 100.00% 13 164 0 0.00% 164 150 91.46% 16 164 21 12.80% 4 164 150 16 164 21 2 164 91.46% 164 100.00% 14 164 12.80% 0 0.00% 164 120 73.17% 17 164 110 67.07% 5 164 120 17 164 110 3 164 73.17% 164 100.00% 15 164 67.07% 0 0.00% 164 82 50.00% 18 164 147 89.63% 6 164 82 18 164 147 4 164 50.00% 150 91.46% 16 164 89.63% 21 12.80% 164 45 27.44% 19 164 150 91.46% 7 164 45 19 164 150 5 164 27.44% 120 73.17% 17 164 91.46% 110 67.07% 164 21 12.80% 20 164 163 99.39% 8 164 21 2082 164 163 6 164 12.80% 50.00% 18 164 99.39% 147 89.63% 164 0 0.00% 21 164 164 100.00% 9 164 0 0.00% 2145 164 164 7 164 27.44% 19 164 100.00% 150 91.46% 164 0 0.00% 22 164 164 100.00% 10 164 0 0.00% 2221 164 164 8 164 12.80% 20 164 100.00% 163 99.39% 164 0 0.00% 23 164 164 100.00% 11 164 0 0.00% 23 0 164 164 9 164 0.00% 21 164 100.00% 164 100.00% 164 0 0.00% 24 164 164 100.00% 12 164 0 0.00% 24 0 164 164 10 164 0.00% 22 164 100.00% 164 100.00% 11 164 0 0.00% 23 164 164 100.00% 54.80% 12 164 0 0.00% 24 164 54.80% 164 100.00% 54.80%
75
PROTOTYPE 15
76 - Christopher Mascari
GATHERING
GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING GATHERING
TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE 396 82 20.71% 13 396 368 92.93% 1 1 396 396 82 82 20.71%20.71% 13 13 396 396 368 368 92.93%92.93% 396 49 12.37% 14 396 364 91.92% 2 2 396 396 49 49 12.37%12.37% 14 14 396 396 364 364 91.92%91.92% 396 9 2.27% 15 396 378 95.45% 3 3 396 396 9 9 2.27% 2.27% 15 15 396 396 378 378 95.45%95.45% 396 0 0.00% 16 396 386 97.47% 4 4 396 396 0 0 0.00% 0.00% 16 16 396 396 386 386 97.47%97.47% 396 0 0.00% 17 396 382 96.46% 5 5 396 396 0 0 0.00% 0.00% 17 17 396 396 382 382 96.46%96.46% 396 0 0.00% 18 396 390 98.48% 6 6 396 396 0 0 0.00% 0.00% 18 18 396 396 390 390 98.48%98.48% 396 0 0.00% 19 396 396 100.00% 7 7 396 396 0 0 0.00% 0.00% 19 19 396 396 396 396 100.00% 100.00% 396 0 0.00% 20 396 396 100.00% 8 8 396 396 0 0 0.00% 0.00% 20 20 396 396 396 396 100.00% 100.00% 396 51 12.88% 21 396 396 100.00% 9 9 396 396 51 51 12.88%12.88% 21 21 396 396 396 396 100.00% 100.00% 396 267 67.42% 22 396 383 96.72% 10 10 396 396 267 267 67.42%67.42% 22 22 396 396 383 383 96.72%96.72% 396 358 90.40% 23 396 313 79.04% 11 11 396 396 358 358 90.40%90.40% 23 23 396 396 313 313 79.04%79.04% 396 372 93.94% 24 396 152 38.38% 12 12 396 396 372 372 93.94%93.94% 24 24 396 396 152 152 38.38%38.38%
1 2 3 4 5 6 7 8 9 10 11 12
57.79%
DINING
1 2 3 4 5 6 7 8 9 10 11 12
DINING DINING DININGDINING DININGDINING 180 1 180 2 180 3 180 4 180 5 180 6 180 7 180 8 180 9 180 10 180 11 180 12
1 2 3 4 5 6 7 8 9 10 11 12
0 180 0 180 0 180 0 180 4 180 26 180 52 180 95 180 137 180 170 180 180 180 180 180
0.00% 180 0 0.00% 180 0 0.00% 180 0 0.00% 180 0 2.22% 180 4 14.44% 180 26 28.89% 180 52 52.78% 180 95 76.11% 180 137 94.44% 180 170 100.00% 180 180 100.00% 180 180
DINING DININGDINING
DINING DINING DININGDINING DININGDINING
13 180 0 0.00% 0.00% 13 14 180 0 0.00% 0.00% 14 15 180 0 0.00% 0.00% 15 16 180 0 0.00% 0.00% 16 17 180 4 2.22% 2.22% 17 18 180 26 14.44%14.44% 18 19 180 52 28.89%28.89% 19 20 180 95 52.78%52.78% 20 21 180 137 76.11%76.11% 21 22 180 170 94.44%94.44% 22 23 180 180 100.00% 100.00% 23 24 180 180 100.00% 100.00% 24
13 14 15 16 17 18 19 20 21 22 23 24
180 180 180 180 180 180 180 180 180 180 166 180 161 180 172 180 180 180 154 180 55 180 0 180
100.00% 180 180 100.00% 180 180 100.00% 180 180 100.00% 180 180 100.00% 180 180 92.22% 180 166 89.44% 180 161 95.56% 180 172 100.00% 180 180 85.56% 180 154 30.56% 180 55 0.00% 180 0 60.93%
KITCHEN
KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN
DININGDINING
180 180 180 180 180 166 161 172 180 154 55 0
100.00% 100.00% 100.00% 100.00% 100.00% 100.00% 100.00% 100.00% 100.00% 100.00% 92.22%92.22% 89.44%89.44% 95.56%95.56% 100.00% 100.00% 85.56%85.56% 30.56%30.56% 0.00% 0.00% 60.93%60.93%
KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN KITCHEN
TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE 150 5 3.33% 13 150 124 82.67% 1 1 150 150 5 5 3.33% 3.33% 13 13 150 150 124 124 82.67%82.67% 150 9 6.00% 14 150 124 82.67% 2 2 150 150 9 9 6.00% 6.00% 14 14 150 150 124 124 82.67%82.67% 150 17 11.33% 15 150 111 74.00% 3 3 150 150 17 17 11.33%11.33% 15 15 150 150 111 111 74.00%74.00% 150 42 28.00% 16 150 44 29.33% 4 4 150 150 42 42 28.00%28.00% 16 16 150 150 44 44 29.33%29.33% 150 113 75.33% 17 150 18 12.00% 5 5 150 150 113 113 75.33%75.33% 17 17 150 150 18 18 12.00%12.00% 150 131 87.33% 18 150 10 6.67% 6 6 150 150 131 131 87.33%87.33% 18 18 150 150 10 10 6.67% 6.67% 150 131 87.33% 19 150 6 4.00% 7 7 150 150 131 131 87.33%87.33% 19 19 150 150 6 6 4.00% 4.00% 150 133 88.67% 20 150 2 1.33% 8 8 150 150 133 133 88.67%88.67% 20 20 150 150 2 2 1.33% 1.33% 150 138 92.00% 21 150 0 0.00% 9 9 150 150 138 138 92.00%92.00% 21 21 150 150 0 0 0.00% 0.00% 150 142 94.67% 22 150 0 0.00% 10 10 150 150 142 142 94.67%94.67% 22 22 150 150 0 0 0.00% 0.00% 150 142 94.67% 23 150 0 0.00% 11 11 150 150 142 142 94.67%94.67% 23 23 150 150 0 0 0.00% 0.00% 150 136 90.67% 24 150 0 0.00% 12 12 150 150 136 136 90.67%90.67% 24 24 150 150 0 0 0.00% 0.00%
1 2 3 4 5 6 7 8 9 10 11 12
43.83%
SLEEPING_1
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_2
1 2 3 4 5 6 7 8 9 10 11 12
43.83%43.83%
SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1 SLEEPING_1
TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE 297 228 76.77% 13 297 0 0.00% 1 1 297 297 228 228 76.77%76.77% 13 13 297 297 0 0 0.00% 0.00% 297 154 51.85% 14 297 0 0.00% 2 2 297 297 154 154 51.85%51.85% 14 14 297 297 0 0 0.00% 0.00% 297 112 37.71% 15 297 0 0.00% 3 3 297 297 112 112 37.71%37.71% 15 15 297 297 0 0 0.00% 0.00% 297 54 18.18% 16 297 0 0.00% 4 4 297 297 54 54 18.18%18.18% 16 16 297 297 0 0 0.00% 0.00% 297 0 0.00% 17 297 8 2.69% 5 5 297 297 0 0 0.00% 0.00% 17 17 297 297 8 8 2.69% 2.69% 297 0 0.00% 18 297 52 17.51% 6 6 297 297 0 0 0.00% 0.00% 18 18 297 297 52 52 17.51%17.51% 297 0 0.00% 19 297 89 29.97% 7 7 297 297 0 0 0.00% 0.00% 19 19 297 297 89 89 29.97%29.97% 297 0 0.00% 20 297 146 49.16% 8 8 297 297 0 0 0.00% 0.00% 20 20 297 297 146 146 49.16%49.16% 297 0 0.00% 21 297 215 72.39% 9 9 297 297 0 0 0.00% 0.00% 21 21 297 297 215 215 72.39%72.39% 297 0 0.00% 22 297 281 94.61% 10 10 297 297 0 0 0.00% 0.00% 22 22 297 297 281 281 94.61%94.61% 297 0 0.00% 23 297 284 95.62% 11 11 297 297 0 0 0.00% 0.00% 23 23 297 297 284 284 95.62%95.62% 297 0 0.00% 24 297 253 85.19% 12 12 297 297 0 0 0.00% 0.00% 24 24 297 297 253 253 85.19%85.19% 26.32%
26.32%26.32%
SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2 SLEEPING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE 380 270 71.05% 13 380 40 10.53% 1 1 380 380 270 270 71.05%71.05% 13 13 380 380 40 40 10.53%10.53% 380 322 84.74% 14 380 11 2.89% 2 2 380 380 322 322 84.74%84.74% 14 14 380 380 11 11 2.89% 2.89% 380 355 93.42% 15 380 3 0.79% 3 3 380 380 355 355 93.42%93.42% 15 15 380 380 3 3 0.79% 0.79% 380 372 97.89% 16 380 0 0.00% 4 4 380 380 372 372 97.89%97.89% 16 16 380 380 0 0 0.00% 0.00% 380 368 96.84% 17 380 0 0.00% 5 5 380 380 368 368 96.84%96.84% 17 17 380 380 0 0 0.00% 0.00% 380 364 95.79% 18 380 0 0.00% 6 6 380 380 364 364 95.79%95.79% 18 18 380 380 0 0 0.00% 0.00% 380 365 96.05% 19 380 0 0.00% 7 7 380 380 365 365 96.05%96.05% 19 19 380 380 0 0 0.00% 0.00% 380 369 97.11% 20 380 0 0.00% 8 8 380 380 369 369 97.11%97.11% 20 20 380 380 0 0 0.00% 0.00% 380 379 99.74% 21 380 0 0.00% 9 9 380 380 379 379 99.74%99.74% 21 21 380 380 0 0 0.00% 0.00% 380 287 75.53% 22 380 0 0.00% 10 10 380 380 287 287 75.53%75.53% 22 22 380 380 0 0 0.00% 0.00% 380 128 33.68% 23 380 0 0.00% 11 11 380 380 128 128 33.68%33.68% 23 23 380 380 0 0 0.00% 0.00% 380 69 18.16% 24 380 159 41.84% 12 12 380 380 69 69 18.16%18.16% 24 24 380 380 159 159 41.84%41.84% 42.34%
OFFICE
1 2 3 4 5 6 7 8 9 10 11 12
57.79%57.79%
OFFICE OFFICE OFFICEOFFICE OFFICEOFFICE
OFFICE OFFICEOFFICE
OFFICE OFFICE OFFICEOFFICE OFFICEOFFICE
42.34%42.34%
OFFICEOFFICE
TOTAL SQFT SQFT VISIBLE % VISIBLE TOTAL SQFT SQFT VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE TOTALTOTAL SQFT SQFT SQFT VISIBLE SQFT VISIBLE % VISIBLE % VISIBLE 146 146 100.00% 13 146 0 0.00% 1 1 146 146 146 146 100.00% 100.00% 13 13 146 146 0 0 0.00% 0.00% 146 146 100.00% 14 146 0 0.00% 2 2 146 146 146 146 100.00% 100.00% 14 14 146 146 0 0 0.00% 0.00% 146 146 100.00% 15 146 0 0.00% 3 3 146 146 146 146 100.00% 100.00% 15 15 146 146 0 0 0.00% 0.00% 146 135 92.47% 16 146 11 7.53% 4 4 146 146 135 135 92.47%92.47% 16 16 146 146 11 11 7.53% 7.53% 146 110 75.34% 17 146 83 56.85% 5 5 146 146 110 110 75.34%75.34% 17 17 146 146 83 83 56.85%56.85% 146 78 53.42% 18 146 131 89.73% 6 6 146 146 78 78 53.42%53.42% 18 18 146 146 131 131 89.73%89.73% 146 44 30.14% 19 146 136 93.15% 7 7 146 146 44 44 30.14%30.14% 19 19 146 146 136 136 93.15%93.15% 146 20 13.70% 20 146 146 100.00% 8 8 146 146 20 20 13.70%13.70% 20 20 146 146 146 146 100.00% 100.00% 146 0 0.00% 21 146 146 100.00% 9 9 146 146 0 0 0.00% 0.00% 21 21 146 146 146 146 100.00% 100.00% 146 0 0.00% 22 146 146 100.00% 10 10 146 146 0 0 0.00% 0.00% 22 22 146 146 146 146 100.00% 100.00% 146 0 0.00% 23 146 146 100.00% 11 11 146 146 0 0 0.00% 0.00% 23 23 146 146 146 146 100.00% 100.00% 146 0 0.00% 24 146 146 100.00% 12 12 146 146 0 0 0.00% 0.00% 24 24 146 146 146 146 100.00% 100.00% 54.68%
54.68%54.68%
77
PROTOTYPE 16
78 - Christopher Mascari
GATHERING
1 2 3 4 5 6 7 8 9 10 11 12
GATHERING
GATHERING
TOTAL SQFT SQFT VISIBLE % VISIBLE 363 207 57.02% 363 174 47.93% 363 234 64.46% 363 210 57.85% 363 115 31.68% 363 91 25.07% 363 30 8.26% 363 12 3.31% 363 4 1.10% 363 0 0.00% 363 22 6.06% 363 2 0.55%
GATHERING
13 14 15 16 17 18 19 20 21 22 23 24
GATHERING
GATHERING
TOTAL SQFT SQFT VISIBLE % VISIBLE 363 0 0.00% 363 0 0.00% 363 0 0.00% 363 0 0.00% 363 25 6.89% 363 107 29.48% 363 243 66.94% 363 319 87.88% 363 304 83.75% 363 292 80.44% 363 271 74.66% 363 253 69.70% 33.46%
DINING
1 2 3 4 5 6 7 8 9 10 11 12
DINING
137 137 137 137 137 137 137 137 137 137 137 137
DINING
137 137 137 127 99 64 36 12 3 0 0 0
DINING
100.00% 100.00% 100.00% 92.70% 72.26% 46.72% 26.28% 8.76% 2.19% 0.00% 0.00% 0.00%
13 14 15 16 17 18 19 20 21 22 23 24
DINING
DINING
137 137 137 137 137 137 137 137 137 137 137 137
0 0 0 4 112 133 119 129 137 137 137 137
0.00% 0.00% 0.00% 2.92% 81.75% 97.08% 86.86% 94.16% 100.00% 100.00% 100.00% 100.00% 54.65%
KITCHEN
1 2 3 4 5 6 7 8 9 10 11 12
KITCHEN
KITCHEN
TOTAL SQFT SQFT VISIBLE % VISIBLE 113 8 7.08% 113 15 13.27% 113 25 22.12% 113 60 53.10% 113 113 100.00% 113 106 93.81% 113 104 92.04% 113 106 93.81% 113 108 95.58% 113 109 96.46% 113 108 95.58% 113 106 93.81%
KITCHEN
13 14 15 16 17 18 19 20 21 22 23 24
KITCHEN
KITCHEN
TOTAL SQFT SQFT VISIBLE % VISIBLE 113 102 90.27% 113 100 88.50% 113 112 99.12% 113 63 55.75% 113 27 23.89% 113 16 14.16% 113 9 7.96% 113 0 0.00% 113 0 0.00% 113 0 0.00% 113 0 0.00% 113 5 4.42% 51.70%
SLEEPING_1
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_1
SLEEPING_1
TOTAL SQFT SQFT VISIBLE % VISIBLE 234 208 88.89% 234 217 92.74% 234 222 94.87% 234 230 98.29% 234 234 100.00% 234 234 100.00% 234 234 100.00% 234 234 100.00% 234 234 100.00% 234 199 85.04% 234 131 55.98% 234 72 30.77%
SLEEPING_1
13 14 15 16 17 18 19 20 21 22 23 24
SLEEPING_1
SLEEPING_1
TOTAL SQFT SQFT VISIBLE % VISIBLE 234 41 17.52% 234 14 5.98% 234 4 1.71% 234 0 0.00% 234 0 0.00% 234 5 2.14% 234 35 14.96% 234 5 2.14% 234 0 0.00% 234 9 3.85% 234 105 44.87% 234 187 79.91% 50.82%
SLEEPING_2
1 2 3 4 5 6 7 8 9 10 11 12
SLEEPING_2
SLEEPING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE 261 21 8.05% 261 18 6.90% 261 5 1.92% 261 0 0.00% 261 0 0.00% 261 0 0.00% 261 0 0.00% 261 43 16.48% 261 112 42.91% 261 207 79.31% 261 259 99.23% 261 247 94.64%
SLEEPING_2
13 14 15 16 17 18 19 20 21 22 23 24
SLEEPING_2
SLEEPING_2
TOTAL SQFT SQFT VISIBLE % VISIBLE 261 240 91.95% 261 246 94.25% 261 250 95.79% 261 253 96.93% 261 250 95.79% 261 246 94.25% 261 249 95.40% 261 252 96.55% 261 261 100.00% 261 204 78.16% 261 105 40.23% 261 58 22.22% 56.29%
79
80 - Christopher Mascari
PROTOTYPE 4
PROTOTYPE 5
PROTOTYPE 15
PROTOTYPE 16
81
PROTOTYPE 4
82 - Christopher Mascari
PROTOTYPE 5
83
PROTOTYPE 15
84 - Christopher Mascari
PROTOTYPE 16
85
The visual information was extracted from the building in order to understand the relationship of these program elements to their position, exposure, and adjacency. This was done by creating a 100’ diameter circle around the building and determining the level of exposure and area visible from 24 specific vantage points. This information was transferred onto a linear strip. This information contained information about vertical surface and obstructions as well as the relationship between programmed areas. The prototype’s all glass walls created an exposed house which was better suited to the rural than an urban or suburban environment. The prototype was analyzed based upon this visual information and transformed into a house with two opposing views. This allowed for multiple prototypes to be lined up next to one another without compromising views or privacy from their adjacency. Space became layered yet interconnected through rules established to maintain physical connections between spaces. The reconfiguration produced varying heights and positions that created visual obstructions between spaces while maintaining views to the exterior.
86 - Christopher Mascari
1 2 3 4 5 6 7 8 9 10 11 12
214 214 214 214 214 214 214 214 214 214 214 214
40 95 150 195 214 214 214 214 214 214 188 165
18.69% 44.39% 70.09% 91.12% 100.00% 100.00% 100.00% 100.00% 100.00% 100.00% 87.85% 77.10%
13 14 15 16 17 18 19 20 21 22 23 24
214 214 214 214 214 214 214 214 214 214 214 214
134 95 73 29 9 3 0 0 0 0 0 28
62.62% 44.39% 34.11% 13.55% 4.21% 1.40% 0.00% 0.00% 0.00% 0.00% 0.00% 13.08% 48.44%
OFFICE
PROTOTYPE 5
1 2 3 4 5 6 7 8 9 10 11 12
OFFICE
OFFICE
TOTAL SQFT SQFT VISIBLE % VISIBLE 164 164 100.00% 164 164 100.00% 164 164 100.00% 164 150 91.46% 164 120 73.17% 164 82 50.00% 164 45 27.44% 164 21 12.80% 164 0 0.00% 164 0 0.00% 164 0 0.00% 164 0 0.00%
OFFICE
13 14 15 16 17 18 19 20 21 22 23 24
OFFICE
OFFICE
TOTAL SQFT SQFT VISIBLE % VISIBLE 164 0 0.00% 164 0 0.00% 164 0 0.00% 164 21 12.80% 164 110 67.07% 164 147 89.63% 164 150 91.46% 164 163 99.39% 164 164 100.00% 164 164 100.00% 164 164 100.00% 164 164 100.00% 54.80%
1. Circular diagram unfolded to form linear strip allowing for side by side placement and views in two directions.
2. Diagram is scaled to a site of approximately the same square footage as the original prototype.
3. Spaces are rearranged based upon their relative visibility (public/private). Spaces layered from the exterior inward.
4. Rule established that each space must have two connections to each adjacent space.
87
Result of tranformations and consolidations of spaces
88 - Christopher Mascari
5. Vertical surface reintroduced. Vertical walls are placed at the back of each space and vary in transparency based upon the surface area visibile in the original.
6. Obstructed connections from reintroduction of walls are reconnected. Spaces connected at flat spots in the topography.
89
SECTIONAL FLOOR PLANS 90 - Christopher Mascari
91
92 - Christopher Mascari
13’3”
10’0”
7’ 6”
4’ 6”
FLOOR PLANS 93
94 - Christopher Mascari
MULTI PROTOTYPE ASSEMBLIES 95
96 - Christopher Mascari
97
ribbon insolation brenda petroff
Mies van der Rohe designed a series of studies for single-story courtyard houses from 1931 to 1938 with one, two and three courts, the most refined of which was the House with Three Courts of 1934. In Mies’ conception of the courtyard house the court or garden is displaced from the center towards the external walls without sacrificing its central importance as a means of ensuring seclusion and intimacy in the private house for one inhabitant; he thought that the court house in this form would be an ideal solution for urban living.
Mies believed that the essential character of this house is made possible by the relationship between the placement of the courtyards and the large sheets of glass, resulting in nautral lighting conditions that significantly enhance the quality of the space. Almost every space and building element can be perceived simultaneously from anywhere in the house. Although the house was intended to be inserted into any rectangular plot of land and at any orientation, direct sunlight penetrates all of the programmatic areas in a specific order, alluding to an ideal orientation of the house.
100 - Brenda Petroff
101
The house was intended to be duplicated and inserted into an urban grid; theoretically this could happen at any of the four cardinal orientations. Each orientation results in completely different spatial qualities produced by direct sunlight. This analysis begins by diving the house into spaces defined by function, and calculating the number of direct sunlight hours in each space and the times at which these hours occur. The house is sectioned into ten spaces and each one is assigned an “importance factor� for natural light, based on the activities performed in each space and conventional times of use.
The sun study is undertaken on December 21, the day of fewest sunlight hours and the geographical location is set in Berlin, the city in which the house was designed. One complete study is caculated for each of the cardinal orientations. In addition, a vertical section of the house is defined and unfolded along the primary axis of circulation and traverses every programmatic area. For the purposes of this analysis, the average sunlight hours for each space is assumed to occur within this 1 meter strip of space.
102 - Brenda Petroff
103
11h30
10h30
09h30
104 - Brenda Petroff
14h30
13h30
12h30
105
The envelope of the house is transformed by a continuously-folding tectonic ribbon, which bifurcates, inclines, and widens to allow more or less sunlight to penetrate the spaces, through openings in both the vertical and horizontal segments. The single ribbon is the product of four individual transformations, each based on the additional hours of sunlight required.
The initial ribbon moves only in 90 degree folds and maintains its 1 meter width. The least optimal orientation of the house serves as the basis for transformation, with the “desired orientation� as the goal for sunlight hours. Based on the desired lighting conditions, the ribbon undergoes a series of four manipulations controlled by two variables: the ribbon width and the angle (incline) of the ribbon in the y-axis. The product is a continuouslyfolding, structural, tectonic ribbon which grows and turns to generate the form of a house, becoming vertical to define existing programmatic areas and plot boundaries, yet still satisfying the required number of sunlight hours at any orientation. The ribbon, of varying widths and inclinations creates vertical and horizontal spaces, acting as the floors, walls, and ceilings, and sometimes all three.
106 - Brenda Petroff
Stage One
Stage Two
Stage Three
Stage Four
107
108 - Brenda Petroff
109
Stage One
110 - Brenda Petroff
Stage Two
Stage Three
Stage Four
111
112 - Brenda Petroff
Stage Two + Stage Three + Stage Four
113
Stage One
Isometric
Elevation
Plan
114 - Brenda Petroff
Stage Two
115
116 - Brenda Petroff
117
118 - Brenda Petroff
119
120 - Brenda Petroff
3
1
4
2
121
assembling intensity heather d. beck
124 - Heather D. Beck
Intensity Enhanced
The house is separated into three zones of activity based not on the program of the room, but on the spatial qualities of the area.The materiality of the walls, size of the room, and the degree to
Concealed
which it is connected to other areas determines how actively the space will be used,
and
therefore which program is most suitable. By classifying each area of the Hubbe House and
Limited
evaluating the rooms based on properties of enclosure, the intensity reveals not only how much the rooms are used, but also how the house functions as a whole. The thickness of
Exposed
the wall compared to the area of the usable floor space suggests how claustrophobic the space can seem. >
125
126 - Heather D. Beck
127
A closet with 12 inch thick walls would make a person feel much more claustrophobic than a garage with 1 inch walls. The next consideration of enclosure is the materiality of the walls. An opaque wall not only provides a visual barrier between you and the surroundings, but it is also a physical obstruction. The final category determines the amount of visibility in a room based on the transparency of the enclosure. These three properties of claustraphobia, barricading, and visibility, determined whether the area is a high intensity, medium intensity, or low intensity zone. If a piece meets the conditions of all three evaluations, it is classified as a low intensity piece. These are the most claustrophobic, barricaded spaces. If none of the conditions are met the space becomes a high intensity area. These are the largest, most open areas in the house. Finally, if only 1 or 2 conditions are met, the piece is classified as medium intensity. Often the medium intensity areas are transition spaces between the high and the low intensity rooms. Adding the intensities to the reading of the house, shows that there is a clear correlation between the program of the house and the spatial qualities that inform how much activity will occur in the area.
128 - Heather D. Beck
Original Plan
Intensities
Connections
129
Site Conditions Enclosure
Concealed - Thick exterior walls and the placement of the house 15 feet from the property line
Exposed
protects the house from the neighbor’s sight. - Placing the house 100 feet from the Elbe River guards the house from potential flood damage. - Only glass walls separate the gathering areas from the river.
Navigation
Limited
- Driveway leads to center entrance. - Only doors between outside and inside are at the entry and the river facing wall.
Enhanced - Patio opens onto lawn and the river bank. - House is oriented parallel to the Elbe River.
130 - Heather D. Beck
Intensity
131
132 - Heather D. Beck
133
134 - Heather D. Beck
Intensity
Enhanced
This reassembly of the Hubbe House maximizes the connections between gathering
Concealed
areas for Margarette Hubbe’s frequent entertaining, and also to enhance her single status with marriage and childern.
Limited
The enhanced house maintains the openness of the gathering areas yet separates the children’s bedrooms from
Exposed
the late night noise.
135
Use High Intensity Pieces to Maximize Gathering Area
Start with Largest High Intensity Area
Fill the Viewing Wall
Do not Allow High Intensity Area to Penetrate Barrier Wall
Use Medium Intensity Pieces as Connectors Start with Largest Medium Intensity Area and Connect the Entrance to the High Areas
Low Intensity Pieces Must Preserve the View of the High Areas
Windows of the Same Size Can Be Connected
The Barrier Wall Can Not be Penetrated
136 - Heather D. Beck
Pieces Can Not Overlap.
The Barrier Wall Can Not be Penetrated
Must Fill Areas Within Walls
Piece Continues Connecting Entrance and High Areas
Windows Must Face Outwards
If Window Can Not Face Outward Because It Will Penetrate the Barrier Wall, It May Face Another Piece WIth A Separation Between Them
Piece Can Not Penetrate
The Entry W Penetrated t Barrier Con Window
Windows M Outward. Within
Enhanced Final High Intensity Area Acts as Entrance
Rules on Site: 1. Main axis of house parallel to Elbe River 2. Position of house on property is 100 ft from coastline and 15 ft ftom property line 3. Opaque walls barricade house from neighborhood.
Rules on Sight: 1. Viewing wall faces Elbe River and contains high intensity areas Block Window or Barrier Wall
Wall Can be to Preserve nditions and w Rules
Must Face Fill Area n Walls
It is Better for a Medium Area to Act as Extension of Another Medium Area than to be Isolated
2. Barrier Walls, Buffer zone between house and neighbors, contains low intensity pieces. The majority of a room may not fall beyond the barrier wall 3. Entry Wall, transition area between unwanted outdoors, to private indoors, to refreshing “secluded� outdoors
Minimize the Amount of Entry Wall Penetration when Possible
Minimize the Amount of Entry Wall Penetration
Windows Must Face Outwards
Fill Area Within the Walls. Can not Penetrate Barrier Walls.
137
138 - Heather D. Beck
Enhanced
139
140 - Heather D. Beck
Enhanced
141
142 - Heather D. Beck
Intensity
Enhanced
T h i s  a r r a n g e m e n t places Margarette Hubbe
Concealed
into the difficult, taboo situation of being a single, female mother. The house takes on characteristics of overprotection;
Limited
keeping the mother close to her children and overnight guests far away.
Exposed
143
Use High Intensity Pieces Fill Viewing Wall
Start with Largest High Intensity Area
Fill the Viewing Wall
Do not Allow High Intensity Area to Penetrate Barrier Wall
Use Medium Intensity Pieces as a Transition Areas Start with Largest Medium Intensity Area and Connect the Entrance to the High Areas
Low Intensity Pieces Must Be Protected from High Intensity Areas
Pieces Can Not Overlap.
Windows of the Same Size Can Be Connected
The Barrier Wall Can Not be Penetrated
Must Fill Areas Within Walls
Must Fill Areas Within Walls
144 - Heather D. Beck
Piece Can Not Block Window or Penetrate Barrier Wall
Windows Must Face Outwards
Windows Must Face Outward. Fill Area Within Walls
Piece Can Not or Penetrate
The Entry W be Penetr Preserve Condition Window
Windows M Outward. F Within W
Concealed Fill the Viewing Wall
t Block Window e Barrier Wall
Wall Can rated to Barrier ns and Rules
Must Face Fill Area Walls
Rules on Site: 1. Main axis of house parallel to Elbe River 2. Position of house on property is 100 ft from coastline and 15 ft ftom property line 3. Opaque walls barricade house from neighborhood.
Rules on Sight: It is Better for a Medium Area to Act as Extension of Another Medium Area than to be Isolated
1. Viewing wall faces Elbe River and contains high intensity areas 2. Barrier Walls, Buffer zone between house and neighbors, contains low intensity pieces. The majority of a room may not fall beyond the barrier wall 3. Entry Wall, transition area between unwanted outdoors, to private indoors, to refreshing “secluded� outdoors
Minimize the Amount of Entry Wall Penetration when Possible
Fill the Area Within The Walls
Windows Must Face Outwards
Fill Area Within the Walls.
The Entry Wall Can be Penetrated to Preserve Barrier Conditions and Window Rules
Fill the Area Within The Walls Especially Between Areas
Fill the Area Within The Walls Especially Between Areas
145
146 - Heather D. Beck
Concealed
147
148 - Heather D. Beck
Concealed
Intensity based on the original Hubbe House
Intensitiy of the Concealed House (Calculated Using Same Chart System)
149
150 - Heather D. Beck
Intensity
Enhanced
Unlike the enhanced house, social activities are infrequent occurances in the limited
Concealed
arrangement.
The
house
is
more
enclosed, and the bedrooms are all
Limited
within close proximity to one another. Imaging Margarette Hubbe with children and no social life alters the original open
Exposed
plan to one with more separated areas.
151
Use High Intensity Pieces with Walls that Are Closer to the Interior
Start with Largest High Intensity Area
In Entrance to Keep Wall Closer to Interior
Fill the Viewing Wall
Use Medium Intensity Pieces as a Transition Areas
Start with Largest Medium Intensity Area and Connect the Entrance to the High Areas
Low Intensity Pieces Must Be Protected from High Intensity Areas
152 - Heather D. Beck
Pieces Can Not Overlap.
Windows of the Same Size Can Be Connected
The Barrier Wall Can Not be Penetrated
Must Fill Areas Within Walls
Windows Must Face Outward. Fill Area Within Walls
Pieces Can Not Block Window or Penetrate Barrier Wall
Pieces Can N Penetr
Windows Must Face Outwards
The Entr Penetrat Barrier C Wind
Minimize the Amount of Entry Wall Penetration when Possible
Window Outwa Wit
Not Block Window or rate Barrier Wall
ry Wall Can be ted to Preserve Conditions and dow Rules
ws Must Face ard. Fill Area thin Walls
Limited
Fill the Viewing Wall
It is Better for a Medium Area to Act as Extension of Another Medium Area than to be Isolated
Windows Must Face Outward. Fill Area Within Walls
Fill the Area Within The Walls
Rules on Site: 1. Main axis of house parallel to Elbe River 2. Position of house on property is 100 ft from coastline and 15 ft ftom property line 3. Opaque walls barricade house from neighborhood. Rules on Sight: 1. Viewing wall faces Elbe River and contains high intensity areas 2. Barrier Walls, Buffer zone between house and neighbors, contains low intensity pieces. The majority of a room may not fall beyond the barrier wall 3. Entry Wall, transition area between unwanted outdoors, to private indoors, to refreshing “secluded� outdoors
Windows Must Face Outwards
Fill Area Within the Walls.
Windows Must Face Outward. Fill Area Within Walls
Fill the Area Within The Walls Especially Between Areas
Fill the Area Within The Walls Especially Between Areas
153
154 - Heather D. Beck
Limited
155
156 - Heather D. Beck
Limited
Intensity based on the original Hubbe House
Intensitiy of the Limited House (Calculated Using Same Chart System)
157
158 - Heather D. Beck
Intensity
Enhanced
Margarette
Hubbe
becomes the life of the party and maintains her single status in the
Concealed
exposed house. The areas increase connectivity so much that the entire house becomes open to visitors.
Limited
EXPOSED
159
Use High Intensity Pieces to Maximize and Centralize the Gathering Area
Start with Largest High Intensity Area in Middle to Centralize
Fill Viewing Wall With Larger Areas
Fill the Viewing Wall
Use Medium Intensity Pieces as Connectors
Start with Largest Medium Intensity Area
Low Intensity Preserve High Intensity View
If Window Can Not Face Outward Because It Will Penetrate the Barrier Wall, It May Face Another Piece WIth A Separation Between Them
Must Fill Areas Within Walls
160 - Heather D. Beck
Pieces Can Not Overlap.
The Entry Wall Can be Penetrated to Preserve Barrier Conditions
Fill Area Within Walls. Allow Room For Window Pieces.
Connect Entrance with High Intensity Areas. Pieces Can Not Block Window.
Windows Must Face Outwards
The Entry Wall Can be Penetrated to Preserve Barrier and Window
Pieces Can N Bar
Minimize th Entry Wall when P
Windows Outward Withi
Exposed
Can Not Penetrate Barrier Walls. Use High Intensity Area for Entrance
Not Block Penetrate rrier Wall
he Amount of l Penetration Possible
s Must Face d. Fill Area in Walls
Rules on Site: 1. Main axis of house parallel to Elbe River 2. Position of house on property is 100 ft from coastline and 15 ft ftom property line 3. Opaque walls barricade house from neighborhood.
Rules on Sight: 1. Viewing wall faces Elbe River and contains high intensity areas It is Better for a Medium Area to Act as Connector than the Be an Extension of Another Medium Area
2. Barrier Walls, Buffer zone between house and neighbors, contains low intensity pieces. The majority of a room may not fall beyond the barrier wall 3. Entry Wall, transition area between unwanted outdoors, to private indoors, to refreshing “secluded� outdoors
Fill the Area Within The Walls Especially Between Areas
Minimize the Amount of Entry Wall Penetration when Possible
Windows Must Face Outwards
Fill Area Within the Walls.
Fill the Area Within The Walls Especially Between Areas
Fill the Area Within The Walls Especially Between Areas
Fill the Area Within The Walls Especially Between Areas
161
162 - Heather D. Beck
Exposed
163
164 - Heather D. Beck
Exposed
Intensity based on the original Hubbe House
Intensitiy of the Exposed House (Calculated Using Same Chart System)
165
fieldandrew re-search smith
168 - Andrew Smith
Re-Read Re-Shape Re-Build
Is this an unfinished building or a diagram? Seen alternately as an expressionist formal explosion or a Nietzschean thesis on solitary living, the Brick Villa Country Villa offers few clues to any intended use, site or client. And yet, there seems to be more in the few existing drawings than meets the eye. We have all seen the plan, but now it is time to READ the field.
169
170 - Andrew Smith
RE-READ
One of Mies’ most enigmatic-yet-compelling ideas, the Brick
Country Villa project from 1924 seems to call for a radical new form of living. Programmatically indeterminate and non-site specific, the building seems to flow into an abstract paper landscape; geometry brackets a field of possible phenomenal interactions who’s potential was never realized. Taking this “field” condition as a starting point, the goal of this project, through the utilization of diagrammatic methods and manipulation, is to take the Villa’s internal logic and explode it to the greatest possible extent; to diffuse the structure and the site into a “condition for the possibility of…”
171
B
30.1 Foyer
A D1
85.5 Entry
C
286.3 Anteroom
52.2 Stairs
D2
62.5 Hub_1
E1
453.7 Living
28 Ea
F1
119.2 Working
G1
199.7 Library Entry/Exit Interior/Interior Thresholds Living Area Indisde/Outside Thresholds Vertical Circulation Service Area
172 - Andrew Smith
E
F2
438.4 Reading
RE-READ
G2’
14.7 Hub_2
I2’’
50.9 Sleeping
H2’’ 10.1 Hub_3
F2’
E2
I2’’’
339.8 Cooking
84.6 ating
34.6 Seeing
H2’
84.3 Storage All areas shown in sq. ft.
I2’
21.6 Back Entry
BRICK VILLA | POTSDAM | 1924 | BASIC SPATIAL DIVISIONS 173
Scale: 1/16” = 1’
Location & Areas of Thresholds
Ext
Location & Areas of Thresholds 4.7
4.5
5.8 5.6
5.6 15.9
RE-READ 24.8
4.5
an
7.3
10.5
3.1
4.5 3.6
22.8
6.2
32.3
3.7
3.2
3.9
2.2 3.6
13.1
14.9
3.6 4.8
18
31.9
4.2
2.5
7.9
13.1 6.5
9
14.4
Interior/Interior Thresholds Indisde/Outside Thresholds
16.2
16” = 1’
Exterior vs. Interior
esholds
35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
5.8 5.6
24.8
7.3
10.5
4.5 3.6
22.8
6.2
3.7
3.2
3.9
2.2 3.6
13.1 18
14.9
4.2
Average 12.6 sq. ft.
3.6 4.8
2.5
7.9
16
16.2
15
14
13
12
11
10
9
8
7
6
5
4
3
2
1
Average 7.2 sq. ft
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
Interior/Interior Thresholds Interior/Exterior Thresholds
B A D1
I2’’ C
G2’ D2 E2
174 - Andrew Smith
H2’’
G2’ I2’’
B
A
C
D2
E2
C E1 G2’
F2’
H2’
B D2 E2
I2’’ H2’’
I2’ I2’’’
G2’ I2’’ B C F2’ H2’’F2’ A E2 D2 I2’’’ D1
E2 A
D1 G2’
I2’’
C E1
D2
F2
E2
3.1
10.1
F2’
62.5
6.2
32.3
339.8
I2’’’
284.6
453.7
34.6
H2’
13.1
84.3
I2’
F1
F2
438.4
199.7
6.5
14.4
Interior/Interior Thresholds Indisde/Outside Thresholds
Geneaology of Circulation Diagrams Scale: 1/16” = 1’
Genealology of Circulation Diagrams
A
Exterior vs. Interior
Location & Areas of Thresholds
B
4.7
4.5
13.1
9
All areas shown in sq. ft. Entry/Exit Interior/Interior Thresholds Living Area Indisde/Outside Thresholds Vertical Circulation Service Area
G1
31.9
RE-READ
21.6
119.2
5.8
5.6
5.6 15.9
C D1
4.5
H2’’
3.1
10.1
10.5 22.8
6.2
32.3
24.8
D2
3.2
3.9
4.5 3.7
D1
’’’
2.2
3.6
13.1
I2’
18
E1
31.9
21.6
13.1
4.2
4.8 2.5
7.9
E2
C
I2’’
D2
E2
E1
G2’
F2’
F1
14.4
Interior/Interior Thresholds Indisde/Outside Thresholds
F1
F2’
F2
16.2
G1
14
15
I2’’’ I2’
13
H2’
F2
12
11
10
9
8
7
5
6
4
3
2
D
1
1
2
3
G1
Interior/Interior Thresholds
G1
F1
C
Interior/Exterior Thresholds
G2’ H2’’
H2’
I2’’
I2’ I2’’’
1
16
E1
H2’’
6.5
9
A D1
Average 12.6 sq. ft.
3.6
14.9
35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1
B
B
7.3
A
3.6
6
Initial circulation diagram. Only relationships preserved
2
3
Circulation route averaged, enter, exit at corners
Threshold areas r oriented as in orig
Alternate Iterations B B A B D1 A
I2’’ G2’
F2’
H2’
D1 E1
H2’’
C
E1
D1
C
N
D2 E2
D2
G1
E2
F2
G1
F2
I2’
G2’H2’’ I2’’ I2’’’ F2’ H2’ H2’’ I2’’ I2’’’ H2’ I2’ F2’ G2’
A
C
E2
A
H2’ N
E1
F2’
F1
D1 H2’
G1
I2’’
G2’
I2’’’ H2’’
B
A
D1
D2
C
A
H2’’
F2’ G2’
B
I2’D2 I2’’’
C
A D1
E2
I2’
E1 G1
F2
F1
F2
F2
E2
D2
H2’
D1
I2’’
H I2
D
N
F2’
F1 H2’ I2’’
G2’ I2’’’
E1
F2
E1
H2’’
G1 I2’
G1
North from E1
North from D1
G1
4
5
Threshold areas represented as distances, each room oriented as in original plan.
North alternates, and the rest of the rooms must be rotated. Threshold area maintained.
Same as 4 howe nal room shapes rior and exterior.
F2’ G2’
B
N
F2’
E2 C
G2’ I2’’
3
A C
B
North from D2
B
N
C
D2
North from C
B D1
B
A
E1
F1
F1
I2’’’ I2’
nter, exit at corners
1
H2’’
50.9
D2 E1
D2
E2
H2’
I2’ H2’’ I2’’’
D1
A
F2’ F1
G1
E2
G1
175 F1
D1 E1
F2 D2
N
F2
A
C
N
D2
B
D
Beginning with a series of rule-based, diagrammatic
analyses of the circulation and interior/exterior threshold conditions, a number of potential “topologies” were created and evaluated by the amount of spatio-circulatory connections they engender. The most interconnected topology was selected and the original programmatic spaces were re-inserted into the topological “skeleton”. At this point, the diagram was given an “unofficial” spatialization based on an extension and expansion of the thresholds and was subsequently physically modeled at ¼”=1’ scale. In a similar manner, the diagram was used to create the site condition as well. Since there was essentially no original site for the project, the 3 radiating walls in the original structure were taken to extend to the property lines and that the property was rectangular. This bordering allowed for the creation of the radiating “threshold extensions”; they become “chunks of site” extending from the thresholds to the property borders. As the building is manipulated, these extensions remain “linked” to their origin thresholds but become reconfigured, often colliding and intersecting with each other and the “building” itself.
176 - Andrew Smith
F2 Original Area: 438.4 sq. ft Original Function: Reading Modified Area: 12555.5 sq. ft Modified Function: Living
H2’ Original Area: 84.3 sq. ft Original Function: Storage Modified Area: o_B 156.8 sq. ft. Modified Function: Sleeping
G1 Original Area: 199.7 sq. ft Original Function: Library Modified Area: 435.3 sq. ft. Modified Function: Circulation
I2’ Original Area: 21.6 sq. ft Original Function: Back Entry Modified Area: 44.6 sq. ft. ModifiedB Function: Back Entry
Reorganizationo_E2
85.5
52
F1
F1
D1
A
E2
453.7
F2’
F2H2’
o_F2’
G2’
438.1
I2’’’
I2’’
I2’’’
f2’’
H2’’
o_I2’’
E1
453.7
o_C
G1 199.3 I2’’’ Original Area: 34.6 sq. ft Original Function: Sleeping Modified Area: 58.1 sq. ft. Modified Function: Storage
284.6
I2’’ Original Area: 50.9 sq. ft Original Function: NSleeping Modified Area: 104 sq. ft. Modified Function: Viewing
ta 15.8’
D1E1 3.4’
G1F1 8.8’
tF1 13.1’
E1
D1C 30.25’
2.6’
62.5
E2
F2
Service Area
D2
o_*f2’
Interior/Exterior E1 Thresholds Vertical Circulation
F1 119.3 D2 D1 52 Original Area: 62.5 sq. ft tE1 Original Function: Hub_1G1F1* 30’ 20.6’ Modified Area: 217.4 sq. ft. Modified Function: Vertical Circ. tD1
H2’’ Original Area: 10.1 sq. ft Original Function: Connecting Modified Area: 46.6 sq. ft. Modified Function:o_f2’ Vertical Circ.
C
D2
G1
Programmatic Topology
286.3
Entry/Exit G1 199.3Thresholds Interior/Interior Living Area
E1 Original Area: 453.7 sq. ft Original Function: Living Modified Area: 1129 sq. ft. Modified Function: Main Living Area
C
119.3
F1 Original Area: 119.2 sq. ft Original Function: Working Modified Area: 320.6 sq. ft. Modified Function: Vertical Circ. B
RE-READ
30
A
o_a
D1
D1 Original Area: 52.2 sq. ft Original Function: Stairs Modified Area: 259 sq. ft. Modified Function: Viewing
F2’
339.8
H2’
G1F2 14.6’
F2
438.1
G2’
84.4
14.8
I2’’
tF2 16.3’
I2’
21.7
50.9
H2’’
I2’’’
10.1
34.6 o_D1 o_I2’
g
BRICK VILLA | POTSDAM | 1924 | A. SMITH | Circulation From E2
ort
o_H2’’
o_F2 o_I2’
Programmatic Topology
D1
F1
119.3
F1
119.3
52
D1C 30.25’
30 AB 4.6’
G1F1* 20.6’ tD1 2.6’
on V.2:o_CDeflect
tF1 13.1’
G1F1 8.8’
BC 5.7’
B
30
A
85.5
C
A
85.5
D1
286.3
C
286.3
52 tE1 30’
tB 5.6’
B
tA 4.5’
tC 4.8’
ta 15.8’
D1E1 3.4’
D2
G1
199.3 E1
453.7
G1
62.5
CD2 13.25’
E1D2 8.8’
199.3
tE2 22.75’
E1
453.7
D2
ExtensionE2V.2 with Topgraphy 284.6
D2E2 3.8’
tF2’ 16.8’
62.5
E2
G1F2 14.6’
F2E2 F2 13’
F2
284.6
E2F2’ 2.5‘’
H2’
G2’
F2’ 84.4 339.8
tf2’ 15.8’
tF2 16.3’ tf2 16.2’
I2’’’
H2’I2‘’‘ 8.8’
34.6
H2’G2‘ 2.25’ H2”I2” 2.2’
I2’
50.9 tI2’ 4.75’
I2’
21.7 3.25’
84.4 tH2’ 7.8’
14.8
I2’’ F2’G2‘
H2’
tI2’‘’ 3.6’
Living/Relaxing
F2’
339.8
438.1
438.1
Entry/Exit
tf2’* 14.25’
N
tH2” 3.8’
G2’ 14.8
I2’’’
G2’H2‘’ 3.6’
34.6
I2’’
H2‘’I2‘’ 4.4’ 21.7
50.9
H2’’ 10.1 tI2”
7.25’
H2’’ 10.1
Stairs Service/Support
BRICK VILLA | POTSDAM | 1924 | A. SMITH
177
178 - Andrew Smith
Re-Read
Re-Shape Re-Build
Stripped
of
all
original
formal qualities and reduced to a circulatory skeleton, we must perform the task of the forensic analyst; to take the diagramatic genes and what we know about the original Brick Villa and create a new, speculative proposal. Since it is the most striking features of the original design, we will begin with the creation of a new SHAPE.
179
Original Spatial Scheme o_E2
o_a
B o_A
D1
o_D1
A E1
o_E1
F1
o_F1
C
o_*
D2
F2
G1
Scale: 1/32” = 1’ o_f2
180 - Andrew Smith
E2
RE-SHAPE
Spatia o_f2’
o_I2’’ o_E1
o_B o_C
G2’
*f2’
F2’ H2’
I2’’ H2’’ I2’’’ I2’
o_H2’’ o_I2’‘’ o_I2’ o_F2
o_f
o_ o_F2’ o_H2’
Expanded Site Analysis
181
The dotted perimeter line, created by joining the threshold “rays”, specifies the absolute boundary of the site as well as a base ground level.
o_a 207
o_E2 1278
o_F1 2121.4
B F1
119.3
30
A
D1
o_*f2’
85.5
52
5944.3
D2 G1
199.3
E1
62.5
453.7
E2
284.6
F2’
F2
339.8
438.1
o_f2 793.8
G
o_F2’
14
H2’
1019.2
84.4
I2’
f2’’
50.9
507.9
I2’’’
H2’
10.1
34.6
A
o_A
1444.7
Scale: 1/16” = 1’
o_f1 934.6
Spatialized proto-plan
o_D1 o_I2’
373.2
300.9
o_H2’’ 305.9
o_I2’‘’ 399.3
182 - Andrew Smith
G2’
4.8
RE-SHAPE
Level 1 o_f2’ 5944.3
A Original Area: 85.5 sq. ft. Original Function: Entry Modified Area: 279.3 sq. ft. Modified Function: Entry
F2 O O M M
E2 Original Area: 284.6 sq. ft Original Function: Eating Modified Area: 894.5 sq. ft. Modified Function: Dining
G O O M M
F2 Original Area: 438.4 sq. ft Original Function: Reading Modified Area: 12555.5 sq. ft Modified Function: Living
H2 O O M M
G1 Original Area: 199.7 sq. ft Original Function: Library Modified Area: 435.3 sq. ft. Modified Function: Circulation
I2 Or Or M M
F1 Original Area: 119.2 sq. ft Original Function: Working Modified Area: 320.6 sq. ft. Modified Function: Vertical Circ.
H O O M M
o_C 712
I2’’
21.7
o_I2’’
’’
1
1019.1
All areas in square feet
Entry/Exit Interior/Interior Thresholds Living Area
I2 O O M M
Interior/Exterior Thresholds Vertical Circulation Service Area
o_F2 1200.7
o_B
183
Rooms Reorganized
Rooms Displaced C
D1 E1
I2’’’
Where spatial blocks intersect, they become displaced; the smaller blocks are placed uppon the larger ones, and the entry/exit points remain on the same. The resultant spaces form a second level of the project, one that was hinted at in the original plan, but never completely developed. The chart and accompanying diagrams on the opposite page details the spatial and programmatic changes that took place when the rooms were reorganized and the thresholds extended. The program descriptions remain speculative, and may possibly guide further research.
184 - Andrew Smith
RE-ORDER RE-READ Spatial Re-analysis
RE-SHAPE RE-ORDER RE-READ
Spatial Re-analysis
Level 1
712
o_C 712
F2’ Original Area: 339.8 sq. ft Original Function: Cooking Modified Area: 783.3 sq. ft. Modified Function: Cooking/Eating
Level Original2 Area: 30.1 sq. ft.
A Original Area: 85.5 sq. ft. Original Function: Entry Modified Area: 279.3 sq. ft. Modified Function: Entry
F2’ Original Area: 339.8 sq. ft Original Function: Cooking Modified Area: 783.3 sq. ft. Modified Function: Cooking/Eating G2’
B Original Area: 30.1 sq. ft. Original Function: Foyer Modified Area: 119 sq. ft. Modified C Function: Vertical Circ.
E2 Original Area: 284.6 sq. ft Original Function: Eating Modified Area: 894.5 sq. ft. Modified Function: Dining
E2 Original Area: 284.6 sq. ft Original Function: Eating Modified Area: 894.5 sq. ft. Modified Function: Dining
Original Area: 14.7 sq. ft Original Function: Hub_2 Modified Area: 48.1 sq. ft. Modified Function: Circulation G2’ Original Area: 14.7 sq. ft Original Function: Hub_2 Modified Area: 48.1 sq. ft. Modified Function: Circulation
Original Area: 286.3 sq. ft. Original Function: Reception Modified Area: 600.5 sq. ft. Modified Function: Living
C Original Area: 286.3 sq. ft. Original Function: Reception Modified Area: 600.5 sq. ft. Modified Function: Living
H2’ Original Area: 84.3 sq. ft Original Function: Storage Modified Area: 156.8 sq. ft. Modified Function: Sleeping H2’
D1 Original Area: 52.2 sq. ft Original Function: Stairs Modified Area: 259 sq. ft. D1 Modified Function: Viewing
G1 Original Area: 199.7 sq. ft Original Function: Library Modified G1Area: 435.3 sq. ft. Original Area:Circulation 199.7 sq. ft Modified Function:
I2’ Original Area: 21.6 sq. ft Original Function: Back Entry Modified Area: 44.6 sq. ft. I2’ Original Function: Area: 21.6 Back sq. ft Entry Modified
E1 Original Area: 453.7 sq. ft Original Function: Living E1 Modified Area: 1129 sq. ft. Original Area: 453.7 sq. ftMain Living Area Modified Function:
Original Function: Library Modified Area: 435.3 sq. ft. Modified Function: Circulation
F1 Original Area: 119.2 sq. ft OriginalF1Function: Working Original sq. ft Modified Area:Area: 320.6119.2 sq. ft. Original Function: Working Modified Function: Vertical Circ.
Modified Area: 320.6 sq. ft. Modified Function: Vertical Circ.
Entry/Exit Interior/Interior Entry/ExitThresholds Living Area Interior/Interior Thresholds Living AreaThresholds Interior/Exterior VerticalInterior/Exterior Circulation Thresholds Service Vertical Area Circulation Service Area
Original Area: 84.3 sq. ft Original Function: Storage Modified Area: 156.8 sq. ft. Modified Function: Sleeping
Original Function: Back Entry Modified Area: 44.6 sq. ft. Modified Function: Back Entry
H2’’ Original Area: 10.1 sq. ft Original Function: Connecting H2’’ Original Area: Area: 10.1 Modified 46.6sq. sq.ft ft. Original Function: Function: Connecting Modified Vertical Circ. Modified Area: 46.6 sq. ft. Modified Function: Vertical Circ.
I2’’ Original Area: 50.9 sq. ft I2’’ OriginalFunction: Area: 50.9Sleeping sq. ft Original Original Area: Function: Modified 104Sleeping sq. ft. ModifiedFunction: Area: 104 Viewing sq. ft. Modified Modified Function: Viewing
o_B
Original Function: Foyer Modified Area: 119 sq. ft. Modified Function: Vertical Circ.
F2 Original Area: 438.4 sq. ft Original Function: Reading Modified Area: 12555.5 sq. ft Modified F2Function: Living
Original Area: 438.4 sq. ft Original Function: Reading Modified Area: 12555.5 sq. ft Modified Function: Living
o_B
B
Level 1
A Original Area: 85.5 sq. ft. Original Function: Entry Modified Area: 279.3 sq. ft. Modified Function: Entry
o_C
Level 2
Original Area: 52.2 sq. ft Original Function: Stairs Modified Area: 259 sq. ft. Modified Function: Viewing
Original Function: Living Modified Area: 1129 sq. ft. Modified Function: Main Living Area
D2 Original Area: 62.5 sq. ft
D2 Original Function: Hub_1 Original Area: Area: 62.5 sq. ft Modified 217.4 sq. ft. Original Function: Hub_1 Vertical Circ. Modified Function: Modified Area: 217.4 sq. ft. Modified Function: Vertical Circ.
I2’’’
I2’’’ Original Area: 34.6 sq. ft Original Area:Function: 34.6 sq. ft Sleeping Original Original Function: Sleeping Modified Area: 58.1 sq. ft. Modified Area:Function: 58.1 sq. ft.Storage Modified Modified Function: Storage
185
D2
62.5
E1
G1
G1
453.7
199.3
199.3
712
62.5
E1 E2
453.7
F2 o_f2 793.8
o_F2’
o_F2’
1019.2
14.8
I2’
I2’’’
50.9
507.9
G2’
I2’’
21.7
14.8
H2’ 84.4
H2’’
I2’
10.1
I2’’’
50.9
34.6
I2’’
21.7
o_I2’’
H2’’
o_I2’’
1019.1
10.1
1444.7
Scale: 1/16” = 1’
o_D1
373.2
o_f1o_I2’
934.6
G1 Original Area: 199.7 sq. ft Original Function: Library Modified Area: 435.3 sq. ft. Modified Function: Circulation
I2’ G1 Original Area: Original Area: 199.7 sq. 21.6 ft sq Original Function: Original Function: Library Ba Modified Area: Modified Area: 435.3 sq. 44.6 ft. s Modified Function: Ba Modified Function: Circulation
F1 Original Area: 119.2 sq. ft Original Function: Working Modified Area: 320.6 sq. ft. Modified Function: Vertical Circ.
H2’’ F1 Original Area: sq Original Area: 119.2 sq. 10.1 ft Original Function: Original Function: Working Co Modified Area: Modified Area: 320.6 sq. 46.6 ft. s Modified Function: Ve Modified Function: Vertical Circ
Entry/Exit Interior/Interior Thresholds Living Area
Entry/Exit Interior/Interior Thresholds Living Area I2’’ Interior/Exterior Thresholds Original Area: 50.9 sq Original Function: Sle Vertical Circulation Modified Area: 104 sq Service Area Modified Function: Vi
Scale: 1/16” = 1’
o_D1
o_f1
H2’ F2 Original Area: 84.3 sq Original Area: 438.4 sq. ft Original Function: Sto Original Function: Reading Modified Area: 156.8 Modified Area: 12555.5 sq. ft Modified Function: Sl Modified Function: Living
All areas in square feet
o_A
1444.7
F2 Original Area: 438.4 sq. ft Original Function: Reading Modified Area: 12555.5 sq. ft Modified Function: Living
1019.1
34.6
All areas in square feet
o_A
G2’ E2 Original Area: sq Original Area: 284.6 sq. 14.7 ft Original Function: Original Function: Eating Hu Modified Area: Modified Area: 894.5 sq. 48.1 ft. s Modified Function: Modified Function: Dining Ci
339.8
G2’
84.4
f2’’
E2 Original Area: 284.6 sq. ft Original Function: Eating Modified Area: 894.5 sq. ft. Modified Function: Dining
F2’
339.8
H2’
1019.2
507.9
F2’
438.1
793.8
f2’’
284.6
F2
438.1
o_f2
712
E2
284.6
373.2
o_I2’
934.6300.9
Rather than a simple ground plane, the site is seen as as a sloped per300.9
spectival condition; as in nearly every one of Mies’ early buildings, the o_H2’’ 305.9
o_H2’’
o_I2’‘’
305.9
o_F2
o_F2
1200.7
o_I2’‘’
Interior/Exterior Thresholds Vertical Circulation Service Area
1200.7
gound begins with an original horizontal symmetry which is then selec399.3
399.3
o_B
o_B
tively manipulated. Original Spatial Scheme Original Spatial Scheme o_E2
o_a
o_f2’
o_I2’’
Spatial Reorganization Spatial Reorganization o_E2
o_E2
o_a
o_f2’
o_a
o_I2’’ o_E1
B
Programmatic Topology Programmatic Topol 30
tA 4.5’
o_E2
o_a
o_E1
119.3
AB 4.6’
A
D1C 30.25’
F1
85.5
F1
119.3
D1 52
tE1 30’
B o_A
o_A
o_D1
D1
B
A
C
o_D1
o_E1
o_E1
o_F1
o_F1
F1
G2’
o_*f2’
D2
E1
E2
F2’ H2’
I2’’ D1 H2’’ I2’’’ I2’
F2
G1
A E1 F1
o_B o_C
C
G2’
o_*f2’
D2
E2
F2’ H2’
G1
F1
o_H2’’ o_I2’‘’ o_I2’ o_F2
o_I2’ o_F2
o_f2
F1
E2
B
D1
A
o_f2’
H2’
Ground I2’’’
o_f2
I2’’’ f2’’
G2’
E1
tF1 13.1’
E1 o_C
I2’’’ I2’’’ o_I2’’
G1 20
G1F1 8.8’
tF1 13.1’ E1D2 8.8’
G1
199.3
G1F2 14.6’
G2’
D
62
F2E2 13’
F2
I2’’
438.1
H2’’
o_I2’’
tF2 16.3’ tf2 16.2’
o_A
o_D1 o_I2’
453.7
199.3
F2’ H2’
H2’’
tE1 ta 15.8’ 30’
D1E1 3.4’
G1F1 8.8’
G1
E2
F2 o_F2’ I2’’
G1F1* 20.6’ tD1 2.6’
o_f2’
o_*f2’
C
D2
G1 F2’
F2
Scale: 1/32” = 1’ o_F2’ o_H2’
E1
o_F2’
o_f2
o_F1
o_*f2’
C
D2
G1
H2’’ o_H2’’ I2’’’ o_I2’‘’
f2’’
o_f2
A
o_C
o_A
Scale: 1/32” = 1’
B
D1
o_B o_C
I2’’
I2’
F2
Figure
o_D1
o_F1
o_I2’
o_F2’ o_H2’
o_H2’’
o_F2 o_I2’
o_H2’’
o_F2 o_I2’
Extension V. 1: Displace Extension V. 1: Displace
Extension V.2: Deflect Extension V.2: Deflect
Extension V.2 with Topgraphy Extension V.2 with To
When the threshold extensions When the threshold extensions meet, the threshold with largest area meet, the threshold with largest area is displaced beneath the smaller is displaced beneath the smaller one, creating a one, creating a tunneling condition. Any threshold tunneling condition. Any threshold extension that intersects with the extension that intersects with the proto-building is displaced below it. proto-building is displaced below it.
When the threshold extensions When the threshold extensions meet, the one with the smaller widthmeet, the one with the smaller width is deflected by the wider one is deflected by the wider one (hatched). When multiple thresholds(hatched). When multiple thresholds collide, they wrap around eachothercollide, they wrap around eachother from largest to smallest, maintainingfrom largest to smallest, maintaining their endpoint. If the threshold inter-their endpoint. If the threshold intersects with the form of the protosects with the form of the protobuilding, it is deflected as well. building, it is deflected as well.
The ground condition (green) is The ground condition (green) is triangulated based on the geometrytriangulated based on the geometry arising from the manipulated exten-arising from the manipulated extensions and the proto-building, ulti- sions and the proto-building, ultimately bounded by the site enve- mately bounded by the site envelope. lope.
These ground schemes are among several options explored. The image on the opposite page represents the most acomplished of the investigations.
Ground Variations
186 - Andrew Smith
F2
438.1
F2’
339.8
tf2’ 15.8’
tF2 16.3’ tf2 16.2’
H2’
F2’G2‘ 3.25’
84.4
RE-SHAPE tH2’ 7.8’
I2’’’
H2’I2‘’‘ 8.8’
34.6
tI2’‘’ 3.6’
H2’G2‘ 2.25’ H2”I2” 2.2’
I2’
50.9 tI2’ 4.75’
tH2” 3.8’
G2’ 14.8
G2’H2‘’ 3.6’
I2’’
H2‘’I2‘’ 4.4’ 21.7
tI2” 7.25’
H2’’ 10.1
Extension V.2 with Topography
Extension V.2 with Topgraphy
The ground condition (green) is triangulated based on the geometry arising from the manipulated extensions and the proto-building, ultimately bounded by the site envelope.
187
Location of Walls
Reintroduction and deformation of original walls
188 - Andrew Smith
Walls Replaced
RE-SHAPE
Walls Deformed
189
Level 1
190 - Andrew Smith
RE-SHAPE Original and Clone Walls with Slab Every attempt was made to bound each threshold with a deformed original wall. However, the deformation left certain thresholds exposed, which necessitated the “cloning� or certain portions of the original walls to maintain threshold/wall continuity. The original walls are represented here as solids and the cloned walls are voids.
Level 2
191
Level 1
192 - Andrew Smith
RE-SHAPE Master plan
Level 2
193
194 - Andrew Smith
RE-SHAPE E-W sections
sections cut at 20’ intervals scale: 1/32” = 1’
W
N
S
E
195
196 - Andrew Smith
RE-SHAPE N-S sections
sections cut at 20’ intervals scale: 1/32” = 1’
W
N
S
E
197
198 - Andrew Smith
Re-Read Re-Shape
Re-Build
It is time to move beyond the plan and section, to engage the project in its full multi-dimensional complexity. Taking a cue from the only existing perspective drawing of the Villa, the project now takes on site and formal qualities of it’s own; the location for the “condition for the possibility of...” Thickness, dimensionality, light and ground; it is time BUILD.
199
200 - Andrew Smith
RE-BUILD
201
Elevation 1
Elevation 2
Elevation 3
Elevation 4
202 - Andrew Smith
RE-BUILD
203
204 - Andrew Smith
RE-BUILD Interior Renderings
205
206 - Andrew Smith
Re-Build Interior Renderings
207
path | node | field victor tzen
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210 - Victor Tzen
Mies’ court-house projects began as exercises for his students at the Bauhaus. His students were given this design problem with the parameters of an economical house with individual gardens/courts on a small plot of land defined by perimeter walls. He brought this idea of the court-house to the Illinois Institute of Technology after he started teaching there in the 40’s. He began to explore this idea personally in several iterations culminating in The Court-House with Garage. This plan is highly uncharacteristic of Mies as he introduces dual axis negotiated by curves which are dictated by the movement of the automobile. This highly unusual and sophisticated design by Mies may indicate an interesting shift in ideology from his earlier practice. The shift within the plan itself is indicated through the negotiation of the double axis. The second axis, first being Mies’ Cartesian grid, is introduced into the house through the path of the automobile which cuts directly into the heart of the design. The path acts like a spine, bending and twisting the plan against the “natural” state of the first axis. The dialogue between the two axes, augmented through the movement of the car, can be mapped into a larger extended plane within which exploration into the morphology of the house form, through the manipulation of the path, can be explored.
211
STORAGE
PLAY
BATH
Z Z
SLEEP
212 - Victor Tzen
EAT
WORK
Path|Node Unfold
The court house was an exercise which Mies used as a design problem for this students at the Bauhaus. The simply problem of how one deals with
Field
this unique typology is something he used throughout his career. The Court House with a Garage is one of the final
Articulation
iterations of this typology by Mies and is believe to be designed as a house for himself. The design is reflective of Mies’
Expansion
conception of a modern way of living or lifestyle for a single bachelor.
213
FT
AUTOMOBILE TURNING PATH
Turning radius for automobiles: (1) The distance the inner wheel has to travel is the circumference on the inner circlei.e = 2 x Pi x R meters.
se projects began as exercises for his students at the Bauhaus. His 1 iven this design problem with the parameters of an economical idual gardens/courts on a small plot of land defined by perimeter ht this idea of the court-house to the Illinois Institute of Technology teaching there in the 40’s. He began to explore this idea personally ons culminating in The Court-House with Garage. This plan is highly of Mies as he introduces dual axis negotiated by curves which are movement of the automobile. This highly unusual and sophisticated may indicate an interesting shift in ideology from his earlier practice.
2
he plan itself is indicated through the negotiation of the double axis. s, first being Mies' Cartesian grid, is introduced into the house h of the automobile which cuts directly into the heart of the design. ke a spine, bending and twisting the plan against the "natural" state The dialogue between the two axes, augmented through the movecan be mapped into a larger extended plane within which exploraphology of the house form, through the manipulation of the path, can
Where Pi is ‘Pi’ & R is the turning radius of the inner circle or = 2 x 3.141 x 4.4 = 27.64 meters. (2) Likewise, the distance outer wheel has to travel but keeping in mind that the turning radius here is higher i.e. the inner radius + the wheel track Or = 2 x 3.141 x (4.4+1.2) = 35.27 meters.
3
body, the objects within the house must confine itself to certain ts as the spine bends and flexes from a convoluted form back to its extension, the linear. These confines are based upon the undere movement spine of the car must run perpendicular to the grid and er walls must also run perpendicular to the extended grid of the conthese rules, the exploration of the unfolding is dictated solely upon by which one associated the characteristics of the objects within the olding of the path. The extended context is also important to conr exploration of Mies’ notion of the court house as an object which 4 the rules establish previger urban, or suburban, context. Following use itself of perpendicularity, these permutations of the house in the xt will not only generate unique designs of the home but also estabed grid across the landscape dictated by the extensions of the variae to house into the extended context. FT
5
radii generation 6
The importance of the automobile in this court house design by Mies is clearly evident. The rectilinear Miesian grid has been subtly but deliberately rotated and shifted according to the path and turning radius of the automobile. The path also denotes the transition of the single axis into the double which is most clearly
214 - Victor Tzen
Path|Node Car path and the grid
SUPER POSITION OF PATH AND GRID
The abstraction of theThe house abstraction as purelyoffurniture the house allows as purely for thefu relation to one anotherrelation to one another
STORAGE STORAGE STORAGE STORAGE BATH
BATH
Z Z
SLEEP
WORK
EAT
Z Z EAT
Z Z
SLEEP
SLEEP
EAT EAT
PLAY PLAY
BATH
BATH
Z Z
SLEEP
Z Z
SLEEP
#OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM
#OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM
ture allows for the inferred program to come through in as purely furniture allows for the inferred program to come through in
#OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM 3HIFTED 'RID
#OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM 3HIFTED 'RID
These objects are then further abstracted into icons representative of use, allowing me to reinvent the These objects are then further abstracted into icons representative of use, allowing me to reinvent the archi-tectonic elements in the following investigation archi-tectonic elements in the following investigation
E
Z Z
SLEEP
WORK
#OURT (OUSE W 'ARAGE #OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM !UTOMOBILE $IAGRAM 3HIFTED 'RID /BJECT .ODES 3HIFTED 'RID /BJECT .ODES
#OURT (OUSE W 'ARAGE #OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM !UTOMOBILE $IAGRAM 3HIFTED 'RID /BJECT .ODES 3HIFTED 'RID /BJECT .ODES
articulated in the position of the garage in relation to the study. With this understanding I decided to use this path as a spine onto which the rest of the house, structurally and programmatically, is placed into a dialectical relationship with.
215
NODE
Taking the understanding and methodology mentioned above coupled with the assumption that Mies’ intention for the design was for it to be replicated in a greater urban field (most likely a rectilinear urban grid of some kind), we can also being to see this abstraction of the house into three components as implying and existence within a greater deleuzian urban field condition. The house is no longer simply a select node on the expanded grid but instead it acts as a crease, a fold which in itself will become the generative basis for an expanded urban field.
!"342!#4)/. +%9 DINING & COOKING
EAT
#OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM WORK
WORK, STUDY & COMMUNICATION
BATH
BATHING & TOILETRIES
Z Z
RESTING & PRIVATE SLEEP
ENTERTAINMENT & LEISURE PLAY
STORAGE
STORAGE, SHELVING & UNUSED
216 - Victor Tzen
Path|Node Abstracting the objects
STORAGE
STORAGE STORAGE
STORAGE
BATH
WORK
WORK
BATH
Z Z
Z Z
SLEEP
SLEEP
EAT
Z Z
EAT
Z Z
SLEEP
SLEEP
EAT
EAT
PLAY
PLAY
BATH
BATH
of thefurniture house as purely allows for the to inferred programinto come through in The abstraction ofThe the abstraction house as purely allows forfurniture the inferred program come through relation to one another relation to one another
Z Z
Z Z
SLEEP
SLEEP
objects are then into further abstracted into icons representative allowing These objects are These then further abstracted icons representative of use, allowing meoftouse, reinvent the me to reinvent the archi-tectonic elements in the following investigation archi-tectonic elements in the following investigation
STORAGE STORAGE
BATH
WORK
Z Z
SLEEP
EAT
Z Z
#OURT (OUSE W 'ARAGE #OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM !UTOMOBILE $IAGRAM 3HIFTED 'RID 3HIFTED 'RID
#OURT (OUSE W 'ARAGE #OURT (OUSE W 'ARAGE SLEEP !UTOMOBILE $IAGRAM !UTOMOBILE $IAGRAM 3HIFTED 'RID 3HIFTED 'RID /BJECT .ODES /BJECT .ODES
#OURT (OUSE W 'ARAGE #OURT (OUSE W 'ARAGE !UTOMOBILE $IAGRAM !UTOMOBILE $IAGRAM 3HIFTED 'RID 3HIFTED 'RID /BJECT .ODES /BJECT .ODES
EAT
PLAY
BATH
Z Z
SLEEP
0ATH 0ROGRAM AND 'RID $IAGRAM
217
1
46
17
3
8 7
5
137 8
5
15
9
12
19
6 11
10 20 33
10
25
9 26
8 28
7
16 16
14
29 34 15
18 17 30
24
13
9 22
1 23
32 31
2
10
35
3
218 - Victor Tzen
27 21
150
11
7 10 9
3 5 1
3 11
1
2
8
12
18
12
4 2
4
66
Like the human body, the objects within the house must confine
Path|Node
Unfold
themselves to certain physical restraints as the spine bends and flexes from a convoluted form back to its natural state of extension, the linear. These confines are
based
upon
the
understanding
that the movement spine of the car
Field
must run perpendicular to the grid and that the perimeter walls must also run perpendicular to the extended grid of
Articulation
the context. Apart from these rules, the exploration of the unfolding is dictated solely upon the parameters by which
Expansion
one associated the characteristics of the objects within the house to the unfolding of the path.
219
Initial Parameters
Transformation Lines
The Program
The Grid
Horizontal Division 3
3
5 3
4 3
2
3
2
4
2
4
4
1
1
1
1
1
12
12
46
46 11
11
11
11
46
12
12
46
12
46 11
7
7
7
7
7
7
4
4 3 2
2
4
4 12
46 11
12
35 46 11
18 7 14
1
1
5
5
5
1
1
5
5
12
1 5
13
32
5
1
1
14 1
12
5
13
32
6
6
6
6
8
16 7 30
30 18 26
18 26 25
29
25
29
31 27
9
31 9
27
16 28
23
20
17
29
17
22
24
18
15
8
29
15
22
17
13 18
24
8
21
31
29
14
15
32
13 18
30
9
22 32
23
31
32
31 10
35
10
17 24
23
32
34
16
28
30
9
22
10
7
34
16
28
13 14
14
21
8
34 30
23
19
9
19
19
35
15
7 21
13
23
19
24
15
30 19
19
35
33
34
2
16
12 16 9
18 9
15
26 25
7
2
14
24
2
28
27
16
16
9
23
11
12 16 9
2
17
10
20
26 25
12
25 28
7
2
24
26
8 9
9
33
27
21
29
17
5
5
5
2
8
15
33
27
12 16
16
9
22
11
15 5
10
11
5
32
5
26 25
28
15
22
31
14
10
33
10
20
8
7
6
6
13 17
10
9
10
34
6
11
10
10
6
15
15 6
11 6
34
10 9 8
8
16
7
13
10
15
32
20
18
18
12
13
18
18
18
34
10
21
14
14
14
7
13
17
4
4
2
1
1
5
2
4
4 1
12
35 46 11
18 7
7
1
12
46 11
7
5
5
5 4 3
4
9 3
3
19 5
4
9 3 2
5
2
4
5
5
3
19 5 4 3
7
14
14
1
6
15
5
6
16
6
3
3
3
3 5
5 4 3 2
4 1
12
46
13
11
3
2
13
7
1
6
11
31
30
1
3
2
3
13
6
6
18
5
10
2
12
6
9
17
10
10 1
20
11
33
27 8
14
10 31
8
9
9
1
3
13
9
23
18
34
10
20
21
9
23
17
10
10
13
26
29
14
24
14
17
8
9
17
10
25
24
15
31
30
15
7
8
8
9
17
33
20
17
16
16
220 - Victor Tzen
32
30
17
10 31
2
3
27
11
18
21
9
23
28
6
19
19
24
22
22
9
23
2
2
18
22
Vertical Division
29
17 15 14
35
35
25
16
2
33
9
9
32
10
28
8
1
1
29
5
5
7
13 34
26 27
32
30
3
15
10
19
12
16
20 33
29
2
13
9
14
15 11
35
25
16
18
21
31
35
25
18 10
6
34
26 27
28
8
23
32
26
24
9
10
33
30
9
22
10
8
8
3
17
2
16
18
18
8
16
20
13 18
24
27
14
14
5 17
7
13
17
28
6
6
5
8
13
15
1
22
1
3
4
46
7
19
7 10
7
34
16
28
29
14
15
4
2
12
6
9
12
12 16
8
21
13
14
2
3
3 1 11 5 1
5
5 18
15 11
26
7
34 30
31
8
2
3
2
3
46
10
15 6
27 25
18 9 23
7
7
14
13
13
4
4
9
14
11
33
12
29
24
10
1 3
2
12
7
8
13
15
16
16
17
9
1
3
2
1 11
17
10
20
11
26 25
28
15
22
17
33
1
5 1
8
7
27 8
14
20
10
10
2
3
2
6
10
20 33
21
21
8
9
17
9
17
1
3
8
8
8
21
8
8
2
4
3
3
7
3
8
7
7
7
7
8
8
8
8
2
2 1
35
35
10
35
Unfold Division and unfolding
Unfolding
8
3
3 1
1
1
12
46
46 11
11
46
4
2
3
11 5 1
6
6
4
6
11
46
9 11
18
12
7
7
16
7
23
11
1
12
12 29
12
3
2
13
13
10
35
3
2
1
13
25
18
1
3
3 26
24
5
15
31
30
7
2
4
4
4
1
3
2
2
2
2 5
2
17
16
1
2
27
28
3
22
4
1
15
2
3
12 5
4
4
4 3
3
4
8
4
11
4
10
9
9
10
14
10
3 2
17
9
17
9
17
33
20
3
8
8
8
2
1
3
2
1
5
5
21
5
5
19
3
7
7
7
3
3
8
8
2
1
5 1
6 14
5
1 5
1 5
1
12
5
7 18
8
5
13
19
17
32
9
18
18
18
10
12 7
8
9
18
9
19
10
15
9
34
8
1
14
14
5 17
7
46
7
14
6 46
7 8
6
6
11 6
10
17
34
10 9
10
8 8
16 10
10
20
11
33
15
7
30 18 26 25
29
31 9
27
16 28
23
20
17
24
2
18
34
8
21
30
29
15
22
14
17
14
21
33
32
10
28
8
35
25
16
29 18
21
32
24
9 10
14
10
22
35
221
32
30
17 15
31
35
34
26 27
30
23
31
16
20
13 18
9
22
10 23
15
24
31
19
19
24
34
16
28
13
23
9
14 22
7 13
24
17 15
7 10
9
33
12 16
7
2
29
17
19
35
8
26 25
16
16
9
15
22
9
32
30
12
11
27
12
25 28
14
2
35
26
8
9
18
15
5
5
5
29
15 6
27
21
7
13 34
25
16
11
33
32
12
16
28
8
14 13
7
13
15 11
26 27
10
20
6
10
33
6
6
13
14 13
20
21
23
31
2
2
4
4
-/20(/,/'9 /&4(% 3).',%
4
2
5
5
5
1
3 2
1
1
3 2
3 3
2
11
3
11 3
5 1
11
2
1
5 1
4
4
12
12
4
66
3
66
46
46 7
3
7
8
8
8
9
11
18
18
17
7
10
4
2
1
5 1
4 4
2
12 46
17
7
3
1
66
8
7
8
9
17
11
10
7
18
8
9
11
10
12
12
12
137
5
5
137
8
5
5
5
137
8
8
15 9
5
9
15
4
15
9 19
2
19 6 11
33
2721 25
25
9 26
9 26
9 26
8
8
8
3
28
28 16 16
14
14
29
29
29 18
30 17
24
24
13
9
13
9
22
18
22
19
22
35
9
12 1 23
11
8
7
1
8
31
10
35
31
2
32
35
3
34
2
2
10
10
35
10
32
32
13
15
6 11
12 7
23
12
137
23
10
31
9
32
8
1
17
7
6 15
15
30 17
13
9
45
34
18
24
46
15
17 30
12
7
66 5 18
12 8
11
34
4
1
11 5 1 5
34 15
18
5
2
1
3
46
11 10
7 13
16 16
7
14
9
4 3
4
4
7
28
7
16 16
2
3 2
12
7
9
10
2721
25
19
5 3
5 3
2
1 11
17
8
10 20
10
27 21
4
2
1
5 1
66
7
12
33
10 20
10
5
8
12
6 11
12
19
10 20
33
6 11
150
10
16
10 9
30
26
9
33
34
26 27
10 20
35
27 33
16
29 18
17
15
32
30
21
17 15
9 24
22
31 23 1
22
14
2
9
24
10
14 22
29
16 28
25 8
28
8
18
25
13 16
10 20
21
1
2
23
31
3
30 3 3
3
The Program
-/6).' ).4/ 4(% %80!.$%$ &)%,$
6E
#/524(/53% 7)4( ! '!2!'% )4%2!4)/.
222 - Victor Tzen
Unfold Resultant houses
The Grid
8
3
3 2
2
4
4
1
1
1
1
12 46
11
11
5 1
6
6
6
11
2
11
46
12
12 11
18
12
7
7
16
7
35 46
9
23
46
12
29
11
2
13
13
10
18
3
2
1
13
25
26
24
15
31
30
7
1
3
2
4
2 5
2
17
16
1
1
3
2
27
28
3
22
4
1
15
2
3
12 5
4
4
4 3
3
4
8
4
11
4
10
9
9
10
14
10
3 2
17
9
17
9
17
33
20
3
8
8
8
2
1
3
2
1
5
5
21
5
5
19
3
7
7
7
3
3
8
8
2
1
5 1
6 14
5
1 5
1 5
1
12
5
7 18
8
13
19
17
32
9
18
18
18
10
12 7
8
9
18 10
15
9
34
8
1
14
14
5 17
7
46
7
14
6 46
7 8
6
6
11 6
17
34
10
10 9
10
8 8
16 10
10
20
11
33
15
7
30
11
18 26 25
29
31 9
27
16 28
23
20
24
24
18
34
10
8
21
30
15
22
14
14
21 24
31
33
3
3
3
3
5
5
5
3 2
2
4
12
46
46
11
11
11
11
6
6
6
7
7
7
16
7
11
18
18
3
2
1
1
12
12
46
12
35 46
9
23
15
31
30
7
1
3
4
2
4 1
4 12
2
13
29
46
1
3
13
10
11
2
13
25
26
24
6 12
5
4
4
4 3
3
4
9 3
5
2
4 1
17
16
3
27
1
1 28
3
22
2
15
13
4
11
4
5
3
19
5
8
3 2
10
3
9
10
14
10
1
3
2
1
17
9
17
9
17
33
20
10
2
8
8
8
4
21
9
17 1
5 1
7
14
5
1 5
1 1
12
5
5
5
18
13
19
32
9
18
18
18
10
15
12
9
34
18
5 17
8
1
14
14
14
46
7
1
14
6
8
13
6
6
6
10
17
34
10
10
9
7
13
8
16 10
10
7
30 18 26 25
29
31 9
27
16 28
23
20
17
24
33
18
12
8
21
35
29
23
14
23
15
17
13
18 24
31
30
9
22 32
23
9 32
10 22
7
34
16
28
13
15 24
14 10
32
30
21
18
22
29
14
16
17 15
31
19
8
34 30
19
28
8 21
32
23
15
16 7
2
29
24
19
35
19 30
9
22
11
26 25
16
16
17
9
25
9
15
22
2
35
9
14
2
34
26 27
27
12
25 28
9
2
33
33
26
8
9 16
20 13
18 24
5
27
21
7
13
29 17
20
5
12
10
7
34
16
28
15
15
5
5
15 11
11
33
32
6
12
10
20
8
15
16
8
6
6
11
6
14 13
11
26 25
14
31
10
31
35
10
35
29 18
30
17 15
35
7
7
7
8
2
3
2
7
27
21
25
16
24
9
14
10
8
7
8
8
8 2
1
10
20
28
8 21
32
#/524(/53% 7)4( ! '!2!'% )4%2!4)/.
33
34
26 27
30
31
35
10
16
20
13 18
9
23
32
10 23
17
22
9
14 22
15
24
31
19
29
23
17 15
34
16
28
13
19
19
35
32
30
7
2
17
12 16 9
29
17
7
2
33
26 25
16
16
9
15
22
9 8
27
12
25 28
14
2
35
26
8
9
18
15
5
5
5
29
15 6
27
21
7
13 34
25
16
11
33
32
12
16
28
8
14 13
7
13
15 11
26 27
10
20
6
10
33
6
6
13
14 13
20
21
223
22
23
31
Horizontal Division
8
3
3 1
1
1
12 46
11
11
11
5 1
6
6
6
11
46
12
12 11
18
7
7
16
7
35 46
9
23
46
12
3
2
13
29
18
1
3
13
10 15
31
30
7
2
4
4
4
1
3
13
25
26
24
12 5
2
2
2 5
2
17
16
1
2
27
28
3
22
4
1
15
2
3
11
4
4
4
4 3
3
4
8
4
10
9
9
10
14
10
3 2
17
9
17
9
17
33
20
3
8
8
8
2
1
3
2
1
5
5
21
5
5
19
3
7
7
7
3
3
8
8
2
1
5 1
6
7
14
6 14
5
1 5
1 5
1
12
5
18
8
13
9
18
19
17
32
18
18
10
12
9
7
8
9
10
15
8
34
5 17
7
1
14
14
46
7 8
6
6
11 6
17
34
10
10
10
9
7
13
8 8
16 10
10
20
11
33
15
5
7
30
27
21
7
18 26 25
29
31 9
27
16 28
23
20
24
24
18
34
8
21
30
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#/524(/53% 7)4( ! '!2!'% )4%2!4)/.
224 - Victor Tzen
8
3
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Unfold
23
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Resultant houses
Vertical Division
3
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#/524(/53% 7)4( ! '!2!'% )4%2!4)/.
225
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-/6).' ).4/ 4(% %80!.$%$ &)%,$ Taking the previous iterations of the unfolded path, further restrictions were placed on the morphology so as to bring about a more pragmatic outcome. The grid lines themselves were the “divisions� of the morphology and the object nodes were not only associated to the path but to each individual grid line as it deformed. Each grid line acts as a solid object, always being influenced by the path and the objects around it but restricting the superposition of one grid line to the other.
226 - Victor Tzen
45
Unfold Final iteration
This technique not only emulates the morphological intent of the project but retains the dialectic between the original Mies house and the new building. There is no introduction of a new typology but a augmentation of the existing protocols introduced by Mies. The resultant home is therefore a variation, a typological offspring from the original, similar but simultaneously different
227
228 - Victor Tzen
Path|Node
Following the initial unfolding and augmentation of the original Court-
Unfold
House, an interesting relationship seen at the urban scale can be developed. Mies’ houses were meant to exist within an
Field
expanded urban field, a neighborhood, and designed the rectilinear court-hosues to fit within them. What happens when
Articulation
you take this assumption and apply it to the unfolded Court-House?
Expansion
229
4 2 4
2
3
5
3
2
19
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3
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2
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34
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2
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3CALE v
31
3
#/524 (/53% 7)4( '!2!'% \ 5."5),4 \ \ 0,!. %,%6!4)/. 3CALE v
30
#/524 (/53% 7)4( '!2!'% \ 5."5),4 \ \ 0,!. %,%6!4)/. 3CALE v
#/524 (/53% 7)4( '!2!'% \ 5."5),4 \ \ 0,!. %,%6!4)/.
Original Urban Condition
Abstraction and Expansion
Expanded Field Condition
230 - Victor Tzen
29 18
15
34
18
17 30
15
34
34 15
18
30 17
30 17
24
24
24
13
13
9
45
9
13
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22 22
22
1 23
1
1
23
23
32
31
32
32
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10
35
31
2
35
2
2
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10
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3 3
3
Field Expanding the context
4
2
5
1
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2
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3
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66
2
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5
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8
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3
Keeping the same grid lines, the field is augmented first by the manipulation of the middle unit. From there the two adjacent units will be augmented by the straightening of their respective paths. Therefore the shape and direction of each unit is dependent on the unit adjacent to it, like in the work of Mies. This creates a continuous field into which unit is implanted.
231
Creating the Urban Block
Taking the same logic as in the previous step, The original three units can be expanded into six. This emulates the block condition which was conducive to the Court Houses of Mies. The new block encompasses a much larger range of uses than the original house and begins to inform a new urban typology.
232 - Victor Tzen
Field Making the suburban block Final Urban Grid [Notice each piece of the grid is a augmented 3x3 tile from the original house]
233
234 - Victor Tzen
235
236 - Victor Tzen
Path|Node
After taking the house and abstracting it into a system of paths, nodes, and
Unfold
expanded grid conditions,
the
re-articulation of the house as a designed object will bring forth the
Field
qualities of these morphologies. This next section will show the results of a single house taken
Articulation
back
into a actualized design
object.
Expansion
237
The nodes which were retained through the augmentation have specific programmatic qualities which can be translated back to a architectural plan.
EAT
These nodes are just suggestion rather than specific objects which are translated into a plan. WORK
STORAGE STORAGE STORAGE
1
2
WORK 5 Z Z4
3 BATH
SLEEP
8 PLAY
1
STORAGE
6
EAT
Z Z
STORAGE
7
9
SLEEP
WORK
5 Z Z
BATH
SLEEP
6
EAT STORAGE 7
8
PLAY
EAT
PLAY
11
STORAGE
Z Z
STORAGE
BATH
PLAY
SLEEP
Z Z
9
BATH
SLEEP
11
EAT
12
STORAGE
Z Z
SLEEP BATH
PLAY
STORAGE
1
WORK 5
Z Z
BATH
SLEEP
8 PLAY
STORAGE
7
EAT
6
Z Z
9 SLEEP
11
EAT
STORAGE
Z Z
12 PLAY
Z Z BATH
SLEEP
PLAY
SLEEP
PLAY
STORAGE
238 - Victor Tzen
Articulation Applying the program
Articulating from Program Node to Object -/6).' &2/- 4(% %80!.$%$ &)%,$ ).4/ 4(% /"*%#4
; =
; =
; =
/"*%#4 % /"*%#4 ; = ; =
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5
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1 11
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3
4
3
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5
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5
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2
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137
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2721
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28
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34
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33 35
22
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3
3
objects in the field
STORAGE STORAGE STORAGE
1
2
WORK 5 Z Z4
3 BATH
SLEEP
8 PLAY
1
STORAGE
EAT
6
volumes + walls
Z Z
STORAGE
7
9
SLEEP
WORK
5 Z Z
BATH
SLEEP
6
EAT STORAGE 7
8
PLAY
EAT
PLAY
11
STORAGE
Z Z
STORAGE
BATH
PLAY
SLEEP
Z Z
9 SLEEP
11
EAT
12
STORAGE
Z Z
SLEEP BATH
PLAY
239 STORAGE
1
WORK
5
Z Z
BATH
SLEEP
8 PLAY
STORAGE
7
EAT
6
Z Z
9 SLEEP
11
EAT
STORAGE
Z Z BATH
SLEEP
12 PLAY
Three Housing Units
volumes + walls
240 - Victor Tzen
Articulation Articulated program in the field condition
241
242 - Victor Tzen
Path|Node
The articulation of an individual unit from the abstract to the real is
Unfold
just a singular exploration into the intention of Mies. The power
Field
of his design is in it’s inherent modularity on the urban scale. Each of these units could be easily multiplied to create a
Articulation
urban fabric. What happens then when we take this idea
Expansion
and apply it to the transformed unit?
243
Original Condition:
The re-articulation of the plan was constructed in a similar manner to the original house. The first thing taken into account were the relation of object nodes to the augmented grid lines. Walls and other features that were dependent upon these lines were constructed in relation to them.
/2)').!, (/53% LIVING AREA OCCUPANTS SQFT PERSON SLEEP OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS WORK OCCUPANTS SQFT PERSON GUEST SLEEP OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON MAID QUARTER OCCUAPNTS SQFT PERSON
Then design liberties were taken with the system of program nodes, grid lines, and habitation intentions in mind. Thus, the following iterations are simply one of many which would be based upon client needs and architectural motives. Yet, inspite of this we can read a range in the mesoforms created through this process. The original Mies house was intended for a single bachelor which inferred a specific programmatic occupancy. So when augmented and expanded, these mesoforms inherit varied programmatic intentions based on its ratio to the original house.
4/4!, LIVING OCCUPANTS SQFT PERSON SLEEPING OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS 3CALE v COOKING OCCUPANTS SQFT PERSON 4/4!, GUEST SLEEPING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON SLEEP OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON LIVING OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON
This process brings about six very different ‘houses’. In fact a few of these can’t GUEST SLEEP OCCUPANTS SQFT PERSON even constitute as houses anymore ENTRANCE OCCUPANTS GARAGE OCCUPANTS SQFT PERSON simply because of the unbalance in the KITCHEN OCCUPANTS SQFT PERSON program. (many more beds than parking MAID QUARTER OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON spot for example) From the single bachDINING OCCUPANTS SQFT PERSON elor house we have derive a variety of housing typologies simply based upon the straightening of the car path.
244 - Victor Tzen
#/524 (/53% 7)4( '!2!'% \ 5."5),4 \ \ 0,!. %,%6!4)/.
Four Occupants
Expansion Articulating the unit
The Process 1]
3]
2]
4]
245
/4!, VING OCCUPANTS SQFT PERSON EEPING OCCUPANTS SQFT PERSON ORK OCCUPANTS SQFT PERSON NTRANCE OCCUPANTS OOKING OCCUPANTS SQFT PERSON UEST SLEEPING OCCUPANTS SQFT PERSON ERVANT SPACE OCCUPANTS SQFT PERSON ARAGE OCCUPANTS SQFT PERSON INING OCCUPANTS SQFT PERSON ATH OCCUPANTS SQFT PERSON
Couple House with Guest Room 4/4!, LIVING OCCUPANTS SQFT PERSON SLEEPING OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS COOKING OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON
246 - Victor Tzen
Expansion Proposed units
4/4!, LIVING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS WORK OCCUPANTS SQFT PERSON SLEEPING OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
House for a Working Couple 4/4!, LIVING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS WORK OCCUPANTS SQFT PERSON SLEEPING OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
247
4/4!, LIVING OCCUPANTS SQFT PERSON SLEEP OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS COOKING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
House for Graduate Students 4/4!, LIVING OCCUPANTS SQFT PERSON SLEEP OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS COOKING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
248 - Victor Tzen
Expansion Proposed units
4/4!, LIVING OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS SLEEP OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
House for Two Professional 4/4!, LIVING OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS SLEEP OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
249
4/4!, SLEEP OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON LIVING OCCUPANTS SQFT PERSON GUEST SLEEP OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS GARAGE OCCUPANTS SQFT PERSON KITCHEN OCCUPANTS SQFT PERSON MAID QUARTER OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
Youth Hostel 4/4!, SLEEP OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON LIVING OCCUPANTS SQFT PERSON GUEST SLEEP OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS GARAGE OCCUPANTS SQFT PERSON KITCHEN OCCUPANTS SQFT PERSON MAID QUARTER OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
250 - Victor Tzen
Expansion Proposed units
/4!, EEP OCCUPANTS SQFT PERSON ORK OCCUPANTS SQFT PERSON ING ROOM OCCUPANTS SQFT PERSON UESTSLEEP OCCUPANTS SQFT PERSON NTRACE RVANT SPACE OCCUPANTS SQFT PERSON ARAGE OCCUPANTS SQFT PERSON ATH OCCUPANTS SQFT PERSON NING OCCUPANTS SQFT PERSON OKING OCCUPANTS SQFT PERSON
House with Three Kids 4/4!, SLEEP OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON LIVING ROOM OCCUPANTS SQFT PERSON GUESTSLEEP OCCUPANTS SQFT PERSON ENTRACE SERVANT SPACE OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON
251
252 - Victor Tzen
Expansion Proposed units
253
4/4!, LIVING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS WORK OCCUPANTS SQFT PERSON SLEEPING OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
4/4!, LIVING OCCUPANTS SQFT PERSON SLEEP OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS COOKING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
/2)').!, (/53% LIVING AREA OCCUPANTS SQFT PERSON SLEEP OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS WORK OCCUPANTS SQFT PERSON GUEST SLEEP OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON MAID QUARTER OCCUAPNTS SQFT PERSON
4/4!, LIVING OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS SLEEP OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
4/4!, LIVING OCCUPANTS SQFT PERSON SLEEPING OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS COOKING OCCUPANTS SQFT PERSON GUEST SLEEPING OCCUPANTS SQFT PERSON SERVANT SPACE OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON
254 - Victor Tzen
4/4!, SLEEP OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON LIVING ROOM OCCUPANTS SQFT PERSON GUESTSLEEP OCCUPANTS SQFT PERSON ENTRACE SERVANT SPACE OCCUPANTS SQFT PERSON GARAGE OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON COOKING OCCUPANTS SQFT PERSON
4/4!, SLEEP OCCUPANTS SQFT PERSON WORK OCCUPANTS SQFT PERSON LIVING OCCUPANTS SQFT PERSON GUEST SLEEP OCCUPANTS SQFT PERSON ENTRANCE OCCUPANTS GARAGE OCCUPANTS SQFT PERSON KITCHEN OCCUPANTS SQFT PERSON MAID QUARTER OCCUPANTS SQFT PERSON BATH OCCUPANTS SQFT PERSON DINING OCCUPANTS SQFT PERSON
Expansion Augmented urban block
Final Expanded Urban Plan
255
256 - Victor Tzen
Expansion Augmented urban block
257
studio logistics
LOGISTICS CALENDAR
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23 27
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Mon.
6
12:30 PM
Pin-up Phase 1
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form,
CALENDAR SPRING SEMESTER 2006
PHASE 1
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Week 4 Mon. Tue. Thu. Fri.
PHASE 2
Generative Rule System
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101 West Sibley
intensity of form. Every “how” is based on a “what”. The unThu. Fri.
23 24
12:30 PM
Week 6 Mon. Fri.
27
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6:00 PM
Desk crits
f o r m e d iMarch s n o w o r s e t h a 3n t h e oFirst v ereview r-formed. The former is nothWeek 7 Mon. Wed. Thu. Fri.
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Desk crits
i n g ; t h e l a t t e r i s m e r e a 89p p e a r aSeminar n c e2. ŻRTHE e aGENETIC l form presupposses real Lecture Sanford Kwinter 120 Rand Hall
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12:30 PM
Wed. Thu. Fri.
15 16 17
Mon. Fri.
20 24
Mon. Wed. Fri. Sat.
27 29 31 1
12:30 PM
3
12:30 PM
1:30 PM 6:00 PM
Seminar 3 Ż THE MACHINIC Lecture SERVO Desk crits
142 East Sibley
s h o u l d j u d g e n o t sWeek o m uch by the results as by the creative pro9 12:30 PM
FIELD TRIP TO CHICAGO
c e s s . F o r i t i s j u s tWeek t h10i s t h a t r e v e a l s w h e t h e r t h e f o r m i s d e r i v e d 1:30 PM
Desk crits Seminar 4 Desk crits
Ż MESOFORMS
120 Rand Hall
f r o m l i f eApril o r i n v e n t e d f o r i t s Second o w nreview sake. That is why the creWeek 11 Mon. Wed. Fri.
12:30 PM
157 East Sibley
PM
Desk crits
a t i v e p r o c e s s i s s o e s s e57 n t i a l . Seminar L i 5f eŻ LIFESTYLE is what is decisive for us. Desk crits 101 West Sibley
12:30 PM
Week 12
I n a l l i t s p l e n i t u d eMon. a n d 10 i n i t s s Desk p i crits r i tdesk u acritsl (optional) and material relations. Is Wed. 12 Additional Framing
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12:30 PM
Fri.
14
Week 13 Mon. Wed. Fri.
21
12:30 PM
Desk crits
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12:30 PM
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Jung Guee Um - 261
BIBLIOGRAPHY READINGS
Base materials ÁBALOS, Iñaki, The Good Life. A Guided Visit to the Houses of Modernity. Editorial Gustavo Gili, Barcelona, 2001. (Chapter 1: Zarathustra’s House) BLASER, Werner, Mies van der Rohe. Artemis, Zürich, 1972. CARTER, Peter, Mies van der Rohe at Work. Phaidon, New York, 1999. First published by The Pall Mall Press, 1974. EISENMAN, Peter, “Mies and the Figuring of Absence”, in LAMBERT, Phyllis, (Ed.), Mies in America, Canadian Center for Architecture and Whitney Museum of American Art, Montréal and New York, 2001. EVANS, Robin, “Mies van der Rohe’s Paradoxical Symmetries”, in EVANS, Robin, Translations from Drawing to Building and other Essays, The MIT Press, Cambridge, Mass., 1997. FILLER, Martin, “Architecture and Nothingness”, in The New York Review of Books, June 12th 1986. FORD, Edward, The Details of Modern Architecture. Vol. 1. The MIT Press, Cambridge, Mass., 1994. GOWAN, James, “Reflections on the Mies Centennial”, in AD vol. 56, no. 1, 1986. JOHNSON, Philip C., Mies van der Rohe. The Museum of Modern Art, New York, 1953. (revised second edition) KOOLHAAS, Rem, “Miestakes”, in LAMBERT, Phyllis, (Ed.), Mies in America, Canadian Center for Architecture and Whitney Museum of American Art, Montréal and New York, 2001. PARICIO, Ignacio, “Tres observaciones inconvenientes sobre la construcción en la obra Americana”, in A&V n. 6, 1986. MERTINS, Detlef (ed.), The Presence of Mies. Princeton Architectural Press, New York, 1994. N.A., “A Latter Day Temple in Berlin”, in AD, Volume XXXIX, February 1969. QUETGLAS, José, Fear of Glass. Mies van der Rohe’s Barcelona Pavilion. Actar, Barcelona, 1999. SCHULZE, Franz, Mies van der Rohe: A Critical Biography. The University of Chicago Press, Chicago and London, 1985. SMITHSON, Alison & Peter, Changing the Art of Inhabitation. W W Norton & Co. Inc, London, 1998. SPAETH, David, Mies van der Rohe (foreword by Kenneth Frampton). Rizzoli International, New York, 1985. WACHTER, Gabriela (ed.), Mies van der Rohe’s New National Gallery in Berlin, Vice Versa verlag, Berlin, 1995.
Complementary bibliography CHU, Karl, “Archeology of the Future”, in Peter Noever (Ed.), Peter Eisenman. Barefoot on White-Hot Walls. MAK & Hatje
Cantz, Ostfildern-Ruit, 2004. DE LANDA, Manuel, “Deleuze and the Use of the Genetic Algorithm in Architecture” in LEACH, Neil, (Ed.), Designing for a Digital World, John Wiley & Sons, London, 2002. (Reprinted in Phylogenesis: FOA’s Ark, Actar, 2003) KWINTER, Sanford, “Mies and Movement”, in MERTINS, Detlef, The Presence of Mies, Princeton Architectural Press, New York, 1994. LYNN, Greg, “Forms of Expression: The Proto-functional Potential of Diagrams in Architectural Design” in El Croquis n. 72/73. TUFTE, Edward R., The Visual Display of Quantitative Information, Graphics Press, Cheshire, Connecticut, 1990.
Visual Explanations, Graphics Press, Cheshire, Connecticut.
http://www.wired.com/wired/archive/11.09/ppt2.html
VARAS, Julián, “Molecular Landscape”, in TransScape, Nov. 2003. ZAERA-POLO, Alejandro, “Eisenman’s Machine of Infinite Resistance”, in El Croquis n. 83, 1997.
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Jung Guee Um - 265
The new envelope has 4 different spaces correspondenent to the original programs of Farnsworth House as it has been transformed from the original. 1. Deck is now the open space with stairways. 2. Porch has a roof, but not windows. 3. Inside space is enclosed by a roof and windows. 4. The original core of Farnsworth House has been fragmented as the opaque spaces derrived from the trees, so now it becomes a void in which the new envelope has green space, surrounded by glasses.
ENVELOPE EXONOMETRIC
266 - Francis Shim
LEVEL + 9’ DECK
LEVEL + 7’ PORCH
LEVEL + 6’ INSIDE
LEVEL + 0’ GLASS VOID
267
268 - Francis Shim
THANKS TO
PAUL ANDERSEN JOSE ARNAUD-BELLO LILY CHI DANA CUPKOVA-MYERS MILTON CURRY JOAQUIM MORENO MOHSEN MOSTAFAVI RODRIGO PEREZ DE ARCE DAVID SALOMON CLAUDIO VEKSTEIN AUREL VON RICHTHOFEN FOR HELPFUL CRITICISM AND FEEDBACK,
AND TO
CIRO NAJLE SANFORD KWINTER FOR GENERAL INSPIRATION AND FOR JOINING THE PARTY
book concept and design > Julian Varas assisted by Woo-Young Shim
269
270
Photos: Victor Tzen 271
This book was designed and produced by julian varas and the participants of the miesuse design studio at The college of architecture, art, and planning, Cornell university, with the purpose of documenting the studio work. This is a draft academic document with no commercial value. Fifty copies of this book were printed and bound on July 2006, at the print shop of the business services center of Cornell university, ithaca, ny, United states of america.
COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE C O R N ELL UNIVERSITY
Spring 2006
miesuse
J u l i á n Va r a s & A A P
with projects by heather beck Erika Hawkins Nathaniel Jones Christopher Mascari Katharine Meagher Brenda Petroff Woo-Young Shim Andrew Smith Victor Tzen Jung-Guee UM Ju-Hyung Yook
MIESUSE TOWARD THE MESOFORMS Edited by Julián Varas