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portfolio. LR
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“learn now, for one foot further is its limit, and one step back I already know�
Larisa R
transition from place
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The story begins as follows
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6 What architectu ure is 8 Design n Studio 10 Materrial Strateegies for the Physsical World 12 Field Conditions me 18 Transfformatioon: Volum 22 Installlation 1A A: Compeetition 26 Conceeptual Strrategies for the Ph hysical World 28 Opera ations an nd Space 32 Bodily y Explora ations 36 Spacee Suit 40 Site Mapping 42 Gondoola Term minal 44 Terminal Plan 46 Terminal Sectiion 48 Terminal Rooff Plan 50 Landsscape Urb banism: re-media ating the Ground Level 52 Griffith Park: Site analy ysis 54 Venicee Beach, CA 54: Site (ed) Invesstigations 56 Demoographic Investigations 60 Resea arch Applied 62 Infrasstructure 64 Use of Space 66 Propoosed Design: EXO2_phORIAL 68 EXO22_phORIA AL: Site Context 70 Cultu ure_Art Centre 78 Frameeworks: Programss 80 Site Documen ntation: Hollywood, CA 82 Transsformational Morphologies 94 Evolu ution_3600 106 Visu ual Studies 1A 108 Projeection an nd Descrip ption 2A 110 The “Croissan nt” Probleem 112 The “As-Builtt” Problem m 114 The Conic (in nter)Sectiion Problem 2B Monochrromatic Formations 116 Digital Collag ge 120 3D Modeling 122 Rend ders 126 Algoorithmic Modeling 130 Appllied Studiies 2A 130 Into to Clima ate and Environment 132 Hot arid Clim mate 134 Hum mid Clima ate 136 Temp perate Climate 138 Cold Climatee 140 Cultu ural Stud dies 142 Histoory of Arcchitecturre 144 Hum manities 2 146 Hum manities 3 148 Hum manities 3
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WHAT IS ARCHITECTURE Redeffining defined
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Architecture is that space that exists between human experience, and its dual relationship with its structural achievments. Its something that defines aspects of human interaction, and at the same time is a very personal relationship that can only be described by an individual and their own connection with space and experience. Architecture has two categories of placement, one within the urban realm and the other in solitude. When placed in urban environments, the challenge begins with fitting foreign elements and their adaptation that will play in already defined landscape, while architecture in solitude has to reinvent an idea of dwelling, community and establish itself within its raw context, the natural environment. Within the two categories, in the urban context, there exist many typologies, and all those become very personal affairs between designer, and its proposal and the audience and their personal desires, to claim their own view of how that space performs and recieves to a very demanding public. While at the same time the architecture in solitude has only its necessity, the idea of shelter, and its need to be
responsive to a very hostile nd unknown place toward architecture. A city has already defined its style and origins, solitude has yet to be defined, right now solitude has a blank canvas and allows for explorations and challanges for new typologies that has yet to be discovered and allows for ideas to push boundaries. Solitude is not necessary defined as architecture in lonesome, but rather underdeveloped regions that have populations, however have not yet defined an idea of community, dwelling and architectural ideals. Within both categories of architecture, the urban context and solitude, both cannot escape the idea of architecture that solve problems, from environmental conditions and its responsiveness, to inhabitants and their needs. Architecture is, and architecture was, but forever and after all, architecture will always be, constantly changing in a dialogue of audience, and structure, and somewhere between the two exists its beauty.
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FALL 2009 SPRING 2010 FALL 2010 `
SPRING 2011
DESIGN 1A
MARCOS SANCHEZ/ JENNY WU/ NATHAN BISHOP
1B
JOHN BOHN/ ILARIA MAZZOLENI/ MARCOS SANCHEZ/ EMILY WHITE
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STUDIO 1A STUDIO 1B STUDIO 2A STUDIO 2B
STUDIO 2A
DANA BAUER/ MARGARET GRIFFIN/ STEPHEN SLAUGHTER
2B
HEATHER FLOOD/ MARY-ANN RAY/ JENNY WU
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DS
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1A MATERIAL STRATEGIES 1B2A2B
for the
PHYSICAL WORLD
STUDIO OBJECTIVES The first studio introduces the student to spatial-problem solving. A sequence of increasingly complex problems charge the students with working within two opposing knowledge-based fields: analytical and intuitive operations are applied to the study of materials, their potential for transformation, their capacity to suggest ideas and intentions, organizational concepts and abstarct spaces. The interrelationship beetween the act of making and
the process of execution are studied. The studio begins with an examination of two-dimensional problems, then focuses on problem-solving in three- dimensions. SKILLS: craft in drawing and model building/ plan/ section/ elevation drawing/ self-organization in work/ use of shop. CONCEPTS: syntax of architecture/ seriality/ repetition/ fields. Marcos Sanchez/ Jenny Wu/ Nathan Bishop
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1A: Material Strategies
Field Condition
1
2
1. Stan Allen: Objects to Field
2. Nazca Line, Peru 400-650 AD
“The term ‘field condition’ is at once a reassertion of architecture`s contextual assignment and at the same time a proposal to comply with such obligations. Field conditions moves from the one toward the many: from individuals to collectives, from objects to fields. The term itself plays on a double meaning. Architecture work not only in the office or studio, but in the field: on site, in contact with the fabric of architecture. “Field survey”, “field office”, “verify in field:
“field conditions” here implies acceptance of the real in all its messiness and unpredictably. It opens architecture to material improvisation on site.” Many times when humans study history, we project the values and ideas of the present onto the creations of the past. Neither religion nor science has been able to answer the questions that we have about our origins or our future, so we look for the answers in cultures that preceded us.
Stan Allen
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FIELD CONDITIONS
To understand the lines we need to consider the environment of Nazca. In the desert terrain between N Chile and Southern Peru, there are rough tablelands carved by deep, lush gorges that connect the Andes with the coast. In between the valley strips lie elevated dry planes deserts where there is little wind and it only rains once every several years, conditions ideal for preserving the huge line drawing. The lines drawn by Nazca people extend kilometers
over the desert plain and remain unknown why they drew it. Is it the beginning of field condition?
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1A: Material Strategies
Patterns
O B SERVE HYPO T HESI SE EXPER I M ENT D I SC OVER C R EAT E
1
2
OBSERVATION What exactly it`s a pattern? How is a pattern constructed and revealed? What rules govern its growth? The answers to this questions vary and can depend on whether the pattern is constructed from events (a pattern of behaviors) or materials (a pattern cut into a grass by a lawn mower). In each example , however, patterns seem to reveal continuities as well as variations. Visual pattern, which we examine in this exercise, can be both
extremely complex and can often go unnoticed, as in the variations in a familiar and seemingly simple fields of tile. This assignment asked us to survey our environment carefully and to use a camera to reveal some of this pattern. We took pictures of various examples of organic and inorganic patterns of repetitive elements. Our images reveal patterns, textures, and relationships in scale as well as subtle variations and differences.
Observation_Photographs of Patterns
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3
1/2 Photo arrangements 3 Final Photographs
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1A: Finding a 3D Form
Field Condition
EXTENDING A PATTERN TO CREATE A FIELD By understanding regularities based on the data we gather we can predict what comes next, estimate if the same pattern will occur when variables are altered and begin to extend the pattern.
STEPS 1. Look at the photograph as a 3 dimensional form instead of a flat printed surface.
2. Choose an area that shows a maximum variation of depth or spatial condition.
3. Trace the path of the line in three dimensions using wire as a continuous line. Intersect a second profile with the first line. In this exercise we investigate how, through operations such as “rotate”, “shift”, and “scale”, a two dimensional unit can be replicate and grow into a larger field of vectors and shapes. By evaluating this field through a set of criteria such as density, layering, and geometric formations, we can begin to understand order pattern, and behavior in what initially appeared to be an arbitrary dispersal of points and lines. As you move from a two-dimensional
Behaviors
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1
S. C A L L I N G I N C R E M E N T S OF 15%
to three-dimensional, the criteria and operative terms from the previous exercise remain key to describing and evaluating your wok. However you will now need to think beyond graphic organization to the realm of three dimensional organization. The next assignment combines repeating units with systematically placed attachment points as your first study in constructing a three-dimensional field.
1 Working on one 15” x 15” grid, I mapped out series of ‘behaviors’ using scaling, rotation, and shifting.
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DS
ASSIGNMENT DESCRIPTION In this part we continued to explore our wire assemblies as a spatial field. We begin to imagine our wire assemblies as a collection of volumes described by the wire. A volume is a space defined by a thin wrapper, or surface, and its hollow within. A volume its different from a mass because a mass is considered to be a solid rather than a surface enclosing a space. We are imagining enclosed the wire assembly. We consider the wires
as lines or edges that outline planes, and those planes connect to enclose volumes. In effect the wire is like a skeleton that we are giving an internal skin to. In this manner of interpretation we transformed the spatial field described by lines into a spatial field described by volumes. We selected at least four volumes that the wire assemblies described that are both essential and typical to the spatial field. These volumes should have a specific relationship, location and
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TRANSFORMATION: VOLUME
position relative to each other in space. Using a sheet material, , cut the sheet into planes defined by the wire and find both triangular (3-point plane) and trapezoidal ( 4-point planes that enclose and describe volumes. Sets of rules were specified for this assignment: a) the surfaces inserted must completely enclose a space. b) the volumes must be touch in each other. c) the volumes must be described by both triangles and trapezoids. d) each volume must be described by one type
of sheet material either opaque or translucent.
LEAD PENCIL STUDIO
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1A: Material Strategies
Transformation
1
2
1 Wire assembly connection detail 2 Wire Assembly
Using a sheet material, , cut the sheet into planes defined by the wire and find both triangular (3-point plane) and trapezoidal ( 4-point planes) planes that enclose and describe volumes. Sets of rules were specified for this assignment: a) the surfaces inserted must completely enclose a space. b) the volumes must be touch in each other. c) the volumes must be described by both triangles and trapezoids. d) each volume must be described by one type of sheet material either opaque or translucent.
Finding Volumes
PART 2 For the second part of this assignment we removed the planar volumes from the wire assemblies, and carefully reconstructed them and make a copy of each of them, twice. If using an opaque material we removed the taped planes, unfold them so that they lay flat and cut the flat shape out of one single continuous sheet. Arrange the volumes in space in precisely the same positions as the original volumes are within the wire. We had to determine how the joints
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between the volumes work so that they will remain standing on their own or suspended from each other. We had to determine how the volumes connect to each other so that they form a structural system that functions on its own. UNIT- TO- UNIT CONNECTIONS The translation from a 2D to a 3D creates another abstraction. Abstracting from the medium of drawing into the medium of building with chipboard. The chipboard obtains a natural quality that gives further context to the 3 dimensions.
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1A: Material Strategies
Developing a 3D Field
DS
Installation_Competition
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INSTALLATION 1A COMPETITION In the last assignment, we were asked to test the ‘performance’ of our three dimensional field and develop rule sets to produce structural and geometric variations. This third and final assignment is building up upon and integrating techniques and knowledge acquired in previous assignments and exercises that will result in the fabrication and installation of a full-scale.
spatial construction. Specifically, the next stage of the project- the initial competition phase involves further developing of our 3-dimensional fields by adapting and transforming it to additional criteria. The goal is to demonstrate the potentials of our fields, to make local geometrical variations, perform structurally, and address light transmission
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1A: Material Strategies
Installation_Experimentation
Experimentation with different materials/ texture/ colors
Connection Detail
1
Tapped/ Ready to be weld
Unit Analysis 2
Duck tapped Ready to pour raisin
Side Elevation
3
Front Elevation
Top Elevation
Final product
Installation_Connections
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Unit Connections
Front
Top
Right 1
2
1/2 Connection Types
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1B: Conceptual Strategies
DS
COURSE OBJECTIVES The premise of the second studio is that ideas, when deliberately assembled, become intellectual structures for conceptual strategies that direct notions of spatial ordering systems and architectural forms. The relationship between the conceptual and the circumstantial will be examined in a series of evolutionary and interrelated projects which guide the student towards an understanding of sophisticated notions of spatial structures and material considerations. CONCEPTS: abstract programming/ complex ordering systems/ matrices.
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1B CONCEPTUAL STRATEGIES 1A
2A2B
for the
PHYSICAL WORLD
COURSE DESCRIPTION Beginning with the first assignment we worked with space and how space can be defined through the making of an object. Next we focused on the body through its dimensions, proportions and its ranges of motion. In our final assignment it was introduced the concept of environment and scale specifically the scale of the body in relative to space and how a body that occupies a space creates an environment. But what exactly is a body? What are the body`s boundaries? How does architecture relate to this body? The studio will ultimately examine how the body
reshapes space into environment. In the first part of the 1B studio, we will use model making and drawing to expand the techniques and concepts you learned in the previous term. In the second part of the studio our work will examine the body`s dimensional as well sensual implications. Finally, in the third portion, we will examine the sensuous relationship between the body and its surroundings to produce environment.
John Bohn/ Ilaria Mazzoleni/ Marcos Sanchez/ Emily White
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1B: Conceptual Strategies
Operations and Space
DS 1
2
DEFINING SPACE Each portion of Assignment 1 will focus on a specific, but related strategy for developing space. Through this exercise we will develop a rich understanding of the underlying parameters that define space. Assuming given patterns and basic operations, you will produce a sophisticated work with specific spatial conditions. The critical interrogation of your work will provide us with a language of space and its organization which we will use to
develop iterations of your work. This will ultimately result in the generation of a legible spatial system that will be read as a part of a whole. PARTS TO WHOLE: discrete operations Assignment 1.1 is an individual project, but you should consider it more as a component piece that will be collected will be collected with others to be read as a whole work. This will allow for increasingly diverse readings and promote team work. The final object should be extremely well crafted,
Defining Space
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PARTS TO WHOLE OPERATIONS AND SPACE
3
precise and deliberate in its intent and execution. Multiple readings of your work are expected and encouraged, but your ability to generate a specific spatial system with some precision and attention to detail should drive its design and fabrication.
1/2/3 Syntactic spatial system
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1B: Conceptual Strategies
1 Spatial System
2 1st grid 9x9 Unit zones with my object
FORMAL OPERATIONS
BENDING PERFORATING CREASING LAYERING
Parts to Whole
3 2nd grid 9x9 Unit zones
METHODS In Assignment 1.1 each student will explore and develop formal/material strategies of space through the making of an object. Our starting point is a simple material surface with a 12�x12� boundary. Assuming an initial pattern and two formal operations, you will modify the original two dimensional surface into a synthetic spatial system. This will occur along the surface as well as in section and at the edges of the material.
Interpreting Space
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4 Interpretation of space
STRATEGIES The studio will arrange models produced in Assignment 1.1 in a mega matrix. Each student will choose two 9x9 unit zones to document. From here you will produce an isometric drawing units a 9x9 unit zone as the top elevation and the other as the bottom. Two final drawings are required. Each should show a unique iteration that explores a possible space in between the top and the bottom elevation. Ultimately we are creating complex
spatial conditions that not only are recognizable and de-codable but also intersecting and in dialogue with each other.
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1B: Conceptual Strategies
Bodily Exploration
y
od
b al
rm
/ th
b
y od
rch he a
/t
dy d bo
e
liz xua
e se
th dy/
ody
lb tura
itec
oly
dy
o yb
ar
lit mi
e / th
ic mp
o en
DS
dy
ody/ que b
l l bo autifu
e
the b
s c bo grote i e t h the t e / y rg al bod ene e d e i e h h t ody/ t b y ody h t diminutive b e th the fil / y d o b l na the proportio / y d o b l a ic tr the geome
the working body/ the modern body/ the new age body/ the artificial body/ the producti
the productive body/ the graceful body/ the performing body/ the athletic body/ the youthful body ASSIGNMENT DESCRIPTION In a studio that addresses the body as a means of understanding our immediate environments, this assignment concentrates on a quantitative understanding of the body through its dimensions and proportions. Here we are looking not at an ideal body, but a specific body. You are asked to collect data (quantitative information) about the body through its ranges of motion, rather than its outward appearance. Photograph your
in four positions and produce elevational drawings that describe that body through the use of lines. Joints should be illustrated by points, lengths between joints are segments, and movement limits are arc vectors. FROM SPACE TO ENVIRONMENT Our body`s relationship to our surroundings affects our perception and experiences. But what exactly is a ‘body’? If it is no longer understood as universal, trans-historical, or
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PARTS TO WHOLE BODILY EXPLORATIONS
ve body/ the graceful body/ the performing body/ the athletic body/ the youthful body/ the fat body
y/ the aged body/ the natural body/ the shameful body/ the objectified body/ the resting body/ the trans-cultural, what are the body`s boundaries? How does architecture relate to this body? This studio assignment will proceed from space-making to examine how a body might be situated, used as a measuring instrument, and involved in a sensuous architecture. As we imagine the body in space and study the relationship between the two, the studio will ultimately examine how the body reshapes space into environment.
METHODS Each exercise in the studio will ask you to develop a rigorous mode of working. This ethic that rests on two premises: first, that whatever you do, you attempt to do extremely well (thinking, making, speaking). Second, that you attempt to fluidly move your work between thought and action. While architects enjoy participating in discussion of new and experimental ideas, you must back up your words and aspiration.
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1B: Conceptual Strategies
SIDE ELEVATION
Analysis
SIDE ELEVATION
In addition to describing yourself standing stationary, choose 3 poses to illustrate. These may be borrowed from martial arts, yoga, sport, gymnastics, the game of twister, dance, etc. Working with a partner, choose poses that test the limits of equilibrium while describing your own
In my axonometric drawing I focused on the motion of the hands as the bodies occupy the space while...
TOP ELEVATION
specific range of rotation, flexibility and balance. In teams of 2 photograph each other in these poses and superimpose the line drawing diagram of your partner`s body over the images of their body. You are responsible for graphically describing very specific
Bodily Exploration
TOP ELEVATION
FRONT ELEVATION
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FRONT ELEVATION
Each set will be a combination of a front, side and top elevation line drawing of your partner`s body in a specific pose. lengths and ranges of motion. This will ultimately result in four sets of precise scaled drawings, one for each pose.
In my plan drawing I analyzed the ranges of motion of the body as it moves through the space implied by two people playing basketball.
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1B: Conceptual Strategies
Space Suit
DS
ASSIGNMENT DESCRIPTION Assignment 3 introduces the concept of ‘environment’ and furnishes tools that we will work with after the midterm. We will extend the vocabulary from Assignment 1 and 2 and connect specific techniques to this new concept. Up to this point, we have examined the body though its dimensions and ranges of motion. We will begin now to work with scale; specifically the scale of the body related to space. This topic is a slip-
pery one: What is “small” relative to your body? Your room? The inside of your ear? Cells? What is ‘large’ space? Is it unbounded? If so, what methods can we use to understand its size relative to ours? Geometrical space as it relates to the human body, has been organized around 3 scales. We will explore three of these scales by manipulating our drawings from Assignment 1 and returning to the parameters of human dimension and movement we studied in Assign
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PARTS TO WHOLE SPACE SUIT
ment. 2. In this assignment, the human body occupies space, as it does so, it creates environment. While the environment can be produced culturally, politically, economically and in many other ways, we will primarily focus on the environments that can be produced through geometry, dimension and movement.
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1B: Conceptual Strategies
Space Suit_Analysis
3. Space City
2. Space Capsule
The space suit envelopes the body with a second skin. This skin can protect, enhance, constrain or deceive. It generates an intimate scale of space with the body. 1. Space Suit in the capsule
Cone of Vision
For this assignment we used our landscape capsule as a starting point. Rather than focusing on movement as a way to understand the environment, we worked primarily with the relationship between movement and vision. In this assignment, we described, diagrammed, and managed views using a cone of vision.
CONE OF VISION
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1B: Conceptual Strategies
Site Mapping
DS
Location: Los Angeles, CA Vertical: 1600 ft. Top elevation: 8,200 ft. Base elevation: 6,600 ft. Skiable area: 290 acres Longest run: 1.6 mi
ASSIGNMENT DESCRIPTION At the site, you will document the experience of moving towards, through and away from either the base station or peak station. (Your partner will document the other). Using 8 photographs near the station and 1 remote view, take near the opposite station, you will create a view carpet map of the site. Your path of motion should include views looking AT the station, THROUGH the station, OUT OF the station, and
Mountain High
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SITE MAPPING MOUNTAIN HIGH SKI RESORT, EAST BASE
the remote view should look BACK TOWARDS the station, after you`ve departed by chair lift. For the site map, we ask you to use the representational conventions developed through the past week`s “view” carpet assignment. You will use cone of vision, line segments and points to diagram a sequence of views. PROCEDURE At the site, record 9 station points for your chosen views using a compass to determine your camera`s orienta-
tion and paces to determine the distance between points. To begin the drawing, lay out your path of movement as a series of line segments. Map the cones of vision using the photographs, and shade the view carpet as defined by the intersection of the cone of vision and objects or surfaces obstructing the view. Next draw a line from each station point perpendicular to your path of motion. At the end of each of these lines, place a 3“’x4” photograph.
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1B: Conceptual Strategies
Gondola Terminal_Proposal
DESIGN SPECIFICATIONS, Elevation, Circulation, Interior Occupancy 1
DS 2
1 Gondola Elevation
The ‘Mountain High Express’ ascends 1,600 feet in elevation while traveling across 6,000 feet of mountainous terrain. Beginning with your careful analysis of the existing site and system conditions, you are to propose a design for a gondola and terminal that will replace this quad chair lift. THE GONDOLA The gondola portion of this project will begin with your knowledge of the body, its dimensions and ranges
2 Interior Gondola
of movement. With your partner, diagram how bodies will approach, enter and occupy the space of the gondola. What is the “suit” in this case and how does it affect how the body moves and the space it occupies. Beginning with the space the bodies and their “suits” require, design the environment of a gondola for 2-6 occupants. This will include space for skiing/snowboarding equipment. Focus on the scale and spatial relationship between bodies
Mountain High
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GONDOLA TERMINAL 3
4/ 5
and the inner and outer layers of enclosure in the gondola. Use your “egg� hanging structure to organize and support the gondola. How will that structure effect the movement of bodies and the perception (view) at, through and from the gondola?
4 Gondola Detail Connection 5 Gondola moving down
3 Gondola Circulation
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1B: Conceptual Strategies
Terminal_Proposal
DS
THE SITE The site analysis portion of the final project has now been completed. We will use this same technique to test your final project and its perception on the site. You will use what you have learned about viewing, perception, and the site in order to organize the relationship between the site and your terminal. How users approach and depart from your archi-
Mountain High
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TERMINAL PLAN DESIGN PROPOSAL, PLAN 1/16”= 1’-0”
1
2
tecture will position and organize how your envelope relates to its immediate visual context. What will we see when looking at, thru, back at or out of your terminal environment? This final studio project is will utilize the skills, language and the techniques that you have learn. Issues of the body, space and how they relate to form an environment should be at the core of your work. Scale, move-
ment, geometry, orientation, light, and view will be combined with the issue of weather , simple materiality, technical performance and the basic site analysis to create architecture. 1 Terminal at the Top 2 Terminal at the Bottom
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1B: Conceptual Strategies
Terminal_Proposal_Section
DS
MOUNTAIN HIGH TERMINAL You are required to create an environment that successfully meets the technical and performative requirements, each student should use the tools we have developed to design an environment that manipulates properties of perception toward intended spatial effects, It is a test of your ability to articulate a coherent language that satisfies both the technical obligations of the machine while creating a sophisticated archi
tectural environment that engages issues of perception an the body. Using the terminal technical dimensions that have been collected and the gondola that you have designed with your partner, individually design the terminal environment for either the base or the peak. You will be given an approximated “terrain� that will serve as the base for your model and drawings. At this scale, concentrate on the movement of the
Mountain High
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TERMINAL_ SECTION DESIGN PROPOSAL, SECTION A_A 1/16”= 1’-0”
1 Terminal Proposal Section 1/16”=1’-0”
gondolas as they decelerate into the terminal and accelerate on departure. How do people approach and line up in order to enter the gondola? Where do they remove and place their equipment? How do people depart from the gondola and exit the terminal? Where do they put on their equipment to ski? What are the required and intended spatial effects and perceptual strategies you use to design this environment? How does
light enter the space you have created? How does it open up to the outside and how does it close off to the outside? In addition to the gondola loading/ unloading platform and ropeway machine room, each terminal should contain some specific additional activities. The base terminal should have a large attendant cabin, a cafe and a mechanical room. The peak terminal should include a communication tower, emergency medi-
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1B: Conceptual Strategies
Terminal_Proposal_Section and Roof Plan
DS S
cal equipment storage and a small attendant cabin. The terminal its positioned inside the slope to mediate the environmental condition at the top of the mountain. This creates a relationship that balances experience, perception and movement. Dealing with a precise set of environmental variables, the function of the proposed Mountain High Terminal Project, “Sky is the Limit’ focuses on creating experienc-
es based on trajectory to ski. As the gondola enters through the terminal, the light protrude from outside through the openings in the roof at right angles, creating a more open spacial condition. As the gondola exit the terminal the only view to experience is the sky. On approach to the terminal, the circular flow of gondolas develops an entry into the facility that imbeds itself into its landscape, the mountain top, from
Mountain High
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TERMINAL ROOF PLAN DESIGN PROPOSAL, SECTION 1/16”= 1’-0”
experience of enclosure. The form follows its trajectory which uses tectonic balance to embrace its outside relationship with land and its continued form that leads from planar surface to vector form. When this transition happens the performance of light, encapsulates the interior experience with the harmonic balance of the exterior enclosure.
1 Terminal Roof Plan Proposal 1/16”= 1’-0” 2 Terminal Section Proposal 1/16”= 1’-0”
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2B: Landscape Urbanism
COURSE DESCRIPTION This semester we will explore the limits of the variable conditions, both objective and subjective, that characterize a project site. Objective conditions include the geometry describing the landform, global coordinates, ecology, hydrology along with the climatic, legal and infrastructural forces acting
on a site. Subjective conditions relate the site to a larger body of ideas or criteria, political, cultural, economic, scientific and sensory. Students will navigate these complex systems of information and strategically implement a full range of contextual relationships that both condition experience and restructure the notion of landscape.
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2A LANDSCAPE URBANISM: 1A2B
2B
re-mediating the
GROUND LEVEL
Landscape Urbanism describes a disciplinary realignment currently underway in which landscape replaces architecture as the basic building block of contemporary urbanism. For many, across a range disciplines, landscape has become both the lens through which the contemporary city is represented and the medium through which it is constructed. The Landscape Urbanism Reader, Charles Waldheim ed., Princeton Architectural Press, 2006.
Dana Bauer/ Margaret Griffin/ Stephen Slaughter
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2A: Landscape Urbanism
Brief
PARK ANALYSIS
ZONE 3 1830: L OS FELIZ ADOBE BUI
LT
1896: GRIFF LAN
ZONE 2
ZONE 1
TR AV EL TO WN MUSEUM , EDUC AT IONAL FACILITY , OLD ZOO PICNIC AREA , MERR Y-GO -ROUN D, RANGER ST AT ION, LA ZOO, GOLF C OURSE, SOCC ER FIELD S
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PRIMA RY RO AD WAYS 1: WESTERN CA NYON RD , VERMONT CA NYON RD 2: CR YS TA L SPRINGS DR, GRIFFITH DR, ZOO DR
GRIFFITH OBSERV AT ORY, GREEK THEA TRE, ROOSEVEL T GOLF C OURSE, THE HOL LYWOOD SIGN
PRIMA RY TRAILS VIST A DEL VA LLE, HOL LYWOOD
Park Presentation
BRIEF Research landscape projects to discover and present the formal, ecological, historical, programmatic, social, cultural and organizational underpinnings that justify each site as significant in the long history of landscape design.
GRIFFITH SITE
Burbank
No rt h Holl yw ood Studio City
Glendale
W est Holly w ood
FITH ND
AC QUIRES
Los Angeles
1912: AERODROME
1919: GRIFFITH DIES
San ta Monica
1.
1.
2.
2. GRIFFITH PARK WITHIN LOS ANGELES: 1. SHOWS THE CITIES SURROUNDING THE PARK . 2. SHOWS THE PARK IN ITS URBAN C ONTEX T
1. BOUN DARIES AND WILDLIFE DISPERSAL ROUTES High way System LA Ri ver 2. MOUN TA IN PEAKS
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2A: Landscape Urbanism
Research
BEACH, CA INVESTIGATIONS flow/counter flow typologies 1
ZONES DOCUMENTATION Single Family Residential
Elec tric
Sherman Ave
Sherman Ct
Washington Blvd
Sherman Canal Ct
Sherman Canal
Ave
Howland Ave Howlan Howland Canal Ct
Carroll Ct
Linnie Linnie Canal Ct
Carroll Canal Ct
Linnie Canal
Bari Wy
Sherman Canal Ct
Howland Canal Ct
Linnie Canal Ct
Carroll Canal Ct
Canal St
Grand Canal Ct
Grand Canal
Strongs Dr
Strongs Dr
Strongs Dr
d Av e
Howland Canal
Carroll Ave
Dell Ave
Virginia Ct
Co . R/ W
Elec tri c Ra ilw ay re
Dell Ave
Alberta Ave
Mild
Pa cif ic
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24th Ave
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18th St
Pacific Ave
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Horizon Ave
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laza
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Club House Ave
Club House Ct
Westminster Ave
Club House Ave
Wave Crest Ct
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San Juan Ave San Juan Ct
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Wave Crest Ave Wave Crest Ave
Breeze Ct
Wave Crest Ave
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Broadway Ct
Broadway Ave
Brooks Ct Brooks Ct
Indiana Ave
Indiana Ct
Brooks Ave Park Pl
Vista Pl
Thornton Ct
Thornton Ct
Brooks Ave
Park Ct
Park Ave
Brooks Ct
Breeze Ave
Thornton Ave
San Juan Ct
Westminster Ave
Brooks Ct
Broadway Ct
Vernon Ct
Indiana Ct
Rose Ct
Ave
Sunset Ct
Sunset Ave
Paloma Ct
Paloma Ave
Dudley Ct
Dudley Ave
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San Juan Pl
Broadway Ave Broadway Ct
Vernon Ct
Indiana Ct
Brooks Ct
Rose Ct
Sunset Ct
Flower Ave
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Sunset Ave Sunset Ct
Flower Ct
Rose Ct
Westminster Ave
Rose Ave
City of Santa Monica City of Los Angeles
Warren Ave
Commonwealth Ave
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Marine St
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VENICE LUP POLICIES (certified by the Coastal Commission June 14, 2001)
Center Ct
Page 3-5
Venice Blvd
VENICE LUP POLICIES (approved by Coastal Commission November 14, 2000)
Exhibit 17a
Parking and Beach Impact Zone
➢
Coastal Access Map
N
Not to Scale
Exhibit 10b
Land Use Plan (Map): North Venice • Venice Canals
SITE Your site is located between South Venice and North Venice Blvd. between Pacific Ave and Dell Ave in Venice, CA (90291). This rectangular sloped plot is a seemingly idle lot tucked between the flows and counter flows of North and South of Venice Blvd.`s leading to and from the beach and boardwalk. Straddled by numerous physical, cultural, historical and ecological conditions, these forces should be carefully considered and integrated into your conceptual thinking about
N
Not to Scale
the site. Topographically, the sloped site mediates between the pedestrian paths along the historical Venice Canals, and the busy weekend beach access from the parking lots behind the site connecting to the Venice Boardwalk beyond. The canals that terminates in the middle of the site represents the Northern most visible proof of a system its waterways: the Venice Canals that was constructed by a wealthy tobacco plantation owner, Abbot Kinney, in
Venice Park
55
VENICE SITE (ED)
SITE LOCATION
PROPOSED SITE 1905. Kinney dug the canals to drain the marshlands in order to build housing and a theme park after a partnership for a theme park further north dissolved. After Abbot Kinney died, Venice residents voted to incorporate into Los Angeles, and later the city, in an effort to revitalize a fast fraying fabric of Venice, paved over most of the canals in order to make way for more roads. The site currently exist as a blighted under utilized condition, but has rare opportunities to be ‘re-made’ as a nexus
between the blurred condition of a private and public space in this part of Venice.
196’ (EW) x 568’ (NS) 111,328 sq ft. (2.5 acres)
1 Timeline_ History of Venice
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2A: Landscape Urbanism
Reserach_Culture
BEACH, CA INVESTIGATIONS team_culture
Venice Beach_Demographics
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VENICE DEMOGRAPHIC
PRECEDENCE RESEARCH Do an exhaustive examination of the following phenomena on our site: culture, history, ecology, hydrology and infrastructure, and create a document using the graphic and or representational technique of a landscape urbanism project you have just completed researching. TEAM CULTURE Illustrate the immediate, local and regional cultural and commercial institutions that effect the site. Look at man from an new and objective position relative to activity, habitation and circulation.
This semester you will each address a blighted urban condition with a proposal that takes a well formed and highly specific attitude toward socially sustainable, culturally productive and environmentally sensitive criteria. A relatively small intervention will operate within a larger scale of influence, intrinsic to, and potentially revitalizing, the complex urban systems that it draws from and contributes to. You will also begin to define “landscape performance� across multiple scales in relation to local context, regional ecology and urban resources creating a shared and vital public realm.
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2A: Landscape Urbanism
Reserach_Culture
Venice Beach_Demographics
59
60
2A: Landscape Urbanism
Pre_Final
B
BEACH, CA APPLIED pre_final A
B
A
SITE PLAN = 1/128”
Venice Beach_Applied Research
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VENICE RESEARCH
STUDIO INTENT This semester you will each address a blighted urban condition with a proposal that takes a well formed and highly specific attitude toward socially sustainable, culturally productive and environmentally sensitive criteria. You will also begin to define `landscape performance’ across multiple scales in relation to local context, regional ecology and urban resources in creating a shared and vital public realm. In doing so, we hope to retrofit an underutilized
A
site to produce new conditions through innovative and surprising new uses, forms and urbanism. It will be critical to our investigation that we focus on the depth and mass of the land rather than superficial qualities, features or geometric delineation. Layers of infrastructure that both support and nourish the complex systems, both natural and artificial, that resides below ground require us to consider our site a thick and viscous volume of material rather than a taut membrane.
A
SECTIONS= 1/64�
B
B
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2A: Landscape Urbanism
Pre_Final
1
concrete
LAYERED POCHE COMPRESSION grass
INTERSTITIAL SPACE JUXTAPOSITION
concrete
grass
concrete
bellow ground
2
1 Infrastructure and Culture System
2 Axonometric of Soft/hardscape
Venice Beach_Infrastructure
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VENICE INFRASTRUCTURE The assignment will present multiple ways of dealing with landform, all of which will be spatial and tectonic. Topographic manipulations and resulting sectional conditions will initiate our formal project studies. With our design objectives and process, we hope to challenge the conventional relationship between landscape and architecture so as to inform the specific geographic condition; our site, and the greater multivalent condition; the context, in a meaningful and deterministic way. 3
3 Circulation
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2A: Landscape Urbanism
Research
BEACH, CA infrastructure_culture
USE OF SPACE Our explorations will enable us to propose the re mediation and reactivation of interstitial and under utilized terrain, along with advocating for a reshuffling of the typology of public space in the city toward a production of a richer more complex urban condition. The idea behind my research is that I wanted to create a space for the young population of Venice, as my
Venice Beach_Use of Space
65
VENICE USE OF SPACE
research was focused on the culture of Venice, to explore new possibilities and discover new talents. As I went to visit the site, I took note of the high density of acts that were performed on Boardwalk, from singing to body dancing and painting. My design proposal is divided into 2 zones: an infrastructure use of space, where people would use the site for outdoor activities such as: jogging, art chalk , relaxing on the
grass, skating, and bicycle paths. The culture use of space would be mainly used for indoor activities: singing, dancing, graffiti art, and body painting. An outdoor as well an indoor amphitheater is included in my design proposal to facilitate the activities mentioned above. The activities can be broken down on an hourly based division creating a park that is organized and everybody can enjoy using it,
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2A: Landscape Urbanism
Dynamic Interplay
Venice Beach_Proposed Deisgn
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VENICE BEACH, CA
PROPOSED DESIGN
EXO2_phORIAL
The site is a work, a human or social trace. It is comparable to a myth, temple or city in that it is open to archeological deciphering. The site is a significant system with no singular author. Using nature to convey ideology, the site is a social product. The natural environment, long understood as a technical problem to be conquered, is now seen as threatened with destruction. However, [along with] architecture, the environment and the site can also be created, molded and transformed.
Burns, Carol, On site, 1991
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2A: Landscape Urbanism
Context
N
W
E
S Site Plan 1:2000
“ A mist it`s untamed seas exists a place that follow the spirit that led to a true form�
Venice Beach_Layered Program
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Longitudinal Section
EXO2_phORIAL SITE CONTEXT
Culture
Infrastructure
Soft Scape
Amphitheater
Undergr. Circulation
Ground Plan
Elevated Plan Underground Level
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2A: Landscape Urbanism
ROOF PLAN
Infrastructure_Design
Sound Proofing Diagram
Wa te rfall Tre es Re sidential Homes
Venice Beach_Final Design
71
EXO2_phORIAL CULTURE _ART CENTRE FLOOR PLAN
5
4
3
1
2
1. PODIUM 2. LOCKERS 3. AMPHITHEATRE 4. SITTING AREA WITH 5. ENTRANCE
72
2A: Landscape Urbanism
Diagrams
Sun Intensity During the Day Sunrise
E
20:00 PM
N
S
12:00 PM
6:00 AM
W
Sunset
Massing Barrier
ENCLOSED SPAC
pe de stria n
Venice Beach_Circulation
C E CI R CU L AT I ON s
ELEVATED CIRCULATION bicycles pedes trians
73
MAIN ACCES CIRCULATION pe de stria ns
SECTION A_A_ 1/16=1’-0”
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2A: Landscape Urbanism
Rendering
Venice Beach_Derivable
75
SECTION B_B_ 1/16=1’-0”
76
2A: Landscape Urbanism
Renderings
Venice Beach_Renderings
77
DS
COURSE DESCRIPTION Programming, a relatively new term in architecture, continues to transform its role in the development of building forms. Cosmology, politics, structural systems, materiality and social behaviors have historically all been shaping architectural forms. Today, programming can be understood as a means of organizing information that constitutes specific proprieties (quantitative and qualitative) of an architectural problem. As a primer for this semesters project, it is useful to look closely at
2B PROGRAM: 1A1B2A
FRAMEWORKS
the work of three recent architects who explored programmatic narrative, programmatic script writing and tactical programmatic thinking in their architectural and urban work: Rem Koolhaas, Bernard Tschumi and Stan Allen. Studio 2B will work as a research laboratory for exploring programming as a means of generating organization models and conceptual narratives that shift basic morphologies into new spatial realms. This demands an understanding of how what we do see and
determine as architects affects what we don`t see or don`t determine as architects and vice versa. Simply put, the formal choices an architect makes impact the range of behavioral outcomes a building affords. Primarily to this study is an investigation into the gradient of space between architectural form and cultural action.
Heather Flood/ Mary-Ann Ray/ Jenny Wu
80
2B: Frameworks:Programms
Site Documentation
DOCUMENTATION LOS ANGELES, CA
Hollywood, LA
Hollywood_Los Angeles
81
SITE HOLLYWOOD
THE SITE The project site is situated in the heart of Hollywood on Sunset Blvd. between Cahuenga and Ivar- across the street from Archlight Cinemas and Amoeba Records. The site is located on a lot that currently houses a Jack in-theBox restaurant. For the purpose of this project, we will assume that the restaurant will be demolished to make new way for the new addition to the Los Angeles Film School. Unlike your site from the previous semester, this is an extremely urban site with pedestrian and car traffic from all the neighboring shops and restaurants as well
as being in close proximity to the Sunset Vine metro stop. It also has street frontage on three sides which makes the project very visible. In order to best position your project and understand the different conditions of the site, we will thoroughly document the site both two-dimensionally and three-dimensionally. It is the intention of this studio to continuously oscillate between multiple scales and representational techniques in order to provide a better understanding of the site context and your intervention into that context.
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2B: Frameworks:Programms
Morphological Transformations
MORPHOLOGIES
laminate layer lengthen melt offset overlap pinch pull push remove rimple roll rotate scale shave shorten slic cut-
VERTICAL
SLAB
parallel to Cahuenga St
rotation-
sun exposure at 30 degrees on x axis
s t a c k - solve spatial issues and in accordance with the surrounding mid rise buildings compression
CUT/ SPLIT
R O TAT E
S TA C K / M I R R O R
-effectice use of space
COMPRESS
TOP VIEW
Within the biological sciences, a distinction is made between the disciplines of Morphology and Physiology. Morphology is the study of the form and structure of living organisms free from their function. In contrast, Physiology is the study of the function and activities of living organisms and their parts. Unlike Biology, the discipline of Architecture demands a mastering of both morphology and physiology. As a student of architecture enrolled in SciARC`s 2B Design Studio you are asked
to develop an understanding of the relationship between the form and the script of a building. It should be understood that the relationship between form and script is reciprocal in nature. Meaning form informs script and in turn script informs form. We will begin the programmatic reciprocity between form and script with a morphological (form) study of overall building mass in relationship to the site.
Process
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TRANSFORMATIONAL PROCESS
ce slump separate split spread squeeze stack stretch surround swell twist void warp weave weld wrap wiggle
2
1
ORIGIN FORM : Vertical Slab
ACTION 1 : Bend
GRID PENETRATION SLAB Above are axonometric showing the origin form and the succession of actions, one by one at 1/128”=1’-0” ACTIONS: Bend: a bend is made in the xy axis at an angle parallel to the alignment to Ivar Street. Perforation: The bended slab is perforated in a grid system based on the sun radiation during day time. 1/ 2 Vertical Slab_ Models
84
2B: Frameworks:Programms
Morphologies
align bend bond vooleate braid bulge bundle burrow carve chaffer cinch coil connect crease crunch curve
TOTEM 1 5
5
5
5
4
4
4
4
3
3
3
3
2
2
2
2
1
1
1
1
Action 1: Slice the totem in 5, from top to bottom, parallel to the ground on x axis
Action 2: Bend 1st slab toward the top from right to left
Action 3: Bend 2nd slab toward the ground from left to right
5
5
4
4
4
4
3
3
3
3
2
2
2
2
1
1
1
1
Action 5: Bend the 3rd slab toward the top slightly orientated toward the right side
5
Action 6: Bend 3rd slab (the opposite corner) toward the bottom from left to right
Action 4: Move 3rd slab from right to left (E-W)
5
Action 7: Bend 5th slab toward the ground from left to right
Action 8: Bend 1st slab from left to right (W-E) towards the 2nd slab
RIGHT
SIDE
ATTACKED TOTEM To the right are axonometric showing the origin form and the succession of actions, one by one at 1/128”=1’-0” ACTIONS: Squeeze: A squeeze is made in the xy axis at the top of the totem to accentuate its height in relation to the other mid rise buildings. Twist: The squeezed totem is twisted to respond to the forces of the winds.
ORIGIN FORM : Totem
ACTION 1 : Squeeze
Methodology
85
e cut delaminate dig dimple divide drape droop duplicate extend fold group hinge impress inlay interlock invert
2
METHODOLOGY As a way to generate architecture on the site at Sunset between Cahuenga and Ivar to house the program of the addition to the L.A. FIlm School in Hollywood, the studio will engage a methodology of ‘transformational morphologies.’ Each of you will produce a series of morphological studies originating in each of the given basic, or primitive, forms and subjecting them to a series of transformations based upon forces that you identify in the surrounding site. You may work digitally or physically to produce the transformations.
1 Morphological Transformation Right Side
ACTION 2 : Twist
2 Morphological Transformation Axonometric View
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2B: Frameworks:Programms
Morphologies
PRIMITIVE MORPHOLOGY
BAR
laminate layer lengthen melt offset overlap pinch pull push remove rimple roll rotate scale shave shorten slice Ivar St
Sunset St
r
r
Sunset St
r
Ra mp
ACTION 2 : Duplicate
ACTION 1 : Cut
The Dome
ACTION 3 : Rotate
ROTARY CIRCULATION COURTYARD Above are axonometric showing the origin form and the succession of actions, one by one at 1/128”=1’-0” ACTIONS: Cut: a cut is made diagonally from E to W perpendicular with Sunset Blvd. Duplicate: A duplicate to the bar was added at the end of the second bar that is positioned parallel to Sunset Blvd, to accommodate circulation from
ACTION 4 : Pull & Split
Sunset Blvd. Rotate: A rotation to the bar parallel to Ivar street was made to run diagonally to the Dome. Pull/ Split: That same slab was returned to its original position but was split in the xy axis, above 10’ the ground level and extended toward the ground.
87
ARTICULATED MASS
MAJOR SEAMS
MAJOR AND MINOR SEAMS
e slump separate split spread squeeze stack stretch surround swell twist void warp
1
Production
Viewing
Miscellaneous
ORGANIZATIONAL FRAMEWORK This next exercise will lay the foundation for the script of a building. Each student will re-imagine their articulated mass as an organizational framework that is embedded with multiple narrative possibilities. The first step will be to develop a linear mapping of the articulated mass by first identifying existing geometric seams that subdivide the overall mass into roughly.
three major chunks. The chunks should correspond in size to program categories such as the following: production, viewing and miscellaneous
1 Organizational Framework
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2B: Frameworks:Programms
Final_Product
MORPHOLOGIES PRODUCT
laminate layer lengthen melt offset overlap pinch pull push remove rimple roll rotate scale shave shorten slic
Pe rpendicular with the Dome
Acr oss the site
ORIGIN FORM : Mat
ACTION 1 : Remove
align bend bond vooleate braid bulge bundle burrow carve chamfer cinch coil connect crease crunch curve
Morphological Models
Transformational Morphologies
89
TRANSFORMATIONAL FINAL
ce slump separate split spread squeeze stack stretch surround swell twist void warp weave weld wrap wiggle
Sunset Str Ground Level Ivar Str
ACTION 2 : Extend
ACTION 3 : Burrow
30 -0 School of F
ilm LA
cut delaminate dig dimple divide drape droop duplicate extend fold group hinge impress inlay interlock invert
ORGANIZATIONAL FRAMEWORK For the past week, the studio has been working on the transformation of a primitive morphology into an articulated mass that geometrically responds to specific site conditions. As noted in the previous assignment, the studio will be moving back and forth between the development of the form and the script of a building with the understanding that the relationship between the two is tactical in nature. Meaning, the script mines the form for advantageous narrative conditions and the form mines the script for geometric oppor-
tunities. DIPPED CONTORSIONED MAT ACTIONS: Remove: a remove is made after the split in 4 unequal parts based on an extension determined by Ivar Street and the Dome corner. Extend: The splinted mas was extended toward Sunset Blvd to accommodate underground circulation from Sunset/ Ivar St. Rotate/Lift: A burrow was made to raise the mat at the height of the most of the surrounding buildings
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2B: Frameworks:Programms
Organizational Framework
1
Production
ORGANIZATIONAL FRAMEWORK Once the major seams have been identified and articulated a set of minor seams will be produced that maps each chunk at roughly 20’ x 20’ x 20’ interval. In other words, each student will produce a three dimensional grid with line work occurring in an orientation and at intervals specific to their articulated mass. Local subdivisions in the grid should be made on a case by case basis whenever necessary. The organizational framework will then be used as a guide for testing ideas about circulation and the distribution of activities outlined in the brief.
Viewing
Miscellaneous
2
Final Product
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Major and Minor Seams
Major Seams
Articulated Mass
Primitive Morphology
1 Organizational Framework 2 Distribution of Activities
92
2B: Frameworks:Programms
Physical Models
Physical Model with Pink Theatre Loca
Hollywood_Los Angeles
ted Inside
93
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2B: Frameworks:Programms
SITE CONTEXT 1:2000
Site Context
Evolution 360
95
360 063
EVOLUTION_
Introducing Hollywood`s new Film School, redefining a school of thought, a school of interaction.
THE FIFTH STAGE
PROJECT OVERVIEW Primary to this study is an investigation into the gradient of space between architectural form and cultural action. Cultural action should be understood as the flows of people and the distribution of functional uses. By focusing on the methods of organization, the students will engage in processes that can affect traditional systems of order and transform them into renewed models of spacial interaction. In exploring the role of programming in architecture, the studio will propose formal organizations and their corresponding material form for an addition to the Los Angeles Film School in Hollywood, CA.
The new film school for the 21st Century engages itself with inncorporating new ideas of exposure, production and show. Located in the epicenter of entertainment, the heart of downtown Hollywood, gave way to create a concept based on a series of stages that allow for performance zones, exposure zones, production zones, and grand events. The structure encases a series of 4 stages, stage one, which is located at ground level for the public audience, begins to spiral into stage 2, dealing with production requirements, into stage 3, the editing zones, and finally into the grand event, the main theatre, stage 4. With a sequencing of directed stages, allows for a collaborative work and show environment, and feeds directly into a interactive visual and experiential performance based on the environment that developed the students ability to produce and perform in and around its 4 stages. The 5th stage is the public`s reaction and involvement for the showcase.
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2B: Frameworks:Programms
Floor Plans
EVOLUTION_360 B
6 2
A
3
A
3
3
3
4
1 5
8
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ENTRANCE AMPHITHEATRE 3D SCREEN ROOM 2D AND 3D SIMULATION ROOM RESOURCE CENTRE
5. 6. 7. 8.
RESTROOMS STORAGE EQUIPMENT LOUNGE/PLAZA MAIN CORE CIRCULATION
0
5
10
FIRST FLOOR PLAN 1/16”= 1’-0”
15
25
N
B
FIRST FLOOR PLAN 1/16”= 1’-0”
Evolution 360
97
EVOLUTION_360
1
2
3
1. 2. 3. 4.
EDITING SUITE 1 EDITING SUITE 2 EDITING SUITE 3 MAIN CORE CIRCULATION
0
5
10
15
SECOND FLOOR PLAN 1/16”= 1’-0”
25
N
SECOND FLOOR PLAN 1/16”= 1’-0”
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2B: Frameworks:Programms
Floor Plans
EVOLUTION_360
6
7 4
5 1
1. SEMINAR ROOM WITH PIN-UP SPACE 1 2. SEMINAR ROOM WITH PIN UP SPACE 2 3. SEMINAR ROOM WITH PIN UP SPACE 3
4. 5. 6. 7.
2
CASTING ROOM 1 CASTING ROOM 2 STUDY ZONE MAIN CORE CIRCULATION
3
0
5
10
15
THIRD FLOOR PLAN 1/16”= 1’-0”
25
N
THIRD FLOOR PLAN 1/16”= 1’-0”
Evolution 360
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EVOLUTION_360
9
8
7 5
6
4 12 2
3
2 1
1. SEMINAR ROOM WITH PIN-UP SPACE 1 2. CASTING ROOM 1 3. CASTING ROOM 2 4. STUDY ZONE 5. FOYER 6 STORAGE 6. ST ORAGE EQUI EQUIPMENT PMENT
7. RESTAURANT/ COFFEE BAR 8. SCRENNING ROOM 1 9. SCREENING ROOM 2 10. AMPHITHEATRE /250 SEATS 11. OUTDOOR TEARRACE 12. MAIN CORE CIRCULATION
0
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15
25
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100
2B: Frameworks:Programms
Study Diagrams
STUDY DIAGRAMS Editing Suites
Storage
P R I VAT E
Seminar_Rooms Theatre
PUBLIC
ZONE STUDY
PROGRAMMING
THE BRIEF VS THE PROGRAM An architectural brief, understood by its broadcast definition, is a set of problems a client may have, which an architect attempts to solve. It is reactive and moves only in one direction. The architects previously mentioned interrogated the architectural limitations on the conventional,quantitatively driven brief that emerged out of the singular driver of functionalism within Modern architecture.
Evolution 360
101
MAIN CIRCULATION DIAGRAM Editing Suites
S tor a ge
Seminar_Rooms T he a tr e Ma in C ir c ula t io n
E nt r anc e (S un s et Bl vd )
C I R C U L AT I O N / D E N S I T Y
In te ractiv e S p ace
SECTION B_B_ 1/16”=1’-0”
0
5
10
15
25
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N
102
2B: Frameworks:Programms
Circulation Diagrams
3D CIRCULATION DIAGRAM
Coffee Bar
5 t h L e v e l 4 7 ’- 0 ”
Casting Rooms
4 t h L e v e l 3 5 ’- 0 ”
Seminar Rooms
3 r d L e v e l 2 5 ’- 0 ”
Editing Suits
2 n d L e v e l 2 0 ’- 0 ”
3D Virtual Lab
1 st L e v e l 1 0 ’- 0 ”
Ou tdoor Amphitheatre G. L e v e l
0 ’- 0 ”
Sunset Blvd Sound Stage/ Equipment Storage Thea tre Circu lation P ublic S tuden t
Programms Circulation Stairs Sloped
2D CIRCULATION DIAGRAM
B.G. L e v e l
- 3 0 ’’- 0 ”
Evolution 360_Program Location Diagras
103
PROGRAM LOCATION DIAGRAM
Slopped Circulation Editing Suite (3) 200 sq feet
Editing Suite (2) Stage_3
Seminar Room (5) with private pin-up space
Learning Centre Class room_private program, that allows the editing suites to move into the judgement zone, which case will allow the final process to see what products the students delivered get viewed into its final stage. The theatre.
400 sq feet
Seminar Room (4)
200 sq feet
Editing Suite (1) 200 sq feet
with private pin-up space
Stage_2 The editing suites_the program becames more private and student based, the editing suites arrange themselves in the centre of stage 2 on its second floor elevation, which allows the curious visitor a glance on behind the scenes visual interaction, due to its outward circulation around the suites, and expressed one way viewed glass slits.
400 sq feet
Seminar Room (3) with private pin-up space
400 sq feet
Seminar Room (2) 400 sq feet
Seminar Room (1) 400 sq feet
Indoor Theatre 3500 sq feet
Stage_4 The Theatre_ a multiple platform theatre with exposure on both sides, allowing a social interaction of cross relationship viewing.
Outdoor Terrace 500 sq feet
Stage_5 Outdoor Terrace_ platform for social interaction, located at the theatre exit, overlooking Hollywood sign in the NE direction.
PROGRAM LOCATION DIAGRAM
Main Core Circulation 3000 sq feet
Core Circulation Situated on the vertical centre origin of the building, the stairwell responds its language in geometry to the sequence series of stages that moves along a centre origin and continue in an upward spiral direction.
3D Virtual Reality Lab 3000 sq feet
Outdoor Amphitheatre 2000 sq feet
Entrance Outdoor Amphitheatre_ an open platform that allows high volume of public audiences facing Cahuenga Blvd.
PROGRAM LOCATION DIAGRAM
SECTION A_A_ 1/16”=1’-0”
Wild Card Virtually takes engineers, geologists and scientists to any reality where 3d data is available: bottom of the ocean floor, inside oil and gas reservoir, or to the knee joints. Space: flat position the screen 30 by 7.8 feet allow for a complete auditorium to follow a presentation. The 45 degree angle configuration can accomodate approx 20 viewers in a partially immersive theatre. Laboratory space for vibroacoustic research_ video projection walls (curved and flat screen).
104
2B: Frameworks:Programms
Renderings
Los Angeles Film School Renderings
The interior of stage 1, entrance and public zone utilize a ‘red carpet’ event escalator which allow for public access to the Main Theatre, stage 4. Overlooking its interior balconies is the overall 3D Media Room.
3D MEDIA ROOM
The entire site is being utilized by the project`s overall form, creating relationships from South and East and public entrance zones, while the North and West ends are facing off with its more heavily programmed zones.
Evolution 360
The outdoor amphitheater it`s an open platform that allows high volume of public audiences facing Cahuenga Blvd to enter into the building.
Breaking away from its conformity of the rotational volume, is the theatre that directs its trajectory upwards on its Eastern side street scape, developing a relationship with its outdoor roof zones, and viewing platforms.
Outdoor Terrace and Viewing Platform
105
106
Visual Studies
Seminars
VS
VISUAL COURSE DESCRIPTION The practice of architecture relies on systems of communication to concieve, develop and subsequently represent anc communicate architectural ideas, where the breadth of the work is reflected in the implied proficiencies of technical skills and visual culture. The Visual Studies program takes a central role in the education of communications techniques and required skills sets offered across the SCI-Arc course curriculum. It includes drawing tools ranging from generative diagramming to representation, project communication and project production
documents. Students become familiar with established and emergent technologies and fabrication processes. The program sets the foundation for understanding the implications of working within the framework of communication systems. It fosters excellence, precision and critical engagement, and encourages highly creative work in which working methods, tools and their interfaces are interlaced. The visual studies curriculum responds to the constantly evolving paradigms of architectural communication, introducing new tools within a progressively structured program
107
SEMINARS
1A1B2A2B
STUDIES ANALYTICAL TECHNIQUES AND STRATEGIES FOR THE STUDY OF ARCHITECTURE MOVING FROM 2D TO 3D
1B
JUAN AZULAY SPRING 2010
2A
RAMIRO DIAZ-GRANADOS TATE WILSON FALL 2010
2B
VOLKAN ALKANOGLU TA: ERIN BESLER/ DALE STRONG SPRING 2011
108
Visual Studies
Spring 2010
VS
EXERCISE ONE 1. Choose a freeway on ramp/ off ramp intersection of your choice based on the aerial image of Los Angeles and greater Los Angeles 2. You will photograph, map, sketch and diagram the intersection to produce a series of drawings based on analysis and description. 3. You will define the four components as:
MAP: The location of the site from the larger context aerial photograph PHOTOGRAPHIC PANORAMA: A tiled image that shows the totality of the structure, its space(s). SKETCH: A series of hand-drawn sketches that visually describe the object of study. DIAGRAM: A simple drawing that explains how the structure functions.
109
VISUAL STUDIES
1B
FABRICATION AND DRAWING TECHNIQUES
1.1 PROJECTION AND DESCRIPTION
110
Visual Studies
Seminar_Fall 2010
VS
ASSIGNMENT DESCRIPTION The ability to analyze and describe existing geometries is a fundamental tool for architects. In this exercise you will focus on the representational modes of 2D geometric constructions of an existing object. To do this you will use a variety of techniques including observation, photography, sketching, and technical drawing. To begin this exercise you need to document your object. Even though your object might not have an orientation you need to choose one in order to establish a ground plane- a datum. Use a neutral, matte background and
photograph your object perpendicular to the established ground plane. You also need to photograph it from 4 sides creating an orthogonal bounding box of imaginary projection planes 90 degrees relative to its ground plane. Once documented, you can use each image as an underlay to begin your geometric analysis. Using basic Euclidian geometry and axes you can identify key points of the perimeter, whose vertices intersect the ground plane. And these points have a measurable perpendicular relationship to a plane on the bounding box or an established axis.
The Croissant Problem
111
VISUAL STUDIES
2A
ANALOG AND DIGITAL PRACTICES 2.1 THE “CROISSANT” PROBLEM
112
Visual Studies
Seminar_Fall 2010
VS
ASSIGNMENT DESCRIPTION For this exercise, each student is to select a set of public stairs in the city, photograph and measure them, and translate the information to a constructed set of line drawings. As-built drawings are a common documentation type that architects are confronted with. They reveal the ‘’ relationship between geometry and matter. This means that since material behaves dynamically and changes over time due to forces such as wind, gravity, pressure, etc., The geometric lines that initially, regulated the form becomes increasingly compromised. One of the challenges of this exercise is to locate the underlying geometry of
the selected staircase. staircase This requires a rigorous approach to measurements and projection. The exercise is broken down into three parts: selection, documentation and representation. You are to go in the city and choose a pair of stairs. Take photographs of it and produce a map that describes its location. From the as built sketches construct a 3D digital model. First you will need to draw the plan with all of its corresponding construction lines. From there you will project the plan geometry in the z axis in order to generate its three dimensional form. One the model its complete, produce two elevations and an oblique drawing.
The As Built Problem
113
VISUAL STUDIES
2A
ANALOG AND DIGITAL PRACTICES 2.2 THE “AS-BUILT” PROBLEM
VISUAL STUDIES 2A “Stairs” 2-D Geometric Constructions Larisa Rus
114
Visual Studies
Seminar_Fall 2010
VS
ASSIGNMENT DESCRIPTION The last exercise of the course will focus on more three dimensional modes of projective geometry using the conic section as a generative vehicle. The conic sections are the non-degenerate curves generated by the intersection of a plane with one or two nappes of a cone. For a plane perpendicular to the axis and that intersects only by a single nappe, the curve produced its either an ellipse or a parabola. The curve produced by a plane intersecting both nappes is a hyperbola. Circles and ellipses are fairly obvious and straight forward. While the previous two exer-
cises dealt with the description and analysis of material things, this one is purely abstract and presented more like a puzzle to solve. First, each student will produce a catalog of conic intersections with a cubic primitive.. This is meant to serve as a warm up and as a means of becoming familiar with basic techniques and an understanding of the types of figures produced from such intersections. Produce 25 iterations in a 5 row by 5 column matrix where each copy is a slight translation of the previous. Use only moves and rotate commands.
The Conic Intersection Problem
115
VISUAL STUDIES
2A
ANALOG AND DIGITAL PRACTICES 2.3 THE “CONIC (inter)SECTION” PROBLEM
(0, 0)
(0, 1)
(0, 2)
(0, 0) {0, 15}
(0, 0) {0, 30}
(0, 0) {0, 45}
(0, 0) {0, 60}
(0, 0) {0, 75}
(0, 1) {0, 270}
(0, 2) {0, 255}
(0, 3) {0, 240}
(0, 4) {0, 225}
(0, 5) {0, 205}
(0, 0) {0, 10}
(0, 0) {0, 20}
(0, 0) {0, 30}
(0, 0) {0, 40}
(0, 0) {0,50}
(0, 0, 1) {0, 5}
(0, 0,1) {0, 10}
(0, 0, 2) {0, 15}
(0, 0, 3) {0, 20}
(0, 0, 4) {0, 25}
(0,3)
(0, 4)
116
Visual Studies
Seminar_Spring 2011
VS
COURSE DESCRIPTION This course examines and extends the analytical techniques and strategies for the study of architecture evolving from programmatic and structural systems to external factors affecting site or building. Work is centered on advanced digital 3D drawing and modeling techniques for the construction and evaluation of spatial conditions. Students develop techniques for manipulating 3D data that include rapid
modelling, texture mapping, lighting, rendering and analog drawing. ASSIGNMENT DESCRIPTION “Digital Collage�: We will focus on digital assemblages of graphic material and collected surfaces within Photoshop and Illustrator to create a futuristic furniture design. The digital collage will inform the monochromatic surface formation in term of geometry, aesthetic, component hierarchy, and assembly
Digital Collage
117
VISUAL STUDIES
2B
MONOCHROMATIC FORMATIONS/ futuristic furniture 3.1 DIGITAL COLLAGE
118
Visual Studies
Seminar_Spring 2011
DESIGN FURNITURE ‘Design Furniture’ has emerged as a status quo into the architectural discipline. Based on a growing economic market with speculative interest in the world of art, and auction houses such as Sotheby’s, Kenny Schachter/ ROVE, or Philips de Pury Gallery, architects have discovered a potential market for their new designs. Supported by a rapid change of scale in design proposals, an architectural dogma of prototyping, and a recent discourse of digital production technology, architects have occupied a substantial niche in the field of furniture and product design. ‘Design Furniture’ uses a vast range of so called ‘new materials’, fashionable patterns, or performance based surfaces in their designs. Within this realm of production, the architect has also the opportunity to test conceptual ideas with specific design ideologies. In this testing environment, architects can experiment with technological, material, geometrical, and aesthetic parameters. This visual study seminar will focus on the representational aspect of surfaces implemented into the design of futuristic furniture. The 2D and 3D surface formations will consist of an assemblage of monochrome colors as a method to measure geometrical and aesthetical values. Surfaces have the potential to emerge into new multi-performative systems which can reflect into spatial conditions. The ambiguous symbiosis of digital modeling techniques and experimental design offers an exploring way to represent internal & external moments of spatial design construct. We will begin our examination using extractions of existing shapes and a selection of surfaces within the culture of high-speed cars, speedboats, air planes. A compilation of these figures will carry parameters such as structural logic, design aesthetic, individual scale sensibility, texture, and performance constraints.
Design Furniture
119
VISUAL STUDIES
2B
120
Visual Studies
Seminar_Spring 2011
VS
3D Modeling
121
VISUAL STUDIES
2B
MONOCHROMATIC FORMATIONS/ futuristic furniture 3.2 3D MODELING
ASSIGNMENT DESCRIPTION This second assignment will focus on 3D modeling techniques in Rhino. It brings an emphasis of digital modelling culture to the discipline of design and requires that students develop an attitude and understanding of 3D modeling. Students will base their modeling on the ‘futuristic furniture’ design
of Assignment 1. The elements and individual components of the futuristic furniture shall be extracted, analyzed and precisely modeled in 3D with Nurbs modeling techniques in Rhino. A series of monochromatic white renderings will be produced to represent your digital design.
122
Visual Studies
Seminar_Spring 2011
VS
MODELING In 3D computer graphics, 3D modeling is the process of developing a mathematical representation of any threedimensional surface of object via specialized software. The product is called a 3D model. It can be displayed as a two-dimensional image through a process called 3D rendering or used in a computer simulation of physical phenomena. The model can also be physically created using 3D Printing devices. REPRESENTATION Almost all 3D models can be divided into two categories: Solid:
These models define the volume of the object they represent (like a rock). These are more realistic, but more difficult to build. Solid models are mostly used for non-visual simulations such as medical and engineering simulations, for CAD and specialized visual applications such as ray tracing and constructive solid geometry Surface - these models represent the surface, e.g. the boundary of the object, not its volume (like a thin eggshell). These are easier to work with than solid models. Almost all visual models used in games and film are shell models.
Renders
123
VISUAL STUDIES
2B
MONOCHROMATIC FORMATIONS/ futuristic furniture 3.3 RENDERS
MAXXI Museum Interior Rome/ Italy
Zaha Hadid Architects
124
Visual Studies
Seminar_Spring 2011
MAXXI Museum Interior Rome/ Italy
Zaha Hadid Architects
Renders
MAXXI Museum Interior Rome/ Italy
Zaha Hadid Architects
125
126
Visual Studies
Seminar_Spring 2011
ASSIGNMENT DESCRIPTION This fourth assignment will utilize Grasshopper, the algorithmic modeling plug-in for Rhino to explode the possibilities of parts-to-whole relationship. Students will design and execute a highly articulated surface and panel system. The two components, panel and surface, will be designed in unison to achieve a cohesive and well thought composition. DESIGN AND OUTPUT During the tutorial session, we will introduce the basic Grasshopper environment, components, logic and imple-
VS
mentation. You will be given a preliminary Grasshopper definition within which, you will be able to test the variable combinations of your panel and surface designs. Students are expected to evaluate the multitude of combinational possibilities available to them and execute those that most clearly express their design intent through the part-to-whole relationship. Working in Rhino, design a panel which will become part of a larger system. Also, design a single surface which will receive your panel system.
Algorithmic Modeling
127
VISUAL STUDIES
2B
MONOCHROMATIC FORMATIONS/ 3.4 ALGORITHMIC MODELING
128
Visual Studies
RIGHT
Seminar_Spring 2011
FRONT
PERSPECTIVE 1
TOP
Algorithmic Modeling
M O R P H O L O G I C A L T R A N S F O R M AT I O N
2
3
129
130
Applied Studies
Seminar_Fall 2010
AS
APPLIED 2A
JAY VANOS
ABSTRACT 1. When we speak of Climate and Environment, what is it that we are discussing and how and in what ways are they distinguished? How does this discussion relate to and effect the production of architecture? 2. When we speak of architecture and environment, in specific relationship to issues of sustainability and the environment, what are the critical areas of discussion and how do they influence our design directions? CLIMATE Climate is a scientific determination of the qualities of a site or area based on
measurable data; daily and seasonal temperatures and humidity, wind speeds and directions, solar radiation levels and cloud cover percentages, rainfall rates and frequencies. All constitute measurable data. Objective information used to discuss the specific aspects of a location in a quantifiable manner, indicating forces to be reckoned with. ENVIRONMENT Environment on the other hand appears to be a very subjective issue.
Seminar
131
SEMINARS
1A1B2A2B
STUDIES INTRODUCTION TO CLIMATE AND ENVIRONMENT
COURSE DESCRIPTION This course is designed to explore both the objective qualities of a climate, and the subjective qualities included in the definition of environment as they exert influence on the development of architectural and social space. The course will also investigate specific design methods which relate to architecture and environmental issues. Topics to be included: ENVIRONMENTAL ISSUES: 1. Perception: How do we understand the contents of our perception? 2. Boundaries: Through the creation of boundaries, man creates himself.
Boundaries are definitions. They make distinctions between things precise. Man. Nature. Technology. 3. Nature: What is it? How do we distinguish what is ‘natural’ vs ‘unnatural’? CLIMATE ISSUES: 1. Human Physiology and the idea of comfort: What does it mean to be comfortable? 2. Physics of Hot and Cold: Physics as establishing the ground rules for climate responsive design. 3. Climate Zones: Variables which we use to determine distinct climate zones and their influence on the design.
132
Applied Studies
Seminar_Fall 2010
Transformation of form derived from the existing
Resistance Colums
Topography Layers
Hot and Arid Climates
Housing Units for Hot and Arid climate
condition on the site
Schematic Units
Individual Units
133
134
Applied Studies
Seminar_Fall 2010
GGuui li ilni nP ,r oCvui na cnex, i CPhri on va i n c e
Emergency Floating Bases for Humid CLim
Floating Platform
Deck Station Support Station
G.E Lexan Corrugated Panel
Made from Lexan polycarbonate. Offers the clarity of glass, transmitting up to 90% of visible light High impact resistance Thermally insulating Capability Light weight
Humid Climate
135
LL ii R Ri vi ve er r, , GGuui il li inn One of the most pitoresque O n e os fc et nh iec ms op so tt sp ii tno rC ehs iqnuae L i s t e d a ss c oe n ie c osfp to ht se iwn o Cr hl di n` sa L i st toepd taesn o wn ae t oe fr yt hwe own od rel rds` .s atery wonders. S u b tt or op ptiecna lw m onsoon zone Subtropical monsoon zone WWe ea at thheerr: :h he ae av vy y h huummi iddi ittyy M aMi an i nt r tarna snps op ro trat ta itoi no n: b ba ammb boooo r raaf fttss L iL iR iRvi ev re rC Cr ur ui si se e f of or r t toouurri issttss: : w aa tt ee rr wwaatyy 88 33 kK mm ll oo nn gg w
mate Tall St r uct ures Pitched Roof the roof receives the greatest portion of the solar radiation. Subject to lonher exposure to the sun and Circular Shape: results revealed that the circular shape is the most optimum shape in minimising total solar insolation Varies in width
Floating Platform
136
Applied Studies
Seminar_Fall 2010
Transformation
Temperate Climate
Plan View
MODEL Perspective View
137
138
Applied Studies
Seminar_Fall 2010
FORM DERIVED FROM THE EXISTING CONDITION TOPOGR
concrete
steel
Cold Climate
139
COLD CLIMATE R E DE SIG N IG WAYS OF T R A NSP OR TAT ION IN
ALASKA
Key Words concrete curves steel Alaska massive peaks topography freeway lake graphic cold snow
APHY
CHANGE
140
Cultural Studies
Seminar_Fall 2010
CS
CULTURAL COURSE DESCRIPTION Cultural Studies at Sci-Arc is uniquely tailored to meet the educational needs of emerging architects and designers in the contemporary field. As a necessary step in their education, “Cultural Studies� refers to the study of architectural cultures: design cultures, building cultures, disciplinary interiority and exteriority, canons and traditions, critiques and avant-gardism. In this manne, it is both fundamental and indisciplinary: the core program at both the undergraduate and graduate levels is comprised of courses in Urban Studies, Visual Cultures, Philosophy, New
Media, Critical Theory, and all aspects of Architectural History, Theory and Criticism. Courses are as follow: First course: Fields and Practices: Introduction to Design Cultures. Second course: History of Architecture 1: Prehistory to Middle Ages, History of Architecture 2: Renaissance to the Enlightenement. and History of Architecture 3: Industrial Revolution to Contemporary Discourses. The third course: Humanities 1: Antiquity to the Middle Ages, Humanities 2: Reinaissance to Romanticism, and Humanities 3: Moderinism in Literature, Art and Film.
Seminars
141
SEMINARS
1A1B2A2B
STUDIES HISTORY OF ARCHITECTURE 1/2/3 HUMANITIES 1/2/3
2A
JILL VESCI HUMANITIES 2 Fall 2010 DORA E. JONES HISTORY OF ARCHITECTURE 2 Fall 2010
2B
JILL VESCI HUMANITIES 3 Spring 2011
142
Cultural Studies
Seminar_Fall 2010
History of Architecture 2
Fall 2010 Larisa Rus Who was the better architect: Bernini or Borromini?
Both Borromini and Bernini lived at the time when the Baroque was being born in Rome, as the expression of the new feeling of confidence and antagonism in the Roman Catholic Church. Divergent characters, contrasting backgrounds, and different attitudes towards life presumably provoked a rivalry between the two. Bernini worked easily with the aristocratic and powerful, and was successful as a sculptor and painter. Borromini on the other hand was a lonely reserved man; he prided himself on his highly specialized training, and he resented his modest degree of recognition. Both contributed to the invention of this new style in architecture, but their contributions were highly different. “Bernini used weapons of scale, dramatic light effects, the fusion of the three arts painting, sculpture and architecture into a single whole, dramatic extension of the action across the whole space of church, and the use of rich materials, colored marbles and decoration; but his architectural forms were very simple, sometimes even mean (Blunt, 23).” On the contrary, describing Borromini`s forms in the language of architectural analysis, they have a mathematical sophistication, an almost ruthless logical geometry underlying his creation quite different from the grandiose simplicity of Bernini`s conceptions. “Borromini worked on a small scale, usually in brick and stucco, but sometimes in travertine; he never used color, and all the interiors of his churches were painted white; if he introduced sculpture, it is incorporated in the decorations of the building; and the light is used to emphasize the space, not to create dramatic contrasts. He attains his effects by purely
CS architectural means, and in devising these he showed the utmost inventiveness (Blunt, 23).” The outcome is an architecture in which the essential Baroque movement is given its most glowing expression, uninterrupted by the abundance of colors of materials or drama. As Blunt states, “One looks at Bernini`s buildings with their eyes; one feels Borromini`s with the whole body (24). “ In Palazzo Barberini, while worked under Maderno and Bernini, Borromini was in charge for the oval spiral case in the right wing. The steps are shaped in very elongated S-curves, a form which Borromini was responsible for some of the particularly revolutionary ideas copied into the 20th century. Of these, the most remarkable are the windows openings on the top floor, which are set in false perspective, that suggest extra depth. The combination of revolutionary inventiveness and intellectual control gives Borromini`s work its great appeal. With Bernini who took over in 1629, his relations were more complex. The hand of Bernini and his attention to optical effects can be seen in the loggias of the first and second floor. The six smaller doors in the salon of the palace are basically from Borromini`s design and most of the existing drawings for them are by him, but the introduction of sculpture in the form of busts in niches enclosed in the pediments suggests that Bernini had a hand in the completion of the designs. The Church of San Andrea al Quirinale constructed from 1658 to 16722 by Lorenzo Bernini stands as a monumental piece of Baroque architecture whose innovative design both beautifully exemplifies the post-Reformation attitude
History of Architecture
143
CULTURAL STUDIES HISTORY of ARCHITECTURE
of the Catholic Church and testifies to the genius of Bernini. As Morrissey states “[Bernini is] a man of extraordinary ability, ambition, and charisma, he was sublimely in sync with the rhythms of his time, the seventeenth century. The harmonies he created in architecture, sculpture, and painting- he was master of all three-were at once lively and subtle, energetic and thoughtful, deeply emotional and yet always carefully calculated. He possessed perfect artistic pitch (Morrissey, 15).” The contrast between the two is heightened by the fact that Bernini engaged comparatively simple forms but overlaid them with the richest possible decorative elements, whereas Borromini, partly form necessity because of the nature of his commissions, restricted himself to painted stucco with sparse gilding, inventing decorative motifs and never employed figural sculpture on anything like the scale in which Bernini worked. According to the French diarist Paul Freart de Chatelou, cited in Morrissey`s book, “who has been assigned by Louis XIV to be Bernini`s escort […] records that, Bernini ‘discussed Borromini, a man of extravagant ideas, whose architectural designs ran counter to anything imaginable; a painter or sculptor took the human body as his standard of proportion; Borromini must take a chimera for his’ (Morrissey, 8).” Borromini become for me the influentially great master, the one architect whose works were so delicate that one could go on investigatee and dissecting them, constantly discovering new beauties, new refinements, new ingenuities, and always in the end coming to the conclusion that what seemed at
first sight to be freaks of fantasy were in fact variations based on an almost ruthless logical method. From his own day till the end of the nineteen century, Borromini was recognized as the great anarchist of architecture, the man who overthrew all the laws of the Ancients and replaced them with confusion. “If anyone invented the Rome we knew today, it is Bernini and Borromini. It was their passion, their vision, which gave us the Rome of extravagant churches of travertine and broad piazzas of granite. The Rome of towering domes that reach toward God and expansive palazzo that declares the power of man. The Rome we remember and the Rome we dream of (Morrissey, 13).”
Work Cited Blunt, Anthony. Borromini. 2001. Morrissey, Jake. The Genius in the Design: Bernini, Borromini, and the Rivalry that Transformed Rome. 1st ed. New York, 2005.
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Humanities 2 Fall 2010 Larisa Rus Line with Curve
Depictions of thought contribute to an analysis of proportion, scale, and texture, delineating form that perpetuates light in turn introduces realism, focusing on contradictions, and creating levels of emotion. As day breaks and evening protrudes its faint light that distinctly resonates rays of intensities, the masked portion to the far left becomes a hue, darkness then exceeds to the bottom right of the canvas becomes its opponent that separates foreground to background and fortresses its scene to become part of the human eye, when viewed embarks its start, its story, and its timeline it has indirectly pointed in its history, and embodies its part in a series of periods rich in context and true to the human condition, the renaissance, the tones, the portraits that define, and the scenes that redefine. The turn of the century in Italy marks the start to a reorientation and rethinking of how art is perceived and how translations of writings embark on two very similar yet very philosophized disciplines and sciences create a center stage for scholars and geniuses. Giovanni Boccaccio, the Italian Humanist, his writings and poetry examined conditions of love, most notably “The Decameron”, which situates itself during the Bubonic Plague in Europe, a group of friends fled the plague stricken Florence and left to spend time in the countryside. The story begins to describe the nights that were spent between friends, “extremely visual in expression and emotion (Machionelli, 212).“ Possibly introducing a start to a new form of story telling, almost reminiscent to Italian folk songs, the frame narrative of the story begins to use a linear narrative and the
CS stories that are chosen each day to describe, tales of love, and tales of mishap, all intertwined to feel the human emotion of relationships. The social expression, and cultural significance of the writings of Giovanni Boccaccio in the mid 1300’s signified the dual nature that his writings captured to “reflect a time of political up rise, and a time of a social strata, the comparison of literal events and Christian beliefs disguise itself, and reflect in the foreground of love and compassion and choices that are made (Machionelli, 222).” The choices that are made always have a direct effect to its path and for love or for tragedy develop comparative analysis that evokes human conditions. From writing of love and poetic storytelling that capture events of tragedy yet conquered through relationships and overcoming to much more political oriented descriptions of the writings that Niccolo de Bernardo dei Machiavelli. As a playwright Machiavelli only developed one narrative titled, “The Prince”, which was never realized until after Machiavelli’s death. A bit of controversy was centered around the piece due to the politics and ethics. Machiavelli was considered one the founders of modern Political Science as Secretary to the Second Chancery of the Republic of Florence, his politically minded ways were introduced to his surroundings at very early age, due to the fact he was brought up during political changes, the Pope waging wars, and the city states at its most fragile conditions, and governments that were uncertain, gave no surprise to one of Machiavelli’s greatest and most notable works, “The Art of War”. “His writings gave light to a new kind
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of Realism, the art of science and exact replications and writings that depict social significance in time of upheaval and ridicule (Burckhardt, 75). “ “The Prince”, like the “Art of War”, turned its focus on a Political Realism rather than Idealistic perspectives and optimistic outcomes, and in turn led to a new form of Political writings. Most notably the works of Torquato Tasso has been reviewed by the European public during the mid to late 1500’s, although his most known published works are that of his descriptions during the first crusade “that depict a very imagined and highly analytical view between the battle of Christians and Muslims, during the overtaking of Jerusalem (Burckhardt, 83).” Most interestingly Tasso developed a very critical view of art and poetry which began to contradict a natural born writer, who’s impulse and naturally instinct, drove his poetry to the grander and dialogue which he created during his works. The Renaissance writings have directed a dialogue that captures a visual sense of perspective to significant events in around the time periods of the 1300’s and through to the 1500’s and signifies a movement of descriptive narrative that gave a true light, rather than an abstract view of society and their reactions. In a direct parallel artistic realm, and equally important are the Renaissance painters, sculptures, the artists that defined a period of time where the proportion of man, and the perfect idealized form came to life, created a disconnect between the Renaissance writers and the Renaissance painters and sculptures. Donata di Niccolo di Betto Bardi, most famously known as Donatello, the Italian
Sculpture originating from Florence utilized a technique he conquered and called shallow relief type of sculpture, which created its own form of illusionism. In his work “David”, was a direct source of the battle between David and Goliath. In the biblical text it underlines that fact that Israelites are in battle against the Philistines, and the best warrior, Goliath, demands a meeting against the Israelites best warrior David. After Donatello was offered a commission to do the statue of David, from the Cathedral of Florence, after the first sculpture of David, he was asked to do another, this time out of bronze, and was the “first nude bronze sculpture since antiquity (Burckhardt, 200).” The view of David’s head with pose and assertiveness gave an allegiance to confirm his conquer his victory, indicating a sense of no challenge, for he knew that he was the superior warrior in a battle that lasted two religions. “From the great sculptures of Donatello, to the paintings of the Renaissance, the celebration of life, the events, societies, in a typically intensified and glorified perspective, more notably the works of Sandro Botticelli, and the artists work titles “Primavera”, or “Allegory of Spring” (Machionelli, 38).” In the painting there are six female figures and two male figures that are rejoicing around the embracement of life, and love, evolving it seems to be a sense of eroticism. With the female characters locking hands and dancing, the tree begins to form the departure in the painting that centers itself around fallen balance of life, and cupid overhead. When relating the painting “Primavera” to Leonardo DaVinci’s “Last Supper”, DaVinci narrates twelve apostles, which all
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expressions on the face vary in reaction with the newly arrived news. The tones of shade are subtle and refract little, due to the fact most of the emphasis is portrayed in facial expression. Rather the painting “Primavera”, expresses more vibrancy in background affect which blends with the rejoicing of optimistic predictions of love and spring, the premise of the two embark similarly in dialogue yet set two entire different tonalities. Perhaps a transition of the two is the works of Michelangelo Merisi da Caravaggio, in his work of “Judith beheading Holofernes” (Machionelli, 189). In this piece the vibrant shades, almost rich tones create a sense of betrayal and lust, capturing both of what “Primavera”, and “The Last Supper”, were emulating. In Michelangelo’s work the women, Judith, saved her people by seducing Holofernes into her bed, then beheading him. It begins to create a sense of temptation, and curiosity, in the eyes perhaps masking a hidden agenda that sits within the darkly toned background which captures a sense of forthcoming, and evil. When comparing sculpture to painting the works of Michelangelo’s sculpture of “David” and Bernini’s statue of “Apollo and Daphne” the similar use of fluidity and following the human curvature of line that flows from a certain pose, to certain view, and implies a sexual connotation, exemplifies a progressive movement in realism, yet still idealizing the human form. Rather in the Renaissance writers, the use of their tactics led to true realism in terms of capturing truth and actualities, to begin to story tell actually emotions, tragic or for love, came a light that was used to portray. In the artistic realm of
painters and sculptures in the Renaissance the use of Idealism, in perfect proportions, and a tactic of optimism, that portrayed an over exaggeration in events, emotionally filled imagery that capture and provoke its intentions of the painting, sculpture to develop a visual sense of identities with characters. The Renaissance gave light to new perspectives, representing life, representing the ideal forms, and emulating historical reference, all in turn rejoices to create many ingredients. Within the ingredients that create one of the most involved and creative, and idealized eras that history has taught us are lines, within those lines, are parallel planes, two separate lines that simply inform each other, the Renaissance created the curve between those two lines to create beauty.
Bibliography “History of Florence and of the Affairs of Italy from the Earliest Times to the Death of Lorenzo the Magnificent” By Niccolo Machionelli. IndyPublish, May, 21, 2002. “The Civilization of the Renaissance in Italy”. By Jacob Burckhardt, BiblioLife. Aug. 18, 2008.
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Spring 2011 Larisa Rus Boxes and Cubes and Variations
Progression happens from movements in human behavior and interplays of unusual acts in stepping over boundaries. Often time’s boundaries exist on very thin lines between what is acceptable by society and what is deemed simply unacceptable. Within this delicate balance of obedience and staying within appropriate behaviors emerges intruders, nomadic, renegades. Today’s standards, we perceive them as visionaries, the ones that crossed over the thin line and made that line very visible, establishing this is the new idea, the new form, and the new way, we are the impressionists, any movement forward is not yesterday, not today, buy tomorrow, which classifies these humans of grit, true modernists. The Impressionist gave light where there was darkness, allowed color where there was shade, and broke out of academia and perceived the ultimate canvas in its true form, not in a studio, but in its natural audience. The best light is the sunlight, and the best shade is late afternoon, from earth’s natural shade’s and illuminators allowed for the true human spirit to emerge onto the canvas. With its free hand motion brush strokes and colors that could only name themselves, developed this new art form, and classified these visionaries into a category of their own. It is an art of movement of freedoms, and of emotions captured from scenes on canvas that translates to what is happening right now, everywhere, and no longer is art being tied down to strict disciplines, but is becoming more expression, more life, and ultimately its own identity all in one, all at the same time with its audience that can relate and
move and feel what was captured and explored onto another form of abstraction. It becomes more about how the eye perceives the captured scene on canvas and less about the recreation of the object, which relates to a new thought in the arts and the modernity that exists provide many movements to come that feed of what the impressionist displayed as the new modern art form. From their re-creation of what painting could become the disciplines that followed were many, including Neo Impressionism, Post Impressionism, and ultimately Cubism. If a movement such as Impressionism can provide a direct line and foresight to another movement like Cubism, then the argument for Impressionist to be considered “modern” is certainly a viable statement. During the time in France when Napoleon III was in control, painters that were from the academy typically painted scenes from historical reference and displayed their work, often times paintings of nude and other recreations of historical events, typically received well by a public audience. However, when introducing a nude in a contempary scene, with no historical reference, that becomes reason for an up rise, and suddenly proclaimed unexcetable, such as the work by Edouard Manet, and his piece” Luncheon on the Grass”, depicting a nude women having a picnic, with two fully clothed men. With new explorations in what is acceptable by society, and even to the point of new available technologies and resources which ultimately mandate current capitalistic trends exist the marketable approach to art, and attracted a larger audience. With painting becoming more surreal
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and effecting the current scene in a modern contemporary approach, it ultimately relates to ideas that would attract buyers and appreciations from most relatable scenes. The interoperation of dreams lead to images that become translated and over exploited to the recreation of some of the most unusual, dis allusion depictions of transformative ideas into visual form. The Novella, “The Metamorphosis”, is a perfect example of Surrealism in written form. Depiction of a travelling salesman waking up one morning and finding himself transformed into a monstrous insect, almost as though he has entered into a dream sequence, but he is in reality. The over illuminated descriptions of this transformative process leads itself directly into Surrealism, due to its psychological state, and in workings of the mind, and the way it falls into behavioral patterns of the human condition, and what is the idea of existence. “The Metamorphosis” engages what Sigmund Freud’s famous quote describes, “A dream that is not interpreted is like a letter that is not opened.” The Surrealists attached themselves with the insane, and preventing normalcy to exist, but to effect and stimulate the imagination, fantasy, the unknown, and the recreation of the intensity of insanity all mixed together with extenuations and slight modifications of objects. Surrealism is often times representation of dream like states, but can also be abstractions of still lives, a very Hunter S. Thompson approach to the sycadelic undermining of objects and experiences. “The Metaphorphosis” leads to a very emotional attachment from an altered state that redirects an
audience from an intense visual description, to a very human sensitivity inside of a hard exterior shell. The separation of the two at one point disappears, and the realization of this monstrous insect being a human mind with feelings and emotions takes over one sense, but still relays and hints on the other sense of what this creature is described to look like. In the painting “The Persistence of Memory”, by Salvador Dali, the painting begins to wrap a series of clocks, and related to time and place, memory, and events, when they happened, however, it becomes blurry, and slight ideas come to mind, the painting evoked the movement of Surrealism. In that painting alone, it created a still life of abstraction and remained true to its dream like sequence; both of Surrealisms approached become extremely evident in the painting by Salvador Dali. That begins to translate to the novella, “The Metamorphosis”, due to its nature of a much known scene, this man was living in a still life in a sense, he had a very ordinary job as a salesman, and he lived a very typical everyday lifestyle. When transformed into the creature, the reality of everyday life still existed, but through an outer extension of this dream like creature.
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Humanities 3 Spring 2011 Larisa Rus Collage/ Street Art
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It’s a little bit like M Mon na Lisa sa, you don’t know what she`s thinking,is she scared? Is she fierce,Is she bewildered, Is she ambivalent, is she confident about her beauty, you can look at it and have a different feeling about it every time!
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