Lorena del Rio_Academic Porfolio

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LORENA DEL RIO ACADEMIC EXPERIENCE


DESIGN STUDIOS

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GARDEN ESCAPE

SPRING 2014 CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE VERTICAL DESIGN OPTION STUDIO LORENA DEL RIO GARDEN ESCAPE is a design studio for 4th and 5th undergraduate students and master architecture students based on four fundamentals: - Propose an exercise based on a REAL project, with the same conditions and constrains that should be tackled in the real situation. - Involve all the parties that would intervene in the process, DESIGNERS, CONSULTANTS, CLIENTS, USERS and in doing so raise awareness on the students of the complexity of the design process. Architects have to work together with professionals of other fields, provide a service to their clients and at the same time fulfill all the needs of the future users. Giving the students the possibility to talk to the client, get to know the future users and be advised by professionals of other fields during the first stage of the design process facilitate the opportunity to inform their designs based on these inputs, which is unusual in an academic context but it is on an everyday basis in the practice of architecture. - Explore the psychological dimension of architecture, investigating how material, configuration, texture, color, light... determine the sensorial experience of the space. The main idea to convey is that design can be used as powerful tool to produce SOCIAL TRANSFORMATION, beginning by the individuals. - Use FABRICATION as a way to be consistent with the decisions made during the design process. Budget, feasibility, technical restrictions, time of fabrication and assembling process, take a part in defining material, geometry and complexity of the design and it is a way for the students to take responsibility of their decisions.

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THE CLIENT Juegaterapia (play-theraphy) ( www.juegaterapia.org ) is a non-profit foundation that operates in Spain, Portugal, Morocco, Afghanistan, and Venezuela. They began delivering donated play-stations to children with cancer in order to be used during their ‘chemios’, under the slogan “chemio playing will feel like flying”, but they have expanded their agenda. La Paz Hospital’s fifth floor terrace, originally destined for installations, was transformed into a garden and a playground for the hospitalized kids. It’s the first one of a series of intervention throughout Spain. THE PROJECT Designing a playground, a series of open and close recreational spaces to provide “escape” for the hospitalized children with cancer and another long-stay illnesses using the second floor underutilized terrace of the “LA FE” Universitary Hospital in Valencia, Spain. Similar to the way video-games generate a parallel reality where children feel they can be superheroes, winners or adventurers...the new landscape will aspire to create a therapeutic environment for children whose medical challenges in a medical environment have prevented them from normalized play. Natural elements will be crucial in shaping this healing environment, as well as in controlling the weather of Valencia. Through technological advances, living systems can be introduced into these extreme environments and flourish independently of their natural habitats. They can be considered another constructive material at the service of architecture. The new space should be a sensorial retreat for their users, stimulating them and hence facilitating the children’s recovery. THE USERS Pediatric Cancer Patients of La Fe Hospital Siblings, cousins, friends... of the hospitalized children ( children ) Families and friends of the patients ( adults ) Staff of the hospital Volunteers of JUEGATERAPIA

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THE CONSULTANTS Sheila Danko Architect,. Industrial Designer She is professor and Chair of the Department of Design and Environmental Analysis. She is an Architect , he obtained her degree at University of Michigan, she also has studies in Graphic Design, Commercial Art and Fine Arts at the College for Creative Studies at Detroit and she has a Master in Industrial Design at Rhode Island School of Design. Her research focuses on the intersection of design and leadership, Her goal is to expand the understanding of how design process and product can be a tool for transformational leadership and social change across a variety of disciplines. Nancy Wells Environmental Psychologist She is Associate professor at the Department of Design and Environmental Analysis. She is an environmental psychologist who studies people’s relationship to the built and natural environment through the life course. Dr. Wells received a joint PhD in Psychology and Architecture from the University of Michigan and completed a NIMH post-doctoral fellowship in the School of Social Ecology at the University of California. Nancy also received a Master’s degree in Design and Environmental Analysis from Cornell University and a Bachelor’s degree in Psychology from Connecticut College. Rodrigo García Industrial Designer, Inventor His research focuses on inflatable and, transformable structures and fractal deployable systems. He has developed several patents and his work has been recognized with numerous awards and grants such as the James Dyson Award, Archiprix, ArtScists, La Caixa, Arqui, Caja Madrid, Telefonica Award, and for three consecutive times the biennial GAU:DI European Competition on Sustainable Architecture. He recently obtained the Lexus Award with a project taht will be presented on the Salone Internazionale del Mobile di Milano in March.

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In Academia he has collaborated with different institutions and universities such as CEPT ( India ) , Ilhan Koman Foundation ( Turkey ), Ecoweek ( Israel ) and OSSA and IWAU ( Poland ). Currently he is developing an experimental project at the Innovation Design Engineering Department at the Royal College of Art and the Imperial College of London about how to integrate effects used in magic in design and architecture.

THE END OF THE PARTY During the last part of the semester the students developed their designs for the construction of a FULL SCALE partial model. We were all really excited with the process, specially when we started to see the results. One fundamental of this option studio was to frame the design with very similar constrains than a real project. To be consistent with the approach and development of the se-

Juana Canet Roselló Specialist in Participatory & Citizen Interaction Design. Architect

mester the students’ projects needed to be tested out by our

Her research focuses in Designing with Nature: projects in which architecture recreates nature in a natural environment, enhances nature in an urban context by making artificial landscapes, and works with nature itself by implementing varied strategies such as disappearance or camouflage. Another important part of her work is the Participatory and Citizen Interaction Design: design capable of activating urban public and private spaces to empower users and promote urban development. Juana Canet develops two different lines of work in collaboration with other Architectural teams (Disc-0 Architecture s.l.: Ana Somoza + Juana Canet, Estudio SPN: Rut Cuenca, Elena Gómez and Juana Canet, amac-a : Ángel M Martín Cojo and C+arquitectos: Nerea Calvillo).

Ann Clune Montessori school of Ithaca to the final presentation

target audience. For that, we invited three groups of children, a total of 30 kids between 6 and 8 years old from the Elisabeth of our work. The experience was incredibly pedagogical. We all learned from them. We could observe how the kids used the play structures in various unexpected ways, valuing things that were irrelevant for us, or not giving importance to others that were crucial during the design phase. Many students mentioned after the event that as a result of seeing the interaction between children and play structures, they wanted to modify and improve their projects based on the discoveries they made. It was eyeopening for all of us. We all lived the event as a real party. Some parents of the students came to participate in it, and also many people from other department who happened to see it brought their kids spontaneously to play with the structures. The kids were thrilled and so were we.

Edgardo Arroyo Architect He is an Assistant Professor at University of Puerto Rico and also principal at Casillas + Arroyo. His research focuses on new tecnologies of fabrication.

The fact of considering the problem of the studio as “real”, and having the opportunity to speak with the client, and interviewing prospective users affected the students drastically. As a result they were more committed to the work and more aware and consistent in their design decisions.The notion of architecture as a series of spaces meant to be used and experienced by people was a driving force for design during the whole semester.

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sizes will be utilized, 2.5” (6cm) and 3.5” (9cm), they are would cut in a steps like an amphitheater with low fence to protect children. Pool noodles are used by people of all ages while swimming. They length In other parts,different noodles willand beforconnect. spread out to learning represent a cornfield or a are floating when to swim. Here, colorful Pooloriginally noodles used are used by people of all ages while swimming. They noodles create a new surface. reed field, with and used narrow pool noodles wiggling. arelong originally forplayground floating when learning to swim. Here, colorful For this installation, theplayground topography’s shape and height are rearranged noodles create a new surface.

to many different possibilities. shape and height are rearranged Forshow thisNOODLE installation, the topography’s PLAY-POOL GROUND The seating area will consist of a slope for leaning and an enclosed to show many different possibilities. steps like an area amphitheater with fencefortoleaning protectand children. The seating will consist of low a slope an enclosed

In other noodles will with be spread out to a cornfield or a MISOOK PARK, M.ARCH 2014 steps likeparts, an amphitheater low fence torepresent protect children. reed field, withnoodles long andwill narrow pool out noodles wiggling. In other parts, be spread to represent a cornfield or a reed field, with long and narrow pool noodles wiggling.

MISOOK PARK, MARCH I PLAY-POOL NOODLE-GROUND ARTIFICAIL TOPOGRAPHY The idea started after looking for cheerful and friendly materials

for children. Theidea playground be looking built fromforswimming The startedwill after cheerfulpool andnoodles, friendlythe materials for long, cylindrical foam flotation toys. Noodles can been easily children. cut and bunched vertically into seats, slopes, fences, and a maze, The playground will be built from swimming pool noodles, the long, which will resemble a corn field of varying heights. cylindrical foam flotation toys. Noodles can been easily cut and Pool noodles and its new topography sets up a number of spaces bunched vertically into seats, slopes, fences, and a maze, which will for various activities not only for children but also for parents resemble aMISOOK corn field of varying heights. PARK, I and doctors. Children areMARCH encouraged and inspired to explore Pool noodles and its new topography MISOOK PARK, MARCH I sets up a number of spaces and interact with this colorful pool noodle playground. MISOOK PARK, for MARCH I for various activities not only children also for to parents and PLAY-POOL NOODLE-GROUND Every noodle will follow a certain color code inbut accordance doctors. Children are encouraged and inspired to explore and interact ARTIFICAIL TOPOGRAPHY height range. with this length colorful Noodle arepool the noodle same atplayground. 5’3” or 1.6M long, but two The idea started after looking for cheerful and friendly materials for Every noodle a certain color code in accordance diameter sizeswill willfollow be utilized, 2.5” (6cm) and 3.5” (9cm), they to height children. The playground will be built from swimming pool range. noodles, the long, are would cut in a different length and connect. cylindrical foam flotation toys. Noodles can been easily cut and Noodle length are the same at 5’3” or 1.6M long, but two diameter Pool which noodles bunched vertically into seats, slopes, fences, and a maze, will are used by people of all ages while swimming.They sizes will be utilized, (6cm)when and 3.5” (9cm), areHere, would cut in a resemble a corn field of varying heights. are originally used for2.5” floating learning tothey swim. Pool noodles and its new topography sets up a number of spaces different length and connect. colorful noodles create a new playground surface. for various activities not only for children but also for parents and Pool noodles are used people of all ages while swimming. They For and this installation, thebytopography’s shape and height are doctors. Children are encouraged and inspired to explore interact with this colorful pool noodle playground. rearranged to used show many differentwhen possibilities. PLAY-POOL NOODLE-GROUND are originally for floating learning to swim. Here, colorful Every noodle will follow a certain color code in accordance to height ARTIFICAIL TOPOGRAPHY The seating areaawill consist of a slopesurface. for leaning and an enclosed noodles create new playground range. Noodle length are the same at 5’3” or 1.6M long, For but two steps like an amphitheater with low fence to protect children. thisdiameter installation, the topography’s shape and The idea started after looking for cheerful and friendly materials for height are rearranged sizes will be utilized, 2.5” (6cm) and 3.5” (9cm), they are would children. cut in a other many parts, noodles willpossibilities. be spread out to represent a cornfield toInshow different different length and connect. The playground will be built from swimming pool noodles, the long, Pool noodles are used by people of all ages whileThe swimming. They or aseating reed field, withflotation longconsist andNoodles narrow pool noodles cylindrical foam toys. been easily andwiggling. area will of can a slope forcutleaning and an enclosed bunched vertically into seats, slopes, fences, and a maze, which will are originally used for floating when learning to swim. Here, colorful resemble a corn field of varying heights. steps like an amphitheater with low fence to protect children. noodles create a new playground surface. Pool noodles and its new topography sets up a number of spaces For this installation, the topography’s shape and height rearranged In are other noodles will spread to represent a cornfield or a forparts, various activities not only for be children but also out for parents and to show many different possibilities. doctors. Children are encouraged and inspired to explore and interact reed field, with long and narrow pool noodles wiggling. The seating area will consist of a slope for leaning and an enclosed with this colorful pool noodle playground. steps like an amphitheater with low fence to protect children. Every noodle will follow a certain color code in accordance to height range. In other parts, noodles will be spread out to represent a cornfield or a Noodle length are the same at 5’3” or 1.6M long, but two diameter reed field, with long and narrow pool noodles wiggling.

sizes will be utilized, 2.5” (6cm) and 3.5” (9cm), they are would cut in a different length and connect. Pool noodles are used by people of all ages while swimming. They are originally used for floating when learning to swim. Here, colorful noodles create a new playground surface. For this installation, the topography’s shape and height are rearranged to show many different possibilities. The seating area will consist of a slope for leaning and an enclosed steps like an amphitheater with low fence to protect children. In other parts, noodles will be spread out to represent a cornfield or a reed field, with long and narrow pool noodles wiggling.

PLAY-POOL PLAY-POOL PLAY-POOL NOODLE-GROUND NOODLE-GROUND NOODLE-GROUND ARTIFICAIL ARTIFICAIL ARTIFICAIL TOPOGRAPHY TOPOGRAPHY TOPOGRAPHY The The The idea idea idea started started after after after looking looking looking for forfor cheerful cheerful cheerful and and and friendly friendly friendly materials materials materials for forfor MISOOK PARK, MARCH I started 8

children. children. children. The The The playground playground playground will will will be bebe built built built from from from swimming swimming swimming pool pool pool noodles, noodles, noodles, the the the long, long, long, cylindrical cylindrical cylindrical foam foam foam flotation flotation flotation toys. toys. toys. Noodles Noodles Noodles can can can been been been easily easily easily cut cut cut and and and MISOOK PARK, MARCH I bunched bunched bunched vertically vertically vertically into into into seats, seats, seats, slopes, slopes, slopes, fences, fences, fences, and and aamaze, amaze, maze, which which which will will will MISOOK PARK, MARCH Iand

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TINKERPLAY CORA VISNICK, B.ARCH 2015

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TINKERPLAY is a three-post and three-bar system which together create countless combinations for flexible and interactive imagination. The combination of heights and lengths allows for implementation onto many sites and for countless situations, from small backyards to vast open fields.Working with the Spanish foundation Juegaterapia (“Play Therapy”), the system has been fitted for a rooftop at the childhood cancer center at La Fe Hospital in Valencia, Spain. TINKERPLAY facilitates the children’s desire for escape into created worlds from an everyday life of treatments and hospital beds. The colorful structural system becomes a frame for incredibly varied plug-ins. Rainwater tanks are repurposed as planters. Posts become the legs of benches, tables, and chairs. Plush foam furniture become toys for children to stack and reposition, creating mountains. valleys, and forests. Potential for swingsets, slides, and zip-lines to plug into the posts and bars allows for a more traditional playground system, while retractable screens could become mazes for hide and seek, movie screenings, and projected video games.

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Red, orange, yellow, green, blue, and purple become the iconic image of their surroundings, serving as an unforgettable backdrop to generations of play.

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Play Components: The following components each attempt to address different issues associated with various programs. There is a strong need for a variety of seating and table options, and therefore benches, seats, and tables are strewn throughout the entirety of the project and scaled to their intended recipients. Vegetation is introduced in many ways, in an attempt to overtake the rigid orthogonality of the hospital system and create more varied and dynamic spatial sequences. A variety of artificial mounds are also developed to offer various play opportunities. A Narrative: It had been 8 long, difficult months, but we still found moments of great joy; moments when his face lit up, when he ran, laughed, and played like any kid. Mornings were by far the toughest. He was weakest wehen he woke and hope seemed thin; something to nurture and cradle and strive to keep alive. HIs treatment periods were especially bad. Bound to his IV and shut away, he became frail, his body betraying him, betraying us. The garden changed him. Even in the depths of his illness, when he was bound to his chair and tied to some life-supporting bag, I could see in him the healthy, happy kid he had been, and would be. The forest shade and gentle rolling peaks and valleys invited him in making him a giant, an elf, some magic forest dweller.There was a menace to the canopy as it dominated the sky, in its tangled way, but he never seemed to notice. He had faced scarier things. THe dark fantasies of normal chilrden could not touch him. I relaxed when he relaxed. For that one hour each day we could rejoin the normal world. He could be a kid busy at play, and I could be a parent with only small worries.The garden has been a refuge for us both, a connection to the outside world, an escape. He can build his strength and I can build hope, and we can both find it in us to face another day.

Play Components: The following components each attempt to address different issues associated with various programs. There is a strong need for a variety of seating and table options, and therefore benches, seats, and tables are strewn throughout the entirety of the project and scaled to their intended recipients.Vegetation is introduced in many ways, in an attempt to overtake the rigid orthogonality of the hospital system and create more varied and dynamic spatial sequences. A variety of artificial mounds are also developed to offer various play opportunities.

spatial sequences. A variety of artificial d to offer various play opportunities.

A canopy will float above seemingly by magic, using a system of tensegrity to defy gravity forces. It’s cloud-like language will find its pair in an undulating system of hillocks below which will create a seamless shadowed groundscape. This groundscape will eat the rigid hospital and create its own language and environment in order to offer true escape. This landscape mimicks a tree in a snowscape.

A canopy will float above seemingly by magic, using a system of tensegrity to defy gravity forces. It’s cloud-like language will find its pair in an undulating system of hillocks below which will create a seamless shadowed groundscape. This groundscape will eat the rigid hospital and create its own language and environment in order to offer true escape. This landscape mimicks a tree in a snowscape.

t months, but we still found moments of his face lit up, when he ran, laughed, and

Basic Ingredients:

Basic Ingredients:

toughest. He was weakest wehen he woke mething to nurture and cradle and strive to periods were especially bad. Bound to his IV frail, his body betraying him, betraying us. Even in the depths of his illness, when he was d to some life-supporting bag, I could see in he had been, and would be. The forest shade nd valleys invited him in making him a giant, dweller. There was a menace to the canopy as tangled way, but he never seemed to notice. s. THe dark fantasies of normal chilrden

FOREST ESCAPE - TENSEGRITY

OWEN SMITH, B.ARCH 2015

. For that one hour each day we could rejoin ld be a kid busy at play, and I could be a pares. The garden has been a refuge for us both, de world, an escape. He can build his strength we can both find it in us to face another day.

ARCH ‘15

FOREST ESCAPE-TENSEGRITY

A Narrative: It had been 8 long, difficult months, but we still found moments of great joy; moments when his face lit up, when he ran, laughed, and played like any kid. Mornings were by far the toughest. He was weakest wehen he woke and hope seemed thin; something to nurture and cradle and strive to keep alive. HIs treatment periods were especially bad. Bound to his IV and shut away, he became frail, his body betraying him, betraying us. The garden changed him. Even in the depths of his illness, when he was bound to his chair and tied to some life-supporting bag, I could see in him the healthy, happy kid he had been, and would be. The forest shade and gentle rolling peaks and valleys invited him in making him a giant, an elf, some magic forest dweller. There was a menace to the canopy as it dominated the sky, in its tangled way, but he never seemed to notice. He had faced scarier things. THe dark fantasies of normal chilrden could not touch him. I relaxed when he relaxed. For that one hour each day we could rejoin the normal world. He could be a kid busy at play, and I could be a parent with only small worries. The garden has been a refuge for us both, a connection to the outside world, an escape. He can build his strength and I can build hope, and we can both find it in us to face another day.

OWEN SMITH, B.ARCH ‘15

7’ - 8”

15’ - 2”

6’ - 8”

15’ - 2”

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NATURE. SHELTER. FUTURE HOPE

DNA

Matrix

YIFEI YANG, M. ARCH I 2012

Juegaterapia (play-theraphy) ( www.juegaterapia.org ) is a nonprofit foundation that operates in Spain, Portugal, Morocco, Afghanistan, and Venezuela. They began delivering donated playstations to children with cancer in order to be used during their ‘chemios’, under the slogan “chemio playing will feel like flying”, but they have expanded their agenda. La Paz Hospital’s fifth floor terrace, originally destined for installations, was transformed into a garden and a playground for the hospitalized kids. It’s the first one of a series of intervention throughout Spain. In this option studio we will work closely with this organization to develop a design proposal for their next intervention that is expected to be constructed in 2015. The studio premises: Designing a playground, a series of open and close recreational spaces to provide “escape” for the hospitalized children with cancer and another long-stay illnesses. - Not unlike Gordon Matta Clark, our real estate will be the scavenged leftovers of the existing buildings: we will colonize terraces, alleys, interstitial spaces... - Similar to the way video-games generate a parallel reality where children feel they can be superheroes, winners or adventurers...the new landscape will aspire to create a therapeutic environment for children whose medical challenges in a medical environment have prevented them from normalized play. - Natural elements will be crucial in shaping this healing environment, as well as in controlling and mitigating the extreme weather of Cordoba. Through technological advances, living systems can be introduced into these extreme environments and flourish independently of their natural habitats. They can be considered another constructive material at the service of architecture. -The new space should be a sensorial retreat for their users, stimulating them and hence facilitating the children’s recovery. - Individual designs will be developed to a constructive level, followed by the fabrication of full-scale partial prototypes. Investigations of constructive systems will include material research, modular and prefabricated systems and address questions of standardization. It is the broader ambition of the project that it be understood as a potential prototype for future interventions. Through geometry, material, texture, color, light, shadows, temperature, and humidity we will explore the psychological dimension of architecture. We will explore the relationship between the sensorial experience of space and its therapeutic powers.

Silhouette

Sheltering Sliding

Playing

Communicating

Sport Ground

Maze

Drawing Wall

Hide-and-seek

Half-room

Exploration

Small Theater

Farming/Green House

GARDEN I ESCAPE Concept

GARDEN I ESCAPE

GARDEN I ESCAPE

DNA I Matrix I Silhouette I Flexi

W=60in

W=60in L=66.8in

Details L=52in

H=20.5in

L=52in

GARDEN I ESCAPE Concept

L=30in W=60in W=60in

GARDEN I ESCAPE Concept

20 ft GARDEN I ESCAPE Concept

H=20.5in

15 ft

2in

2in

2in

1/4in

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Resting

Talking

1/4in Angle= 143.1

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Angle= 60.9 o Angle= 25.2

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GARDEN I ESCAPE


FLOATING WORLD RYAN PETERSEN, B. ARCH 2014

Floating World is a design for a rooftop playground at a hospital for children undergoing cancer treatment. The intent is to create a world that displaces them from the negative perception of a hospital. To achieve this, the design creates a world that appears to float using ropes and chains suspended over distances. Catenary properties create the natural elevational change that enforces immersion into this world. Objects are hung from these ropes/chains that are repurposed from the hospital, such as doctor’s gloves, IV tubes, and food cans. Plants are also hung, in a new interpretation of a rooftop garden. Each object encourages multiple levels of interaction with the senses, from touch to sight and sound. The point is to take an object associated with a negative connotation and turn it into something beautiful. These are things that the cancer patients are surrounded by daily but seeing them in another, more optimistic and inspiring light creates a world that is familiar and yet new. The doctor’s gloves and iv tubes are filled with water dyed with watercolor paint. The gloves are hung with the lowest point just above head height as to not block pasage through the space but still allow physical interaction only when individuals want to reach up and touch it. The prototype allows for these objects to be switched out at will. Each is connected to their own set of steel wires that connects to the metal posts. Therefore they can be interchanged by merely unattaching one set of wire and attaching another set. The prototype also contains two types of furniture systems that utilze the same caternary language. The first are two connected benches that span roughly 6 ft each and consist of rope weaved

9ft.

13ft.

16ft.

IV TUBES 16

PLANTS

CANS

GLOVES

COLORED ROPE 17


LEAF GARDEN TIANWEI YE M. ARCH I 2012 The idea is to create a canopy but at the same time a platform where kids can go above. The prototype of the form is orriginated from feather/leaf, which gives the possibility to grow to fit variate sites. Different layouts are possible due to the flexibility of these unites, to adjust to specific site with different types of playgrounds. The fundamental needs for kids --- play is fulfilled by different elements of the structure.

Climb

Chase

Hang

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Slide

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Bubble Dream

BUBBLE DREAM ELENA SOFIA TOUMAYAN, B. ARCH 2015

This project is inspired by the quality of light produced by filtration of the trees. This dappled light has been frequently represented by painters, poets, and other artists for its pleasant qualities. This connection with nature is soothing and can have healing and relaxing properties.

This project is inspired by the quality of light produced by filtration of the trees. This dappled light has been frequently represented by painters, poets, and other artists for its pleasant qualities. This connection with nature is Through analysis of this dappled light, inspiraton was drawn from the light filtration of fabrics and woven textiles and how the light changes soothing and can have healing and relaxing properties. as the fabric departs from a given surface. These properties and the deThrough analysis of this dappled light, inspiraton was sire to abstractly simulate trees and vegetation influenced the continuous drawn from the light filtration of fabrics and woven Bubble Dream undulating surface language that can be found throughout the project. textiles and how the light changes as the fabric departs from a given surface. These properties and the desire to The budget and feasability restrictions on the project drove design abstractly simulate trees and vegetation influenced the decisions regarding modulation and repetition.This need for modulation of a woven structure sparked the indroduction of the circle into the design. continuous undulating surface language that can be found throughout the project. The feeling of a continuous undulating surface is divided into The budget and feasability restrictions on the project This project is inspired by the quality of light produced by filtrathree realms: the ground-scape, the canopy, and the play domes.The grounddrove design decisions modulationrepresented and rep- by tion of the trees. This dappled light regarding has been frequently scape consists of artificial mounds designed for seating, planting, and as a etition. This need for modulation of aqualities. woven structure base for lighting or structural posts. The canopy is a shade structure conpainters, poets, and other artists for its pleasant This connecBubble Dream sparked the indroduction of the circleand intorelaxing the design. structed out of cardboard (or plastic) tubes whose geometry and connection with nature is soothing and can have healing properties. tion strategy creates an undulating surface overhead. The play domes use The feeling of a continuous undulating surface is divided a similar construction strategy as the canopy but hang lower and in indiinto three realms: the ground-scape, the canopy, and the Through analysis of this dappled light, inspiraton was drawn from vidual units.They are designed for children to play inside and around them play domes.The groundscape consists of artificial mounds This project is inspired by the quality of light produced by filtrathe light filtration of fabrics and woven textiles and how the light changes tion of the trees. This dappled light has been frequently represented by designed for seating, planting, and as a base for lighting painters, poets, and other artists for its pleasant qualities. This connecThe goal is to create a dynamic and energetic zone for positive as properties. the fabric from a given properties andconthe detion with nature is soothing and can have healing and relaxing ordeparts structural posts. The surface. canopyThese is a shade structure thinking and playing. The desire is that with these three zones, users will sire to abstractly simulate trees and vegetation influenced the continuous Through analysis of this dappled light, inspiraton was drawn from structed out of cardboard (or plastic) tubes whose geomfeel that they are enveloped in a separate world of flowing landscape the light filtration of fabrics and woven textiles and how the light changes undulating surface that strategy can be found the surproject. etry andlanguage connection createsthroughout an undulating and undulating surfaces both above and below. The sensation of departs beingfrom a given surface. These properties as the fabric and the desire to abstractly simulate trees and vegetation influenced the continuous grounded will vanish and reality will slip away. The shadows and patterns face overhead. The play domes use a similar construction undulating surface language that can be found throughout the project. cast by the different elements will be visually stimulating and relaxing. The budget restrictions on theand project drove design strategy asand thefeasability canopy but hang lower in individual The budget and feasability restrictions on the project drove design units. They are designed for children to play inside and of decisions regarding modulation and repetition.This need fordecisions modulation of regarding modulation and repetition. This need for modulation For my prototype I will be constructing a portion of the a woven structure sparked the indroduction of the circle into the design. around them. The is to create a dynamic andthe enera woven structure sparked thegoal indroduction of the circle into design. canopy and some artificial domes with lighting, planting, and seating. The feeling of a continuous undulating surface is divided into getic zone for positive thinking and playing. The desire is three realms: the ground-scape, the canopy, and the play domes.The groundscape consists of artificial mounds designed for seating, planting, and as a that with these three zones, users will feel that they are base for lighting or structural posts. The canopy is a shade structure con- The feeling of a continuous undulating surface is divided into enveloped in a separate worldand of the flowing landscape and structed out of cardboard (or plastic) tubes whose geometry and connecELENA SOPHIA TOUMAYAN, CORNELL tion B.ARCH three realms: the ground-scape, the canopy, play domes. The groundstrategy creates an undulating surface overhead. The play domes use undulating surfaces both above and below. The sensation a similar construction strategy as the canopy but hang lower and in indiscape consists of artificial mounds designed for seating, planting, and as a vidual units.They are designed for children to play inside and around them of being grounded will vanish and reality will slip away.The base for lighting or structural posts.cast Thebycanopy is a shade structure shadows and patterns the different elements willconThe goal is to create a dynamic and energetic zone for positive thinking and playing. The desire is that with these three zones, users will out of cardboard (or plastic) tubes whose geometry and connecstructed be visually stimulating and relaxing. feel that they are enveloped in a separate world of flowing landscape tionofstrategy an undulating overhead.aThe play domes and undulating surfaces both above and below. The sensation being Forcreates my prototype I will surface be constructing portion of the use grounded will vanish and reality will slip away. The shadows and patterns a and similar as the hang lower planting, and in indicast by the different elements will be visually stimulating relaxing. construction canopy andstrategy some artifi cialcanopy domesbut with lighting, vidualof units. They are designed for children to play inside and around them and seating. For my prototype I will be constructing a portion the

3’

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8’

2’

5’

canopy and some artificial domes with lighting, planting, and seating.

The goal is to create a dynamic and energetic zone for positive thinking and playing. The desire is that with these three zones, users will feel that they are enveloped in a separate world of flowing landscape and undulating surfaces both above and below. The sensation of being grounded will vanish and reality will slip away. The shadows and patterns cast by the different elements will be visually stimulating and relaxing.

ELENA SOPHIA TOUMAYAN, CORNELL B.ARCH

For my prototype I will be constructing a portion of the canopy and some artificial domes with lighting, planting, and seating.

10’

9’

12”

10”

6.5’

8”

1’ 3’

15’

15’ 1.5’

8’ 10’

9’

2’

12”

10”

5’

6.5’

8”

1’ 15’

15’

21

20

ELENA SOPHIA TOUMAYAN, CORNELL B.ARCH


PLAY CUBES

PLAY CUBES

ANDRÉS GUTIERREZ, B. ARCH 2014

I have been exploring cubes at various scales with different materials and with various inter-cube-relationships. The final prototype I am building is one of these studies. Building on work by Heinz Strobl and Erik Aberg, PLAY CUBES PLAY I am creating large scale, three-dimensional playCUBES objects out of various I have been exploring cubes at various scales with difmaterials. The first one is made out of cheaply and easily constructed ferent with various inter-cube-relationships. cubes at materials various scales withand different materials and standard cardboard boxes. This version allows kids to make their own I have been exploring various inter-cube-relationships. The final prototype I am building is boxes, draw on them and watch as their creations change as the boxes with The final prototype I am building is one of these studies. of these Building on work I have been exploring cubes at various one scales with studies. different materials andby Heinz Strobl and Erik Aberg, reconfigure themselves.The second is taking lessonsinter-cube-relationships. from origami to wrapThe I amfinal creating largeBuilding scale, three-dimensional play objects out of various on iswork by Heinz Strobl and Erik Aberg, with various prototype I am building materials. The first one is made out of cheaply and easily constructed cloth around foam cubes to create soft interesting blocks oneand of these studies.textured Building on workstandard by Heinz Strobl and This Erik Aberg,allows cardboard boxes. version kids to scale, make their three-dimensional own I am creating large play objects PLAY CUBES and interlocking these cubes to create transformable and play boxes, draw I am creating largefurniture scale, three-dimensional play on objects out of various them and watch as their creations change as the boxes various materials. The first one is made out of structures. reconfigure Theof second is taking lessons from origami to wrap materials. The first one is made out of cheaplythemselves. and out easily constructed around foam cubes to their create own soft and interesting textured blocks These blocks of cubes would then be able to interact with boxes. a largeThis modular standard cardboard versioncloth allows kids to make cheaply and easily constructed standard cardboard boxes. and interlocking these cubes todifferent create transformable furniture and play I have been exploring cubes at various scales with boxes,programs. draw on them and watch as creations change as the boxesmaterials and cube system that allows a variety of plug-in There are three im-their structures. This version allows kids to make their own boxes, draw with various inter-cube-relationships. The final prototype I am building is Thethat second is taking lessons origami tobewrap ages on the right of a project featured reconfigure by MOMA themselves. in the 1950s shows blocks of from cubes would interact with a large modular one of these studies. These Building on work by Heinzthen Stroblable andtoErik Aberg, on and as are their creations change as the boxes cube system that allows athem variety ofblocks plug-in watch programs. There three imcloth around foam cubes tomodular create soft and interesting textured the early investigations into the potential of this simple shape. I am The creating large scale, three-dimensional play objects out of various ages on the right of furniture a project featured by MOMA in the 1950s that shows interlocking these cubes to create transformable andeasily play large cubes I have developed allow forand these programs and more byfirst notone materials. The made out of cheaply constructed reconfigure theisearly investigations into the and potential ofthemselves. this simple shape.TheThe modularsecond is taking lessons from standard This Iversion allows kids own and more by not limiting themselves to the full cube sizestructures. but allowing square foot cardboard modular boxes. large cubes have developed allowtoformake thesetheir programs origami to wrap cloth around foam cubes to create soft These blocks of cubes would then able interact with a large modular boxes, draw on be them andtowatch as their creations change asallowing the boxes limiting themselves to the full cube size but square foot modular components to be inserted and removed. Due to time and budgeting reconfigure themselves. Theprograms. secondtoisbe taking lessons from origami to textured wrap cube system that allows a variety of plug-in There are three imcomponents inserted and removed. Due to time and budgeting and interesting blocks and interlocking these constraints, this larger system will not be prototyped at this stage. constraints, this larger system will not be prototyped at this stage. cloth around foam cubes to create soft and interesting textured blocks ages on the right of a project featured by MOMA in the 1950s that shows create furniture and play strucandinto interlocking these cubes createcubes transformable furniture and transformable play the early investigations the potential of thistosimple shape. Theto modular structures. allow for these programs large cubes I have developed and more by not blocks of cubes would then be able to intertures. These These blocks of cubes would then be able to interact with a large modular limiting themselves to the full cube size but allowing square foot modular actprograms. with There a large modular cube system that allows a variety cube system that allows a variety of plug-in are three imcomponents to be ages inserted to time and budgeting on theand rightremoved. of a projectDue featured by MOMA in the 1950s that shows plug-in programs. There are three images on the right constraints, this larger will not beinto prototyped atof this thesystem early investigations the potential of thisstage. simple shape.The modular

of a project featured by MOMA in the 1950s that shows the early investigations into the potential of this simple shape. The modular large cubes I have developed allow for these programs and more by not limiting themselves to the full cube size but allowing square foot modular components to be inserted and removed. Due to time and budgeting constraints, this larger system will not be prototyped at this stage.

large cubes I have developed allow for these programs and more by not limiting themselves to the full cube size but allowing square foot modular components to be inserted and removed. Due to time and budgeting constraints, this larger system will not be prototyped at this stage.

YOUR NAME AND PROGRAM

YOUR NAME AND PROGRAM

ANDRES GUTIERREZ, BARCHPLAY 2014 CUBES

ANDRES GUTIERREZ, BARCH 2014

ANDRES GUTIERREZ, BARCH 2014 YOUR NAME AND PROGRAM YOUR NAME AND PROGRAM ANDRES GUTIERREZ, BARCH 2014

22

I have been exploring cubes at various scales with different materials and with various inter-cube-relationships. The final prototype I am building is one of these studies. Building on work by Heinz Strobl and Erik Aberg, I am creating large scale, three-dimensional play objects out of various materials. The first one is made out of cheaply and easily constructed standard cardboard boxes. This version allows kids to make their own boxes, draw on them and watch as their creations change as the boxes reconfigure themselves.The second is taking lessons from origami to wrap cloth around foam cubes to create soft and interesting textured blocks and interlocking these cubes to create transformable furniture and play structures. These blocks of cubes would then be able to interact with a large modular cube system that allows a variety of plug-in programs. There are three images on the right of a project featured by MOMA in the 1950s that shows the early investigations into the potential of this simple shape.The modular large cubes I have developed allow for these programs and more by not limiting themselves to the full cube size but allowing square foot modular components to be inserted and removed. Due to time and budgeting constraints, this larger system will not be prototyped at this stage.

23


UNDER

THE SKIN SPRING 2013 CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE SECOND YEAR UNDERGRADUATE PROGRAM COMPRENHENSIVE DESIGN STUDIO Maria Hurtado*, John Miller, Vince Mulcahy and L o re n a d e l R i o .

This semester’s design studio Under the skin intends to look beyond the surface of architecture. We will inquire: what are things made of, how many components are involved in the construction of space, what are the relationships between parts, which ones remain visible and which become invisible, and why. The Spanish physicist, Jorge Wagensberg, describes architecture as the way that man has to reduce environmental uncertainty. The comprehensive design studio will be presented as a design studio in which projects and solutions face that uncertainty and deal with it. Students will learn how to negotiate with the real and use it as a guide for making decisions during the design process. The translation of conceptual ideas into physical space is a circuitous journey that will require research, study, analysis, and more importantly synthesis; that is, the ability to put together in a congruent way inputs that have arrived from completely different sources. But this journey also requires enthusiasm, passion, creativity, and imagination. In fact, it is the engagement with the real that will allow for renewed creativity and a questioning of convention. 24

25


Baird Prize: first assigment.

The walker’s lighthouse.

As a warmer up for the semester, we start with the Baird Prize

The main project of the semester is the developed through an

Competition.The project to be design is a lamp, one to one scale

iterative process, introducing the cyclic reconsideration and evo-

prototype with an instruction pamphlet.

lution of design with the gaining of new knowledge.

The Baird Prizes were established in 1927 by Mrs. M. Z. Baird of

Six main cycles are to be considered:

Cleveland Ohio, the mother of two former students in Architecture, Thomas J Baird ‘25 and Lincoln Baird ‘28. The prize directs

-research/analysis

that one or more prizes, each in the amount of at least $200 with

-conceptual strategy

a total maximum of $850, be awarded to a winner(s) of a special

-implementing tools, process

second-year design competition.

-checking viability

Students work individually for the competition, without instruc-

-architectural drawings as instructions

Wind interactive skin system

tors influencing them on design. Only one pin-up is scheduled 16

Wind Power Electricity

-architectural images as promises

17

to set up general conclusions and guidance for the presentation. There are no rules for the lamp other than its definition as

2(H2O)

2(H2) + O2

2(H2) + O2 Nickel-hydrogen battery

“a device that generates light.”

18

2(H2O) Electricity

18

18

19

18

19

The project.

19

19

The lighthouse as a program and a site operates as an index

STRUCTURE AND SUSTAINABILITY

to both a physical and a virtual environment: students should

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

engage both of these environments. The lighthouse is relatively inaccessible, exists in a harsh environment, and is typically ‘off the grid’. And it exists in our imaginations as a lonely icon that serves MODEL PHOTO

MODEL PHOTO

as both warning and welcome - both a devil and an angel. MODEL PHOTO

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

MODEL PHOTO

18F GL +218.00

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

More than 30 lighthouses are still in use along Galicia’s powerful

17F GL +206.00

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013 CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

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18F GL +218.00

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17F GL +206.00

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and fractured coast, in places called “Coast of Death” (Costa de

15F GL +180.00

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14F GL +168.00

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11F GL +130.00

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10F GL +118.00

10F GL +118.00

10F GL +118.00

10F GL +118.00

la Muerte) or “End of Earth” (Finisterre).

14F GL +168.00

13F GL +156.00

The Pilgrimage has become a characteristic of Galicia. The way

12F GL +142.00

9F GL +104.00

9F GL +104.00

9F GL +104.00

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8F GL +92.00

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7F GL +80.00

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of St. James (Camino de Santiago) follows the Roman’s trails and,

11F GL +130.00

10F GL +118.00

6F GL +66.00

6F GL +66.00

6F GL +66.00

6F GL +66.00

5F GL +54.00

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4F GL +42.00

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the international interest for those is growing everyday. Building

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2F GL +25.00

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on that, the regional government is working on a project called

8F GL +92.00

7F GL +80.00

“the lighthouses trail” that connects all the lighthouses along the

6F GL +66.00

Section Scale - 1” = 64’

Wind interactive skin system

5F GL +54.00

cost, and at a larger scale, is part of something that could be

4F GL +42.00

10

T.

16

3F GL +28.00

Wind Power Electricity

EN

21

2(H2O)

2(H2) + O2

2(H2) + O2 Nickel-hydrogen battery

17

called “the Atlantic route”(from LisbonBUILDING to St SECTION Petersburg). 11 Each tower has not only dif- Staircase in between exterior louver Therefore, Galicia ofsystem, walkers’ hostels we will design a ferentis mainfull structural but also panels and thermal and envelop provides

2F GL +25.00

2(H2O) Electricity

programs. In order to maximize programmatic efficiency, one tower func-

semi exterior spaces that allows people to experience incoming wind, light and

tions as utilities and service area, and both sound. new one that will accommodate pilgrims and lighthouses second tower has rooms for walkers.

routers in a little town called Laxe, in A Coruña.

Elevation Scale - 1” = 64’

There is already a lighthouse in Laxe, with no other construcSection

Scale - 1” = 32’ STRUCTURE AND SUSTAINABILITY

* Work by Hyemin Jang BArch 2015

26 EN

T.

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

tions attached. It is a very simple and austere cylindrical conCORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

27


GL SL + 134’

Indoor Dining - 2000 sq ft Lighthouse - 360 sq ft

Circulation - 10880 sq ft Kitchen - 380 sq ft

Presentation / Performance - 940 sq ft

Public / Gathering - 2200 sq ft

Workshops - 2390 sq ft

Public Bath - 4 x 150 sq ft

Gallery + Storage - 360 sq ft

Bedrooms - 8 x 290 sq ft

Indoor Dining - 2000 sq ft

Circulation - 10880 sq ft

L-01 SL + 122’

L-02 SL + 110’

Skin Composition

L-03 SL + 98’

LH SL + 275’

L-04 SL + 86’

Views

L-05 SL + 74’

struction. The semester project will have to decide (students

Egress

L-06 SL + 62’

L-07 SL + 50’

L-08 SL + 38’

choice) weather to add a new construction for the hostel in

Program

L-09 SL + 26’

1-climate, environmental data

Vertical Circulation

Horizontal Circulation

2-physical context

L-10 SL + 14’ Sea Level

Skin Composition

the existing lighthouse surroundings or replace it, incorporating

Views

3-historical/social context

View

a new light to the proposal, making it more powerful in length

4-precedences on similar activities ####

coverage.

Lighthouse - 360 sq ft

Kitchen - 380 sq ft

Presentation / Performance - 940 sq ft

Public / Gathering - 2200 sq ft

Program Lightness

RL SL + 158’

5-gravity/lightness

L01 SL + 146’

6-opaqueness/transparency

GL SL + 134’

View

Program.

Workshops - 2390 sq ft

Public Bath - 4 x 150 sq ft

Gallery + Storage - 360 sq ft

Bedrooms - 8 x 290 sq ft

Indoor Dining - 2000 sq ft

Circulation - 10880 sq ft

L-01 SL + 122’

Texture

7-thik/thin

L-02 SL + 110’

L-03 SL + 98’

10

L-04 SL + 86’

11

Lightness Solar Exposure

L-05 SL + 74’

L-06 SL + 62’

The program will be informed by the walker’s activities; sleep,

Skin Composition

Views

L-07 SL + 50’

9-heating and cooling

Texture

L-08 SL + 38’

bath, eat, rest, enjoy, read, communicate, in a building not larger

10-life safety

L-09 SL + 26’

Composite L-10 SL + 14’

than 5000sf.

11-detailing

Solar Exposure Sea Level

Program

8-rough/smooth

LH SL + 275’

Plumbing System

Electrical System

Research / Analysis.

Possible HVAC System

12

Program

LONGITUDINAL SECTIONS

13

View

Plumbing System

Composite

Systems CONCEPTUAL MODEL

Conceptual Strategy.

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013 Electrical System

RL SL + 158’

Possible HVAC System

L01 SL + 146’

Lighthouse - 360 sq ft

Groups of 5 students, one from each section will work together

Presentation / Performance - 940 sq ft

for this purpose. Each group will do a presentation on a given

Kitchen - 380 sq ft

Work will be individual for this important phase of design, when

GL SL + 134’

Lightness

L-01 SL + 122’

L-02 SL + 110’

Public / Gathering - 2200 sq ft

15 ideas have to be fixed. Sketch pin-ups and models could be the

L-03 SL + 98’

subject varying from technical aspects, codes, context, or con-

Workshops - 2390 sq ft

Public Bath - 4 x 150 sq ft

Gallery + Storage - 360 sq ft

Bedrooms - 8 x 290 sq ft

14

L-04 SL + 86’

L-05 SL + 74’

Texture

L-06 SL + 62’

best way to make this cycle dynamic and loaded.

L-07 SL + 50’

L01 SL + 163’ Waterproof Membrane

L-08 SL + 38’

Rigid Insulation

Indoor Dining - 2000 sq ft

cepts.

PROGRAM + VIEWS

Motorized Roller Shade System

EGRESS + SYSTEMS CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

Solar Exposure

L-09 SL + 26’

Low-e Double Glazing System Perforated Corten Panel

L-10 SL + 14’ Sea Level

10

11

14

15 Implementing Tools. Process. Polished Granite Tile Flooring

Prelimiray selection of subjects:

L01 SL + 150’

Panel Support System/ Assembly (See Detail)

Suspended Ceiling System

C05

B02

B03

B04

C06

Still working on individual basis, students will need to implement

Composite

their ideas BUILDING ENVELOPE + MODEL

STRUCTURE + WALL SECTION

L01 SL + 138’ Exterior Paving Gravel Fill Concrete Footing

Waterproof Membrane

10

C05

B02

B03

B04

11

C06

####

STRUCTURE + WALL SECTION

LONGITUDINAL SECTIONS

Lighthouse - 360 sq ft

Kitchen - 380 sq ft

Presentation / Performance - 940 sq ft

Public / Gathering - 2200 sq ft

Workshops - 2390 sq ft

Public Bath - 4 x 150 sq ft

Gallery + Storage - 360 sq ft

Bedrooms - 8 x 290 sq ft

Indoor Dining - 2000 sq ft

Circulation - 10880 sq ft

Skin Composition

14

15

with solutions. Geometry and order will play a mayor

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

Compacted Soil

LONGITUDINAL SECTIONS

Program

role in the process of merging program with structure and image with construction.

BUILDINGDesign ENVELOPE + MODEL Narrative Mid-review

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 5 2013 Architectural Concept

Index

will be the turning point for proposals, and only one

out7 of three projects will earn the privilege to have further de-

Site Design

CONCEPTUAL MODEL velopment. Sections will vote for the winners on arrival after

Architectural CORNELL UNIVERSITY, AAP |Drawings DEPARTMENT OF ARCHITECTURE | SPRING 2013

Building Plans Building Sections Views Model Diagrams CONCEPTUAL MODEL CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013 Wall Section Building Envelope

8

10 spring break. 12 13 15 16

View

Lightness

C05

B02

B03

B04

C06

Texture

STRUCTURE + WALL SECTION

BUILDING ENVELOPE + MODEL CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

28

* Work by Andrew Moorman BArch 2015 Local site inspection generates a disparate

Solar Exposure

Composite

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

29


Checking Viability Groups of 3 students will work for the rest of the semester on the four remaining proposals. Once again they will check viability regarding codes and regulations, materiality and function, stability and behavior making sure that the original conceptual ideas are being reinforced and never betrayed. Architectural Drawings as Instructions Architectural drawings include a set of codes and information that could be understood as instructions. It is not reality, but a way to represent real facts and data that will allow someone else to realize them. Architectural Images as Promises Before we are able to build a certain space, we are expected to show it. The more we know about the specific, the easier it is to turn that information into a promise. Large scale models and detailed sections, elevations and floor plans will be crucial at this point. The Final review will go through the whole process of comprehensive design.

30

* Work by Isidoro Michan BArch 2015

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S M A L L

MEDIUM

LARGE FALL 2013 CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE SECOND YEAR UNDERGRADUATE PROGRAM FIRST SEMESTER DESIGN STUDIO Andrea Simitch*, David Moon, Bet Capdeferro and L o re n a d e l R i o . COURSE DESCRIPTION The 2nd Year studios revisit major concepts, techniques and devices introduced in first year, but now deployed explicitly at the scale of buildings and the sites they occupy. Processes of analysis and speculation are focused on studying existing works of architecture and existing sites, abstracting information from them, and transforming that information into new architectural solutions. In second year students develop design processes with a focus on the continuing role of concept throughout the building development. Students also develop the notion of architectural design as an empirical, analytic, and critical process that is informed by context, culture and logic. Conceptual thinking is understood through narrative, context, material, and building systems as they inform buildings and landscapes. In the most general terms the 1st semester of the 2nd year studio sequence is intended to serve as a bridge linking the basic issues addressed over the course of the student’s first year of architectural studies to a range of experiences with issues escalating in scale and complexity. It is a studio-based course that meets 3 afternoons per week and is the 3rd of 10 semesters of design studios required to complete the professional Bachelor of Architecture degree program at Cornell. It is as well the 3rd of 6 semesters that make up the core or foundational component of the overall design sequence. LESSONS The following concepts and skills will be foregrounded in this semester’s exercises: -the analytical tools necessary to analyze and to make analytical diagrams (drawings and models) and the ability to use these analytic diagrams as organizational and generative devices -the development of representational skills and techniques, both 32

33


2d and 3d, to explore, develop and demonstrate architectural concepts - the skills to make architectural drawings - specifically building plans, sections, elevations, and axonometrics and perspectives; here line weight should be used to develop clear spatial and material hierarchies an understanding of scale and dimension - an awareness and exploration of materiality as having unique properties that contribute to the concept of the project (its fabrication, its proportion and dimension, its experience) - the significance of context - site - as a critical component in the development of an architectural concept; an understanding of the various readings of site (environmental, infrastructural, physical, material, cultural, political, ritual…) - the use of precedent as significant to the design process (everything originates from something…but of course that something is wide open…a drawing, a building, a landscape, a tool, a painting, a process, and so on) - the development of the architectural sequence as a spatial organizer and as a vehicle to experience and understand the architectural concept - the relationship of various systems (enclosure, structure, space, and circulation) and their unique roles (vis a vis scale, function, perception, etc) in the development and legibility of an architectural concept.

requirements, and interdependencies between the building and city will join the issues from previous exercises. The building will be understood as a choreography of independent yet interconnected systems through which the architectural concept is developed. Architectural drawings and models will be important vehicles for both exploring and demonstrating these concepts. PROGRAM STRUCTURE All five sections will be working with similar sites, scales of programs and semester deadlines. The following five ‘nested’ programs will be developed and each professor will select those that he/she would like to distribute: READING ROOM | CONCEPT: MODULAR BOOKSHELF

READING ROOM | CONCEPT: MODULAR BOOKSHELF

EXERCISES

READING ROOM | CONCEPT: MODULAR BOOKSHELF

There will be three ‘nested’ exercises through which these concepts and skills will be revisited again and again, albeit at different scales and complexities. We will begin with a small scale project, then move to a medium scale project and conclude the semester with a large scale project. The first project will involve the design of a space — a room for one individual. The site for this exercise will be the human body, where the architecture will trace the movements (sequence) and programmatic operations of its user. Materiality, construction methodology and the choreography of engagement with the user, as well as the ability for the room to be eventually multiplied, aggregated and relocated will be fundamental to the exercise.

Small Medium Large

A Changing Room A Swimming Pool – open air An Urban Athletic Facility

Small Medium Large

A Tool Shed A Market Space — open air A Community Agricultural Center

Small Medium Large

A Reading Room A Debate Space — open air A Courthouse

Small Medium Large

A Viewing Room An Exhibition Space — open air An Archaeological Museum

Small Medium Large

A Music Room A Performance Space — open air A Music Conservatory

Small Medium Large

A Tasting Room A Dining Space — open air A Culinary School

SITES Small Medium Large

The second exercise will require the marking of a sequence and the making of a place within a landscape. Here the architectural intervention will mediate between the scale of the body as interpreted and registered in the first exercise and the scale of the new landscape. Issues of topography, geology, orientation, measure, and perception and the relationship between an existing condition and an imported artifice will be important considerations.

BODY PRIORAT REGION SPAIN (near the city of REUS) MERIDA SPAIN

The final exercise of the semester will be a public building with a civic dimension within an urban context. In this exercise movement, both physical and perceptual, the accommodation, distribution and interrelation of a broad range of internal programmatic 34

33

3

3 3

* Work by Jessica Jang BArch 2016

35


Site Plan / 1:400 Final Model / 18” x 18” / Detail of relationship between canopy, hill and church

LARGE CONSIDERATIONS and CONCERNS

Plan / 1:200 / cut taken below level of canopy in order to show hiking path and covered spaces

Architectural Sequence You are asked to define a series of sequences that address the various users of the building and site. Consider how an architectural sequence can introduce and ultimately reveal the architectural thesis of a work. What are the material, spatial, and programmatic devices and themes that can define these sequences and render them legible? Are there critical thresholds through which one either physically or visually passes that can define a sequence? How does a sequence establish a spatial relationship between programmatic areas? What is the relationship of each sequence, - the ‘public,’ the ‘private,’ and the semi-private’ - to the other? How can one pass through the site and yet experience the space of the site and its architecture? What is the relationship of the ‘seeing’ and the ‘seen’?

Systems Your building will be composed of a series of independent systems of enclosure, structure, space, and circulation. Each will have a unique role in the project’s function, scale and perception, etc and together reinforce the development and legibility of the architectural concept.

MEDIUM - OBSERVATION SPACE

Site You should consider the site as a landscape of which your proposal will be an integral component. How are thresholds established both in section and in plan between ground and building, between within and without, between interior and exterior spaces, between existing and new? How might your project both generate a quality urban space as well as enhance the perceptual space of the historical monument? How will your proposal revitalize the archeological and urban space of the “Temple to Diana” which is one of the three most important monumental archeological sites in the city of Merida? How can an intervention simultaneously address both the old city, the archeological research objectives of the Temple to Diana and urban reconstruction? How might your project define a public space that might recover the scale and proportions of the original Roman plaza? How can your intervention respond to and improve the open spaces surrounding the Temple? How might it reinforce the pedestrian connections between Santa Eulalia and Romero Leal, as well as the junction between Berzocana Street and Sagasta Street?

Iteration drawing of roof canopy geometry

Sited on the top of a hill with a small church overlooking the surrounding countryside, my intervention strives to reinforce and redefine the relationship between a hiker,

Material How can the material/s out of which the building is constructed participate in the architectural thesis of the work? How do material characteristics both introduce and reinforce spatial concepts? How can material both engage and spatially define programmatic requirements? How are the phenomenal Site Plan / 1:400characteristics (sound, touch and smell) of materials exploited?

the church, and the countryside. Utilizing the existing path that wraps around the base of the church, I decided to introdudce a canopy that would wind its way over the path while also responding to the topography. Sections / 1:200 / [top to bottom]: longitudinal, north east corner, southern edge 10

At certain points along the path, the canopy drops down

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Final Model / 18” x 18” / Detail of relationship between canopy, hill and church

Skins and Light and Air How does the skin of an architecture define its threshold, its interface, to the exterior? Is it independent of the structure or is it the structure? Is it transparent or opaque? Does it allow the gaze to pass through? How can it respond to various conditions of private and public? How does it establish a relationship to natural light? What is its relationship to solar orientation? In this extreme environment, the thresholds between interior and exterior are critical - how can the building breathe? How does the skin transform to adjust to these varying conditions? Is it shaded or does it produce shade?

to meet the ground in order to frame a particular view towards one of the other five building sites or one of three surrounding villages. The entire intervention is designed to have the minimal impact on the site - visually and physically - such that the Final Model / 18” x 18” / canopy represented as bristol paper

church and landscapes are clearly the most important elements of the experience. The canopy is utilized only as a way to accentuate spatial relationships that already exist as well as a medium through which to frame views to and from the path and the surrounding landscape.

Sections / 1:200 / [top to bottom]: longitudinal, north east corner, southern edge

Site conceptulization with sightlines

Site Plan / 1:400

GROUND RULES

Final Model / 18” x 18” / Detail of relationship between canopy, hill and church

Precedent The analysis of precedent continues to play a significant role in the design process (everything originates from something…but of course that something is wide open…a drawing, a building, a landscape, a tool, a painting, a process, and so on.) Representation and The Critical Process The initial processes with which you study a project are critical to its development. These processes are often initiated through a series of quick ‘experiments’ - or parti models and sketches – that allow you to critically evaluate an architectural strategy.

AREA OF INTERVENTION: 96.340sqf ≈ 8.950 m2

Preliminary Sketch with proposed sightlines

EXISTING BUILDINGS AREA: 58.340sqf ≈ 5.420 m2 MAXIMUM 30 % OF THIS AREA CAN BE DEMOLISHED AND RECONSTRUCTED: 17.550 sqf ≈ 1.630 m2 AREA OF THE TEMPLE TO DIANA THAT HAS TO BE PRESERVED: 13.185sqf ≈ 1.225 m2

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Program How does the conceptual strategy define, or interpret, the program? How can a careful analysis of program participate in the design process, facilitating the grouping of similar programs into logical architectonic arrangements? 36

Structure 9 relaHow does structure fundamentally define an architecture’s tionship to gravity? How can the structure of a building define its spatial volume? Is the structure a repetitive system (against which other building systems are measured?) or is it an ideal system that can be transformed, or deformed according to programmatic and contextual imperatives?

Sections / 1:200 / [top to bottom]: longitudinal, north east corner, southern edge

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AREA OF ROMAN/ISLAMIC RUINS THAT CAN BE INCORPORATED TO THE NEW BUILDING: 20.450sqf ≈ 1.900 m2 * Work by Takuma Johnson BArch 2016

Plan / 1:200 / cut taken below level of canopy in order to show hiking path and covered spaces

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up

precedent up up

ACE ET RR

scale : path, courtyard

COURTHOUSE | MERIDA, SPAIN up

up

Storage 1000sqf ≈ 90m2 AAIITINGROOM W Garbage and Utility Room 1400sqf ≈130m2 sub total 7300sqf ≈665m2

floor 03 plan 1:16 scale [ft] [+ 4.00 ft]

floor 02 plan 1:16 scale [ft] [+ 4.00 ft]

up

9

STAIR SECURE

up

ACE R R TE

PLANS : FLOORS 02-04

STAIR

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EDSD STAIR RESTRICCTT

ground floor plan 1:16 scale [ft] [+ 4.00 ft]

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ICCE POL FFICCE O

PLANS : FLOORS 02-04

TAIR SECURE S

FOYER

ENCE CONFER

NIGHT AERIAL VIEW

OMS HRO WAS

TATAIR LIC S PUB

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PROGRAM DIAGRAM

VIEW FROM ST

VIEW FROM RUINS

NS RUI

ES FIC OF

ENTRY

ES FIC OF

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C

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floor 02 plan 1:16 scale [ft] [+ 4.00 ft]

RE SECUNTRY E

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PROGRAM DIAGRAM

NS RUI

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SITE SITE PLAN PLAN AND AND GROUND GROUND FLOOR FLOOR PLAN PLAN

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ROOM

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5.2 5.3 5.4

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ICCE POL FFICCE O

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TATAIR LIC S PUB

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OMS HRO WAS

up up

Service Areas for staff Administration: Offices and secretary 600sqf ≈ 55m2 Dinning room 1300sqf ≈120m2 Kitchen 1000sqf ≈ 90m2 Locker rooms. Separated m/w 1000sqf+1000sqf≈90m2+90m2

NS RUI

SECURE

TAIR SECURE S

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up

OMMS WAASHROOO TED STAIR

PLANS : FLOORS 02-04

E RAC TER

4.0 School facilities open to the public 4.1 Auditorium-Show Cooking: Multi-purpose room that can be used as a small auditorium, lecture room or show cooking room ( tv need should be consider). 6000sqf ≈ 560m2 4.2 Exhibition Space: Multi-purpose room for exhibitions and receptions 1000sqf ≈ 90m2 sub total 7000sqf ≈ 650m2 5 5.1

IR TED STA RESTRICCT

ES FIC OF

ROOM

RESTRICCT

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1000sqf ≈ 90m2

1300sqf ≈120m2 sub total 12200sqf ≈1120m2

ON CEL

DETENTI

ground floor plan 1:16 scale [ft] [+ 4.00 ft]

RER ADDING

CE LIC CE PO FFIC O

floor floor 04 04 plan plan 1:16 1:16 scale scale [ft] [ft] [+ [+ 4.00 4.00 ft] ft]

floor 02 plan 1:16 scale [ft] [+ 4.00 ft]

up

E’S DG E JU FFIC O

floor 03 plan 1:16 scale [ft] [+ 4.00 ft]

SECURE

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RY LIBRA

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MS WASHROO

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PUBLIC

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Library

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P OMS HRO WAS

VOID : COURTROOM + ATRIUM + CIRCULATION CORRIDOR

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IR TED STA RESTRICCT

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Study Rooms: Two study rooms 1000sqf+1000sqf≈ 90m2+90m2 Computer Lab

E’S JUDG FERENCE CON

Research Facilities Kitchen & Watching Room Kitchen for Research & Development of new recipes. Watching room should be independent from the Kitchen but visually connected, to allow students and visitors to watch the development of works. 500sqf+500sqf≈ 45m2+45m2 3.2 Pre-Production Room: Room for pre-productions of goods linked to both kitchens. 1500sqf ≈140m2 3.3 Shops: Four shops for specialties: patisserie, bakery, creamery... 2000sqf ≈ 185m2 3.4 Laboratories: Four laboratories for the development of new techniques and tools. 1000sqf ≈ 90m2 3.5 Class Rooms: Four class rooms 2400sqf ≈ 225m2

3.7

TAIR SECURE S

M TROO COUR

3.0 3.1

3.6

ICCE POL FFICCE O

ROOM WAAIITING

up

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ED STAIR RESTRICCTT

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ground floor plan 1:16 scale [ft] [+ 4.00 ft]

ES FIC OF

floor 04 plan 1:16 scale [ft] [+ 4.00 ft]

ON CEL

scale scale :: path, path, courtyard courtyard

AIR C ST UBLI

scale scale :: city city

P OMS HRO WAS

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CE LI CE PO FFI O

precedent precedent

2.0 Restaurant and Cafeteria for Public 2.1 Restaurant and cafeteia open to the public, seating capacity for 40 people. 1700sqf ≈ 160m2 2.2 Toilets. 600sqf ≈ 55m2 2.3 Main Kitchen 2000sqf ≈ 185m2 sub total 4300sqf ≈ 400m2

STAIR SECURE

Parking Space

ROOM RREADING

RATION

IBE JURY DEL

Total net area OMS 33,000 sqf ≈ 3040m2 WASHROO ICTCTED STAIR (including 30% circulation) TOTAL gross area FE RESTR CE 42,900 CAsqf ≈ 3953m2 NCO FEREN

CONCEPT CONCEPT DIAGRAMS DIAGRAMS up

IR TED STA RESTRICCT

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SECURE

E’S DG E JU FFIC O

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1300sqf ≈120m2 300sqf ≈ 30m2 600sqf ≈ 55m2 sub total 2.200 sqf / 205 m2

R STAI

Entry Foyer Reception Main Toilets

LIC PUB OMS HRO WAS

1.0 1.1 1.2 1.3

MS WASHROO

VOID : COURTROOM + ATRIUM + CIRCULATION CORRIDOR PUBLIC

E’S JUDG FERENCE CON

5.5 5.6

M TROO COUR

ground ground floor floor plan plan 1:16 scale scale [ft] 1:16 [ft] [+ 4.00 4.00 ft] ft] [+

CULINARY SCHOOL PROGRAM COMPONENTS

scale : city

TAIR LIC S PUB OMS HRO WAS

floor floor 02 02 plan plan 1:16 1:16 scale scale [ft] [ft] [+ [+ 4.00 4.00 ft] ft]

COURTHOUSE COURTHOUSE

IR TED STA RESTRICCT

RE SECUNTRY E

TAIR SECURE S

floor floor 03 03 plan plan 1:16 1:16 scale scale [ft] [ft] [+ [+ 4.00 4.00 ft] ft]

10

ENCE CONFER

up up

LONG SECTION

* Work by Jessica Jang BArch 2016

NIGHT AERIAL VIEW

38 13

up

VIEW FROM STREET

VIEW FROM RUINS

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VIEW FROM


INSTRUMENTAL

CREATURES FALL 2014 CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE F I R S T Y E A R U N D E R G R A D UAT E P R O G R A M FIRST SEMESTER DESIGN STUDIO Coordinators: Jim Williamson and Lorena del Rio. TA: Juan Carlos Artolozaga, Juliette M Dubroca, Gretchen H Craig, Thomas J Esser and Elisabeth J Saleh

Explorations into the unfamiliar The first term of the Freshman design studio sequence engages the beginning architecture student with the subject of architecture in ways that run counter to normative and popular perceptions. To a certain extent the semester is meant to purposefully destabilize these perceptions, whether they be about what architecture is or how it is made or, most importantly, how it is thought about. It is hoped that by challenging these perceptions the new student of architecture will begin to acquire an understanding of the discipline that goes far beyond these perceptions and ultimately lead to an understanding that this historically grounded field of study is simultaneously and paradoxically always open to change – and even open to the possibility that each student develop a place within the discipline and its history as well a unique and personal understanding of it. Students will expect to be confronted with the unfamiliar in the following ways: Unfamiliar ways of seeing and thinking-through-seeing…the development of a set of refined sensibilities…and an understanding architecture as a unique way of apprehending the world –and therefore a unique way of being in the world. • Unfamiliar approaches to architecture through the use of analytical and creative tools (some of which you will be directed towards and some of which may be of your own invention) that will be used to transform the banal and the mundane - paper, graphite, sticks of wood - into the marvelous. • Unfamiliar issues: the importance of representation and the craft of making, the intelligence of form and material, to the trajectories of drawing, and to the body’s relationship to making and inhabitation. 40

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Instrumental Creatures and their creations The semester consists of a set of three problems, which are divided into sets of smaller exercises. In this first PROJECT composed of two architectural exercises, we shall investigate a number of Instrumental Creatures that have unique bodily mechanisms or strategies for responding to the environment and that produce Structures within these environments that they produce for reasons that may be defensive, protective, adaptive, or procreative. What is common wih all of these creatures is that - as a result of their instrumental actions they transform their bodies and/or their context simply in order to survive and even to thrive . It is important to note that the structures generated by these creatures in their daily activities — like architecture — mediate between the body and the environment even to the point of being architectures in their own right. It is hoped that in this analysis different relations between animal-mechanism-structure will be discovered and represented. The following various aspects of these instrumental creatures should be considered: - Bodily Physiognomy - Fundamental aspects of the Environment ( water, earth, air, light...) - Instrumental Actions ( weaving, pecking, tunneling...) - Purpose of these actions ( hunting, providing habitation, transforming the environment, defensive... ) - Purpose of the structure produced ( habitation, defense, a trap, , a body cavity,...) - Materials used for construction ( picked from the surroundings, synthesized or drastically transformed by the animal...) - Construction system ( Interlocking, piling, weaving...) The analysis of the instrumental creatures and the structures they produce is not meant to be an exercise in biology. It is meant to demonstrate architectural relations between bodyenvironment-structure and therefore should be analyzed in architectural terms. Finding analogous instruments will be useful to clarify the analysis, synthesize it and produce a series of diagrammatic drawings to explain the mechanisms involved in the instrumental activity of the creatures. The work of the studio is likely to be more metaphorical or analogical than bio-mimetic .The intent is not to produce a set of biomorphic proposals but logical and architectural demonstra42

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tions of the possibilities offered by the Instrumental Animals and their creations. In this first project, drawing and formal investigations that utilize a variety of materials will culminate in a final a set of drawings and sketch models that demonstrate the unexpected architectural and spatial potentials of these creatures. The analysis of the instrumental animals and their produced structures is not meant to be a biology exercise. It is meant to demonstrate architectural relations between body-environmenthabitation, because of that should be analyzed in architectural terms: Habitations / Defensive Structures / Hunting Devices - Single family / Community - Circulation / Storage / Habitations - Ventilation / Light - Means of egress - Security systems - Materials / Constructive systems The work of the studio is likely to be more metaphorical or analogical than bio-mimetic .The intent is not to produce a set of biomorphic proposals but logical and architectural demonstrations of the possibilities offered by the Instrumental Animals and the Structures they produce. In these first sequences, drawing and formal investigations that utilize a variety of materials will culminate in a final construction and set of drawings that demonstrate the unexpected architectural and spatial potentials of these creatures. Process: EXERCISE 1 Research: using all available resources at your disposal — that animal, especially that aspect or aspects that most clearly demonstrate its unique adaptive abilities and mechanisms and the action it performs.This will likely be of a part or parts of the animal and not of the whole animal. You might begin to develop a set of analytical drawings or diagrams of these aspects of your creature. Study the different outcomes of the animal instrumental activity, trying to find the basic operations involved in the generation of that structure and the basic “program” or “function” it accomplishes. Share your research with those colleagues in other sections who have the same animal. You might even develop a strategy for dividing some of the research chores, or meet periodically to discuss your findings. Be prepared to present as a group your raw data to the class on Friday. Presentations should be visual and capable of being pinned to the walls of 157 E. Sibley. For this phase, photocopies and prints will be acceptable, but be sure that you can bring something to these representations, in the form of over-writing, annotation, layering, and so on. 44

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Creatures 1.- Pileated Woodpecker 2.- Ploceidae Weaver bird 3.- European Mole 4.- Great White Pelican 5.- Magentic Termite 6.- Urodid Moth 7.- Cellar Spider 8.- Puffer fish 9.- Peacock 10.- Soldier Ants 11.- North American Beaver 12.- Aerial Yellowjacket EXERCISE 11 Analytical Drawings: You are to make a set of analytical drawings of that aspect or aspects of the creature you have analyzed in Exercise 1 that most demonstrates its adaptive abilities and mechanisms. This will likely be of a part or parts of the animal and not of the whole animal. Initially the instrumental mechanisms of your animal are to be understood as a kind of primitive. Your drawing should focus upon this primitive at first. Sketches and hard line drawing should be used as a means of understanding and clearly explaining this primitive and the mechanisms associated with it. In most cases an analysis of the space or structure that as a result of the animal’s activity should be considered and included. Basic operations such as folding, nesting, overlapping, intersecting, laminating, collaging, inverting, bending, hinging, interlocking, shearing, merging, superimposing, twisting, carving, weaving, congregating, piling, stacking... should be considered when describing and representing this habitation. Further drawing should increase in complexity and should develop out of this understanding. Subsequent drawing(s) should play upon the possibilities revealed by this close examination and be open to their transformation as an “idea” “revealed in the drawing.” This is to say that the adaptive mechanisms, the “instrumental” qualities of the animals, and the generative operations of the habitations are to come alive in the drawings - not in a cartoonish way but in a way that your drawing has built upon orthographic construction, layering, superimposition, multiple views, etc. to achieve something beyond how the animal and habitation look and reveal an idea of how it might work or what it might evoke. This exercise will be in two parts. The first part will be a continuation and refinement of individual research and will require a individual drawing(s) of the creature as an instrument and as a process. It should also begin to articulate aspects of its habita46

tion relative to the creature’s instrumentality (what it creates and how this instrument acts in its creation and what processes might be involved). The second part will involve a team effort to produce a drawing synthesizing your individual research into a large comprehensive, evocative and expressive drawing. This drawing will play further upon the creature as an instrument or instruments, its narrative (process or processes) and should demonstrate the way in which a place is created through them. The drawing should make sure of multiple views, repetition, the effect of time or motion and should be thought of as describing an complex set of operations -, a story or stories that where several thread together in its creation. Team-work and shared authorship is critical – most architecture is produced by teams not individuals. Note: - You are NOT to make representative drawing of the animals or their habitation, rather, you are to draw from what the techniques and methods of analysis that you and your colleagues engaged in the research phase – that is to say, you are NOT to be limited to your own work or methods used in the previous exercises.You may certainly build upon that work of those methods if it is appropriate, but you should experiment with other techniques and approaches. - You must develop a critical sense of the drawing and a rigorous process for its construction. - Your drawing should utilize multiple points of views; plan, section and axonometric drawing in combinations that are appropriate and useful in re-presenting the adaptive and instrumental aspects of your animal. The use of multiple views, notation, dashed lines, etc. to show movement or change should be utilized. Line weight and construction lines will be important descriptive and evocative elements of your drawing. Architecture is often articulated by sets of relationships, i.e. between one bone and another, between skeleton and skin, between one extremity and another, etc.… Take note of the ways in which your creature may set up analogous relationships. - Architecture is not a final product, is the result of the process. Your drawing should represent the different processes related to the creature’s activities and involved in the creation of the structure. - When analyzing the habitation the notion of unit and collective should be considered and demonstrated. In doing so different strategies of aggregation may come out and should be classified and represented.

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The Instrument

Process:

By introducing UNFAMILIAR SOURCES of conjecture as well as UNFAMILIAR TECHNIQUES of observing, of conceptualizing what is observed, and of describing what has been conceptualized, the architect is able to cultivate a set of enhanced sensibilities. In the first Project a group of creatures have been analyzed discovering a series of unique abilities and relating them to the different spaces, sometimes habitations, at other times defensive structures, and also at other times bodily transformations generated by the creatures as a result of their instrumental actions. In this second sequence of architectural exercises, we shall create our own “architectonic” translation of the instrumental mechanism resulting in the fabrication of a TOOL capable to transform the context. This sequence should challenge typical concepts of representation as well as of design thinking. The animals assigned during the first phase will be used to develop an intermediate object, one that is capable of mediating between two sets of realities — that of an organic entity and that of a machine —as well as of two contexts — that of nature and that of the artifact. Issues of gravity, material, construction detail, technique, and siting will be foregrounded.

EXERCISE I

Mechanisms of transformation of the context and generation of space should be extracted from the instrumental activities of the creatures and should be present in the artifact that you will construct.

Using your previous research and productions as a departure point you are to design and construct an animate construction: an operable model of what you have identified as one (or more) of the most salient characteristics of your animal, especially as this characteristic has been researched and imagined in your previous work. Take special care to consider aspects of site, derived from your previous exercise, considering the adaptation of your new construction to this site. There are two reciprocal and intertwined aspects to this phase: the production of a set of graphic representations and the production of an actual artifice ( which, of course, will also prove to be its own form of representation). Your representations -at this stage both speculations on the development of the construction and patterns for its possible production- should increase in complexity as they develop from more refined understanding of your previous work. Your artifact should be considered an architectural apparatus that embraces and further demonstrates the qualities and instrumental abilities of the creature and the basic operations involved in the generation of the structure that you drew upon in the previous exercise. It needs to be operable in some way.You may use any material or method of fabrication in this exercise ( except 3d modeling or laser cutting). The material that you use should be drawn from the following: wood, metal, plastic or acrylic, plaster, latex, cloth. The TA may be conducting additional workshop in Rockite, Latex, and or other materials and processes during the course of this exercise. Your construction should not be something that simply manages to look like your initial group and individual representation; rather you are to draw from those representations. You should therefore make a construction that further explores the discoveries you made in those representations. This may begin by attending how the drawing looks or what the drawing describes, but you should be open to the possibility that your construction might be about that drawing rather than be a strict, faithful reproduction of that drawing. Because your animate construction is ultimately an architectural apparatus, you should be thinking about the following concepts, both in your representation and in your constructions: Site: just as your animal inevitably located its ideal environment, and its body adapts to such an environment, your construction , in scale, material and operability, should be ideally suited to the specific of its site. Material: your selection of materials should be analogous to those of your original ( rigid vs. elastic, solid vs. perforated, smooth vs.

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rough, dull vs. shiny, and so on); be aware of the unique characteristics of these new materials )grain, reflectivity, transparency, mass, etc. ) and stay alert to the potencial complexities they may transfer to your construction. Structure: like an skeleton or shell, it is the construction’s principal resistance to gravity; it could be incremental or monocoque, tensile or compressive. Superstructure: an overriding system that effectively contains and/or support the structure, and that mediates between the new object’s structure and the selective component of the environment. Membrane: a surface that mediates between two conditions, an interior and exterior, a top and bottom, one material and another, and so on. Joint: a mechanism of connection or separation, it can be integral element or one that is tertiary to the components it joints, jointure may be a defining characteristic of a construction. Animation: consider the operation of the construction, its internal mechanisms of mobility, its contact with humans. The apparatus should be able to transform its context in one or more ways, it will be the tool with which you will generate the site of your future design. EXERCISE I1 Produce architectural drawings, plans, sections, and elevations of your apparatus, these are to be precise, measured architectural drawings. Your representation must be done using only graphite-based pencils, although one colored lead may be used. You must use lines only; Line weights remain important. Line should be light, heavy, dashed, dotted. There should be a logic to their use Theres hoould be a clear distinction between lines that represent cuts through a material and lines that show the edges of a material in elevation Discuss the decorum and syntax of lines with your TA Retain all construction, regulating, referential, and iterative markings There is to be no shading, shadowing or cross-hatching There are to be no labels

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The Instrumental Dwelling The possibilities offered by the previous projects will be advanced in relation to a site and to a simple interpretive program for inhabitation. Students will have to construct a site and use this site for further discovery; that is say, to treat their construction as real and fundamental…to imagine that the work at hand is architecture in its own right. A habitation (like a pavilion or interpretive center) will eventually be placed within this context whose function is as much to house bodies as make sense of its invented context. The final project of the term will involve the FABRICATION of a site, the INSERTION of an architectural object into the site and the ADAPTATION of a program to the architectural object. The INSTRUMENT developed in the second project will GENERATE the site using the processes discovered in the analysis of the first part of the semester. Simple actions as carving, piling, weaving... will be considered Process: EXERCISE 1 GENERATING THE SITE: Fabrication of the SITE. Using the tool built in the previous exercise a site should be constructed where the final project will be implanted. Students will have to construct a site and use the site for further discovery. That is said to treat the construction as real and fundamental… to imagine that the work at hand is architecture at its own right. A habitation ( like a pavilion or interpretative center ) will eventually be placed within this context whose function is as much to house bodies as make sense of its created context. You are to take a volume of 24´18´6´and based on your instrument’s action transform it to generate the site. Notice that this volume can be placed in different positions obtaining different sites. At first you may ‘place’ your instrument as it is in the site becoming then construction, in other cases part of the instrument may become site while modifying the volume in other cases the whole instrument will become site. You should discuss what is appropriate with you TA. EXERCISE 11 INSERTION of the architectural object into the site. You are to further focus and refine the 3D re-presentation of your site and continue to assign a scale to that re-presentation. This refinement should be articulated through the use of materials such as wood, metal or plaster. The scale of the site and of your proposal for the site should be: 1/4 ” = 1”.

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You must decide if your site is to be a vertical, horizontal or if it employs both conditions. As you refine your site construction you should emphasize what you perceive as the site’s essential tectonic qualities. Therefore, qualities of striation, stratification, undulation, moments of 90° angularity, vertical or horizontal attenuation, etc. need to be both part of the manner in which you make this site construction and the way in which you make adjustments to the development of your architectural proposal. Equally important will be the way that you continue to consider how your architectural construction will relate to the site:. This will have to do with the way your instrument actually or implies the creation of your site but also the relative importance of the site and the instrument to each other. Is the instrument primary? Is the site Primary? Are they in a equal relationship to each other? EXERCISE 111 ADAPTATION of a program to the architectural object. Program: A Place of Observation and Study

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The project is to function as an interpretive facility for a place typified by the conditions that you have represented in your site model. The following conditions of habitation should be included/considered: approach entry a place(s) to observe the environment (interior and exterior) a place to work or study a place to meet a place to rest a place to wash or bathe exit You should also consider the following as you develop these aspects of your final project: • How does circulation (the movement of bodies) facilitate the program as it is suggested and accommodated by your project? • How might the space(s) respond to seasonal and/or daily influences? • How is enclosure and protection achieved? • How does structure play a role and collaborate with movement and membrane? • What are the basic material conditions of your project: how are circumstances of transparency and opacity achieved?

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DESIGN SEMINARS

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A JOURNEY INTO

PLASTICS CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE SEMINAR. SPECIAL TOPIC IN CONSTRUCTION BUILDING TECHNOLOGY ELECTIVE

I N S T R U C TO R : LO R E N A D E L R I O

“So, more than a substance, plastic is the very idea of its infinite transformation; as its everyday name indicates, it is ubiquity made visible. And it is this, in fact. which makes it a miraculous substance: a miracle is always a sudden transformation of nature. Plastic remains impregnated throughout with this wonder: it is less a thing than the trace of a movement.” Plastic, Roland Barthes. The development of a wide range of plastic materials in such a short period of time (1920-1940) drew the fascination of architects and engineers. Their attention initiated a fruitful period of great experimentation seeking new concepts in architecture to harmonize with the new products. High production costs due to the oil crisis, unresolved problems with durability and yet undiscovered avenues of exploitation of the new material resulted in a period when plastics were rarely used. Fortunately new technologies have solved most of these problems. We are witnessing a new era in the use of plastics, a new renaissance of the use of synthesized materials which now, more than ever, can meet all of architecture’s requirements. But the current vision of plastics is less idealistic and less euphoric than the one held by the original pioneers. Now however the material is not the starting point of the design. Instead designers are seeking the perfect material which can fit their conceptual design approaches and notions of form. 56

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A JOURNEY INTO PLASTICS

students’ architectural approaches. The seminar is carried out in both theory and practice. Lectures provide students the neces-

The advantages of plastics such as lightness, cost-efficiency, cli-

sary basis in this topic. Discussion classes based on recommend-

mate control capabilities, extreme tailoring are not its main fea-

ed readings are held as well. Students are asked to develop two

tures. The proper characteristics of these materials in terms of

different assignments. In the first one, teams of two students,

light transmission, bounce, color possibilities, make up a group

analyze a contemporary case study, in which a significant element

of new aesthetic effects resulting in the creation of atmospheric,

of the building had been constructed using synthesized materials.

sensual and provocative spaces. But what is the future of plastics?

In the second one, which is individually completed, students are

Should architects look for new concepts for plastics in architec-

asked to develop a project considering plastic elements as a main

ture in order to best exploit its particular characteristics? Or

part on the design. This seminar addresses to the distinctively

should we keep on evolving materials in order to adapt them

characteristics of the plastic materials giving special attention to

to our new concept of architecture? This seminar studies the

the way them can be used in construction. The analysis of the

past, analyze the present and make a forecast for the future of

case studies focuses on the concerns that should be taken when

plastic materials. The course takes the students through an over-

constructing with plastic materials, in terms of joining, welding,

view of the history of these materials from their inception to the

gluing, element dimension, transportation, etc. But also aesthetic

present. State of the art technologies in plastics is investigated

effects are considered.

through a group of case studies to help students develop their

This journey is compound by 15 trips.

knowledge and skills in this topic. Plastics are analyzed by considering them in four different ways: 1) as a structural material, 2)

Trip 01: Experiencing plastic. Introduction.

as a fluid material, 3) as manufactured elements and 4) as floids,

Trip 02: Plastic: a structural material.

i.e. as an envelope or skin in architecture. This seminar focuses

Trip 03-04: Plastic: from Substitution to Inspiration.

on both theory and practice; students are asked to develop an

Up to 1939: the beginning of a new Industry

exercise in which they apply these concepts to their architec-

1939-1945: the material of the war

tural approaches. This seminar tries to relate the proper char-

1945-1950: industrialization of the plastics

acteristics of this wide range of materials with a group of new

1950-1960: plastic as a formal-aesthetic revolution

aesthetic effects resulting in the creation of atmospheric, attrac-

Trip 05: Historical applications.

tive and sensual spaces. It is important to analyze the materials

Trip 06: Project in Detail: Selgascano headquarters.

in order to best exploit their particular features and to consider

Trip 07: Plastic as a structural material.

them in the first stages of the design process.The first aim of the

Trip 08: Plastic Classification.

seminar is to trace the history of plastics from their inception to

Trip 09: Project in Detail: Cartagena Auditorium.

the present in order to better understand how these materials

Trip 10: Students’ projects pinup.

were used in architecture in the past and how can architects use

Trip 11: Projects in Detail: Merida Youth Factory.

them today. The course takes students through a general over-

Trip 12: Plastic as a cladding material. Case studies presentations

view of the main production techniques as well as state of the

by students.

art technologies. The proper characteristics of plastic materials

Trip 13: Projects in Detail: Plasencia Auditorium.

are studied through the analysis of a group of case studies to help

Trip 14: Plastic as floids, envelop or skin in architecture.

students develop their knowledge and skills in this topic.

Trip 15: Final presentation.

The final objective of the course is applying these concepts to 58

59


BIBLIOGRAPHY A JOURNEY INTO PLASTICS

Quarmby, Arthur. Plastics and architecture. New York: Praeger, 1974.

Jeska, Simone. Transparent Plastics, design and technology. Basel: Birkhauser, 2008.

Engelsmann, Stephan ; Spalding,Valerie and Peters, Stefan. Plastics: in Architecture and Construction.

Ballard Bell,Victoria and Rand, Patrick. Materials for Design. New York: Princeton Architectural Press, 2006.

Kaltenbach, Frank, (Editor) Various Authors. Translucent Materials : Glass, Plastic, Metals. Basel: Birkhauser, 2004.

Koch, Klaus-Michael ( Editor ), Habermann, Karl J. Membrane Structures: Innovative Building with Film and Fabric. Munich: Prestel, 2004.

60

Toni, Michela. FRP. Architecture. Building by Fiber-Reinforced Plastics. Firenze: Alinea Editrice, 2008.

Borden, Gail Peter. Materials Precedent: The Typology of Modern Tectonics. New York: John Wiley & Sons, 2010.

Ashby, Mike and Johnson, Kara. Materials and Design: The Art and Science of Material Selection in Product Design. Oxford: Butterworth Heinemann, 2002.

Beukers, Adriaan and van Hinte, Ed. Lightness: The inevitable renaissance of minimum energy structures. Rotterdam: 010 publishers, 2001.

Berge, Bjorn. The Ecology of Building Materials. Oxford: Butterworth Heinemann, 2000.

Meikle, Jeffrey L. American Plastics. A Cultural History. New Jersey: Rutgers University Press, 1996. 61


Deplazes, Andrea. Constructing Architecture: Materials, Processes, Structures, a Handbook. Basel: Birkhauser, 2005.

Uffelen, Chris Van. Pure Plastic. New Materials for today’s Architecture Salenstein: Braun 2010

Simmons, H. Leslie. Olin’s Construction: Principles, Material and Methods. New York: John Wiley & Sons, 2007.

Herzog, Thomas. Pneumatic structures. A Handbook of Inflatable Architecture. New York: Oxford University Press 1976

Knippers, Jan; Cremers, Jan; Gabler, Markus and Lienhard, Julian. Construction Manual for Polymers + Membranes. Materials, semi-finished products, form-finding and Design. Basel: Birkhauser, 2011

Topham, Sean. Blowup. Inflatable Art, Architecture and Design New York: Prestel Publishing 2002

Hegger, Manfred; Auch-Schwelk,Volker; Fuchs, Matthias and Rosenkranz, Thorsten. Construction Materials Manual. Basel: Birkhauser, 2006

Conrads, Ulrich. Programs and Manifestoes on 20Th-Century Architecture Massachusetts: MIT Press paperback 1970

Lokensgard, Erik. Industrial Plastics: Theory and application. New York: Delmar Cengage Learning, 2010

LeCuyer, Annette. ETFE.Technology and Design. Basel: Birkhauser, 2008

Weston, Richard. Materials, Form and Architecture. London: Laurence King Publishing, 2003 62

63


CASE STUDIES: PLASTIC IN ARCHITECTURE. HISTORICAL APPLICATIONS.

Frederick Kiesler. Space House for the Modern Furniture Company. Full scale mock-up. New York USA, 1933.

Ionel Schein,Yves Magnant and R. A. Coulon. La Maison tout in plastique. Full scale mock-up. Paris France, 1955.

Ionel Schein,Yves Magnant and R. A. Coulon. Mobile Library Exhibition Units. Model. Paris France, 1956.

Alison and Peter Smithson. House of the Future for the Ideal Home Exhibition. Full scale mock-up. London UK, 1956.

Richard Hamilton and Marvin Goody, engineer Albert Diez. House of the Future for Monsanto Company. California, USA, 1957. 64

Jean Maneval. La bulle six coques. Pyrenean Mountains, Launched and sold in several countries, 1968.

Angelo S. Casoni and Dante M. Casoni. Rondo Housing. Research Project, 1968.

Angelo S. Casoni and Dante M. Casoni. Rondo Housing. Prototype for the Basel Exhibition. Basel, Switzerland, 1969.

Matti Suuronen. Futuro house. Launched and sold in several countries, 1968.

Wolfgang Feierbach. FG 2000 House System. Altenstadt Hessen Germany, 1968. 65


Pascal Hausermann and Claude Costy. Variable G.F.P housing. Model. Research Project, 1973.

Arthur Quarmby. Relay Room system for Bakelite LTD. Birmingham, UK, 1963.

Jean Louis Chaneac. Amphora cells. Modular Living Units. Research Project, 1973.

Richard Buckminster Fuller. Fly’s Eyes Dome. Colorado USA, 1967.

Johann Ludowici. Kugelhaus. Research Project, London, UK 1961.

R. Buckminster Fuller and MIT Lincoln Laboratory. Prototype for First Rigid Radome. Artic, 1952.

Jean Louis Chaneac. Prototype junction unit for cellular housing system. Prototype. Chambery, France 1962.

Jean Louis Chaneac. Cellular housing system. Model and drawings. Research Project 1962. 66

Wolfgang Doring. Spatial Housing Solingen-Caspersbroich. Room Shells. Research Project, 1969.

Pascal Hausermann and Claude Costy. Prefabricated housing. Prototype.1973. 67


Jeffrey Shaw and Theo Botschuijver. Event- structure Research Group. Water Walk. Instalation Amsterdam, Netherlands 1969.

Jeffrey Shaw and Theo Botschuijver. Event- structure Research Group. Water Walk Tube. Street Art Festival, Hannover, Germany 1970.

Arthur Quarmby. Folding plastic structures with collaboration of students of Bradford Regional College of Art. Prototypes.1970.

Hexagonal dome. Folded and unfolded.

Hans Walter Müller. Nomadic Church. Inflatable 10’ . max occupancy 200 p. Nantes, France, 1968. Hexagonal valt. Folded and unfolded, using 30ª triangles. Reyner Banham. A home is not a house. Transparent Pneumatic envelope. Research Project, 1965.

Arthur Quarmby. House and garden project. Free-form double-skin transparent dome. Research Project, 1964.

Renzo Piano. Mobilble Covering for a Sulphur factory. Roma, Italy.1966.

William Katavolos. Floating city from liquid plastic. Research Project, 1960.

Bruce Goff. House in Urbana. Research Project, 1952. 68

Florian Vischer. Covering for the Swiss National Exhibition. Lausanne, Switzerland.1964. 69


CASE STUDIES: PLASTIC IN ARCHITECTURE. CONTEMPORARY APPLICATIONS.

Matthew Malone, Amanda Goldberg, Jennifer Metcalf, Grant Meacham. The Accordion reCover Shelter. New York USA, 2008.

Mats Karlsson. Xile. Winner of the Forum AID Award. Stockholm, Sweden 2008.

Adrian Lippmann. Fold flat shelter, DMY International Design Festival. Berlin, Germany. 2010.

Stephan Englesmann,Valerie Spalding, Melanie Fischer and Gerlind Baloghy. Pavilion for the Ideen Park. Stuttgart, Germany 2008.

NIO architecten. Bus Station in Hoofddorp. Hoofddorp, Holland 2003. 70

Arteks arquitectura. Perruquet’s Pinegrove Park. Vila-Seca, Spain, 2004.

Marco Serra. Reception Pavilion at Novartis Campus. Basel, Switzerland. 2006.

Felix Knobel architect, Artevetro architecten + fiberline. Eyecatcher Building for the Swissbau. Basel, Switzerland. 1999.

Pei Zhu Architects. Blur Hotel. Beijing, China, 2006.

Fiberline. Mobible bridge. Pontresina, Switzerland. 1999-2000. 71


Riccardo Giovanetti Designer. Plasticamente Pavilion. Milan, Italy 2008.

Kengo Kuma Architect. Gensei Oribe Zanmai Fair. Higashi-cho Tajimi-shi Gifu Prefecture, Japan 2005.

dmvA. Rini van beek and xfactoragencies. blob VB3. Mobible, anywhere. 2009.

Lacaton & Vasal. House in Floriac. Floriac, Francia. 1993.

Lacaton & Vasal. Universitè Pierre MendÊs. Grenoble, Francia. 2001.

Lacaton & Vasal. Fair and Exhibition Hall Paris Nord Paris, Francia. 2007.

Shiro Studio. Radiolaria. Pontedera, Italy 2009.

Abalos & Herreros Architects. Municipal Hall Colmenarejo. Madrid, Spain. 2001.

JKMM Architecture Office. The finnish Pavilion at Shanghai World Expo. Shanghai, China 2010.

Abalos & Herreros Architects. Luis Gordillo Studio. Madrid, Spain. 2002.

72

73


Anderson & Anderson Architects. Chamaleon House. Michigan, USA 2006.

Shigeru Ban Architect. Artek Pavilion for the Furniture Fair Milan. Milan, Italy. 2007.

Abalos & Herreros Architects. Recycle Facilities at SantAdrià de Besos. Sant Adriá de Besos, Spain. 2004.

Hank Koning and Julie Eizenberg Architects in collaboration with Ned Kahn Artist. Children’s Museum Pittsburgh. Pittsburgh, USA. 2004.

Weis Architects. Y House. Seoul, Korea. 2010.

Herzog & de Meuron Architects. Ricola Production and Storage Building. Mulhouse-Brunstatt, France. 1993.

Herzog & de Meuron Architects. Laban Dance Center. London, UK. 2003. 74

cc-studio & studiotx in collaboration with R.Veening. Private House. Amsterdam, Holland. 2010.

Atelier Feichang Jianzhu. The Shanghai Corporate Pavilion. Shanghai, China. 2010.

Kengo Kuma Architect. Plastic House. Tokyo, Japan 2002. 75


R&Sie (n) François Roche, StÊphanie Lavaux and Jean Navarro. Hybrid Muscle Pavilion. Chang Mai, Thailand, 2003.

Mario Cucinella Architect. Ebo Pavilion. Bologna, Italy, 2003.

Gernot Riether. AIA Pavilion. New Orleans, USA, 2011.

Mario Cucinella Architect. Ebo Pavilion. Bologna, Italy, 2005.

Pei Zhu Architects. Yi garden at the Venice Biennale. Venice, Italy, 2010.

James Stirling Architect. Olivetti Training School. Haslemere, England, 1969.

Renzo Piano Architect. IBM Travelling Pavilion. Several cities throughout Europe, 1983-1986. 76

Thomas Heatherwick Architect. The UK Pavilion for the Shanghai Expo. Shanghai, China. 2010.

Ensamble Studio. The Cloud. Playground at Readers House. Madrid, Spain. 2012.

Johnsen Schmaling Architects. Parts House Pavilion. Milwaukee, USA. 2003. 77


SOMA. Thematic Pavilion Expo 2012. Yeosu, South Korea 2012.

P-A-T-T-E-R-N-S. Prism Gallery Art. Los Angeles, USA 2009.

Zaha Hadid Architect. Mobile Art Chanel Contemporary Art Container. Hong Kong, Tokyo, New York, Paris ,2008 - 2010.

Nicholas Grimshaw and Partners. National Space Center. Leicester, UK. 2001.

Raumlabor Berlin. Kuechen Monument. Various locations. 2007. 78

Sou Fujimoto Architect. Uniqlo Flagstore. Shinsaibashi, Japan. 2010.

Kusus + Kusus Architects. BBI info Tower. Berlin, Germany. 2010.

Wilkinson Eyre Architects. Olympics Basketball & Handball Arena. London, UK, 2010.

Behnisch Architects. Unilever-Haus. Hamburg, Germany, 2010.

Christo, artist. 42390 cubic feet empaquetage. Minneapolis, USA. 1966. 79


Foster & Partners. Khan Shatyr Entertainment Centre. Astana, Kazakhstan, 2010.

Atelier Brückner. Cyclebowl. A pavilion for The Duales System Deutschland AG at Expo 2000. Hannover, Holland. 2000.

Tomás Sarraceno. Cloud City. Hamburger Bahnhof. Berlin, Germany. 2011.

PTW Architects, Arup Engineering CSCEC and CCDI. Beijing National Aquatics Center. Watercube. Beijin, China. 2008.

Nicholas Grimshaw and Partners. Eden Project. Cornwall, UK. 2001. 80

Herzog & de Meuron Architects. Allianz Arena. München-Fröttmaning, Germany. 2005.

Massimiliano Fuksas Architect. Zénith de Strasbourg Sports Arena. Eckbolsheim, Bas-Rhin, France 2008.

Herzog & de Meuron Architects. St. Jakob Park Basel, Football Stadium, Commercial Centre and Residence for the Elderly. Basel, Switzerland. 2002.

Daly Genik Architects. Art Centter for the College of Design. Pasadena, USA. 2004.

Tara Donovan. Untitled exhibited at Ace Gallery. New York, USA. 2004. 81


CASE STUDIES: PROJECTS IN DETAIL. SELGASCANO HEADQUARTERS. MADRID Steel structure. Glass Fiber Reinforced Plastic bent compound panels. Translucent insulation. Methacrylate thermoformed sheets.

82

83


CASE STUDIES: PROJECTS IN DETAIL. YOUTH FACTORY. MERIDA. Spatial Steel structure. Polycarbonate Corrugated sheets.

84

85


CASE STUDIES: PROJECTS IN DETAIL. AUDITORIUM&CONGRESS HALL. CARTAGENA. Polycarbonate tube faรงade. Methacrylate strip exterior faรงade. Polycarbonate strip interior faรงade. Polycarbonate strip interior walls. Polycarbonate tube terrace canopy. Poliexpan framework for inner concrete walls. ETFE skylight.

86

87


CASE STUDIES: PROJECTS IN DETAIL. AUDITORIUM & CONGRESS HALL. PLASENCIA. ETFE faรงade. Tubular steel faรงade structure. Concrete core.

88

89


EXERCISE 1 CASE STUDY ANALYSIS

Case Study I: Structure Case Study I: Structure An exhibition to teach children about plastics and recycling, the pavilion was made for the screeening of the new Disney Movie Tinkerbell. Since it was an eco friendly cartoon, the pavilion was to be ecofriendly as well. An exhibition to teach children about plastics and recycling, the pavilion was made for the screeening of the new Disney Movie Tinkerbell. Since it was an eco friendly cartoon, the pavilion was to be ecofriendly as well.

Individual Module Elements Individual Module Elements

Section showing simplicity of attachment

Exploded Pavilion Elements 90

Exploded Pavilion Elements

Section showing simplicity of attachment

* Work by Julia Gamolina BArch 2014 91


Case Study II: Facade Case Study II: Facade Ricola-Europe SA, Production and Storage Building Mulhouse-Brunstatt, France Project 1992, realization 1993

Ricola-Europe SA, Production and Storage Building Mulhouse-Brunstatt, France Project 1992, realization 1993

Both long walls are light walls providing the work area with constant, pleasantly filtered daylight. Light filtering occurs through printed translucent polycarbonate faรงade Both long walls are panels, light walls providing the work area with constant, pleasantly filtered a common industrial building material. Using silkscreen, these panels are printed with a through printed translucent polycarbonate faรงade panels, daylight. Light filtering occurs repetitive plant motif. a common industrial building material. Using silkscreen, these panels are printed with a repetitive plant motif.

* Work by Julia Gamolina BArch 2014

92

Front Entrance Section showing panel attachment Front Entrance Section showing panel attachment

93


Case Study III: ETFE Case Study III: ETFE

20% of solar energy used for

20% of solar energy used for

letting in more light letting in more light than glass than glass Steel Structure with ETFE Detailing Steel Structure with ETFE Detailing

ventilation system

ventilation system

20 mm drain hole

main steel structure

20 mm drain hole

main steel structure

steel bracket steel bracket

extrusion; waterproofed between caps

Section showing environmentally friendly design Section showing environmentally friendly design 94

extrusion; waterproofed between caps

Individual Piece attachment detailing Individual Piece attachment detailing

* Work by Julia Gamolina BArch 2014 95


[E]SPIRAL BENCH 3' The [E]spiral bench will be made out polycarbonate pipes. Some of the properties of this PLAN AND ELEVATIONS [E]SPIRAL BENCH material are:

3'

Carrington Ryan Ryan Carrington

ARCH 4605 Journey into Plastics ARCH 4605 Journey into Plastics Prof. Lorena Del Rio Gimeno Prof. Lorena Del Rio Gimeno

The [E]spiral bench will be made out polycarbonate pipes. Some of the properties of this - Transparent material are: 3'

- Light Weight but strong - Transparent

Material: Expanded Polystyrene

- Light Weight but strong

or

ARCHITECTURAL DESIGN

Material: Expanded Polystyrene Ryan Carrington Material: Expanded Polystyrene ARCH 4605 Journey into Plastics Prof. Lorena Del Rio Gimeno

- Having an excellent mechanical strength

Wall

Window

Glue

- U.V. Resistant

Human Human Human Birdhouse Birdhouse Birdhouse

Material Properties: Material Properties:

- Having an excellent mechanical strength

3'

EXERCISE 11

- Scratch, fire and water resistant (Not water proof)

3’

- U.V. Resistant

- Durable and long lifefire and water resistant (Not water proof) - Scratch,

1’

5'-9"

1’6’

- Available in differentand Design, shape, Thickness and Dimensions. - Durable long life TOP VIEW

1’

6’

6’

3’ Thermal Insulation Thermal Insulation Low Wieght (98% air) Low Wieght (98% air) Material Resistance Properties: to humidity Resistance to humidity Chemical resistance Chemical resistance Low water absorption 3’ Thermal Insulation Low water absorption Shock Absorption Wieght (98% air) Shock Low Absorption Resistance to humidity Chemical resistance Low water absorption Shock Absorption

Some of the thermal in propeties are: shape, Thickness and Dimensions. - Available different Design, 5'-9"

MATERIALS REQUIRED

of the thermal propeties are: - Maximum Some Temperature: 250°F 121°C 5'-9"

TOP VIEW - Maximum

Temperature: 250°F 121°C - Melting Point: 300°F 149°C - Melting Point: 300°F 149°C 5'-9" - Minimum Temperature: -40°F -40°C

MATERIALS REQUIRED

- Minimum Temperature: -40°F -40°C

- Tensile Strength: 10,000 psi

- Tensile Strength: 10,000 psi

1'-8" 1'

PLAN AND ELEVATIONS

PLAN AND ELEVATIONS 3'

FRONT VIEW

WRENCHES

POLYCARBONATE PIPES

They will be used to tighten the nuts.

For this piece of furniture, I’ve decided to use a 3” diameter pipe. They will be

We will be using security bolts and nuts in order to ensure the stiffness and durability of the connections.

ELECTRIC DRILL

WRENCHES

POLYCARBONATE PIPES

BOLTS AND NUTS

PART DESCRIPTION

They will be used to tighten the nuts.

For this piece of furniture, I’ve decided to use a 3” diameter pipe. They will be

ELECTRIC DRILL

The electric drill will be used to drill the holes that will be used for the connections.

3'

BOLTS AND NUTS

1'-8"

1'

The electric drill will be used to drill the holes that will be used for the connections.

FRONT VIEW

We will be using security bolts and nuts in order to ensure the stiffness and durability of the connections.

- Number of Pipes: 35 vertical and 10 horizontal 3'-0 1/16"

3'

- Number of bolts and nuts: 70 pairs for vertical pipes and 20 pairs for horizontal pipes.

PART DESCRIPTION

3'

Wall

- Mechanical tools: two wrenches.

Window Window

Glue Glue

- Number of Pipes: 35 vertical and 10 horizontal - Electrical Tools: Drill.

3'-0 1/16"

Wall

Window

Glue

- Number of bolts and nuts: 70 pairs for vertical pipes and 20 pairs for horizontal pipes. - Other parts: Drill bit.

SIDE VIEW

Wall

oror or

- Mechanical tools: two wrenches.

SECTION + DETAILS SIDE VIEW TOP VIEW

INVOICE - Electrical Tools: Drill. 5'-9"

5'-9"

TOP VIEW

SECTION + DETAILS

5'-9"

- Other parts: Drill bit. PART 3” DIAMETER POLYCARBONATE PIPE

3” OD x 2-3/4” ID x 1/8” Wall Polycarbonate Tubing INVOICE

MATERIALS REQUIRED

Stainless steel 18-8 - Bolts and Nuts

5'-9" 3” DIAMETER POLYCARBONATE PIPE

MATERIALS REQUIRED

PART Kobalt 1/2-in Standard (SAE) Ratcheting Wrench

3” OD x 2-3/4” ID x 1/8” Wall Polycarbonate Tubing DEWALT 18-Volt 1/2-in Drive Cordless Impact Wrench

1'

SECURITY BOLTS GAUGE !0

FRONT VIEW

* Work by Arturo Corzo BArch 2013 96

STRINGS

SECURITY BOLTS GAUGE !0

$1,095.12

100 pairs

$198.55

QUANTITY 2

PRICE $42.98 $1,095.12 $149.00

100 pairs 1

Kobalt 1/2-in Standard (SAE) Ratcheting Wrench

2

DEWALT 18-Volt 1/2-in Drive Cordless Impact Wrench

1

DEWALT 6-Piece High-Speed Steel Metal Twist Drill Bit Set

1

$198.55 $13.97 $42.98 $1,499.62 $149.00 $13.97

1'-8"

1'-8" 1'

PRICE

120 FT

120 FT 1

Stainless steel 18-8 - Bolts and Nuts DEWALT 6-Piece High-Speed Steel Metal Twist Drill Bit Set

STRINGS

QUANTITY

ELECTRIC DRILL

The electric drill will be used to drill the holes that will be used for the connections.

ELECTRIC DRILL

The electric drill will be used to drill the holes that will be used for the connections.

FRONT VIEW

PART DESCRIPTION

WRENCHES

$1,499.62

They will be used to tighten the nuts.

WRENCHES They will be used to tighten the nuts.

POLYCARBONATE PIPES For this piece of furniture, I’ve decided to use a 3” diameter pipe. They will be

POLYCARBONATE PIPES For this piece of furniture, I’ve decided to use a 3” diameter pipe. They will be

BOLTS AND NUTS

We will be using security bolts and nuts in order to ensure the stiffness and durability of the connections.

BOLTS AND NUTS

We will be using security bolts and nuts in order to ensure the stiffness and durability of the connections.

* Work by Ryan Carrington BArch 2015 97


98

* Work by Josehp Kennedy BArch 2015 99


CHROMA CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE SEMINAR. SPECIAL TOPIC IN THEORY THEORY IN ARCHITECTURE ELECTIVE

I N S T R U C TO R : LO R E N A D E L R I O

“Color is life, we should not scorn this means of instilling life into our works”. Antoni Gaudí, Conversation January 23, 1915.

The ways in which architects relates to color have changed through history and are constantly changing today.We can find a wide spectrum of the use of color in architecture from the total rejection of it, chroma-phobia, to the arbitrary and abusive use, chroma-hysteria. Often, color is considered superficial, supplementary, inessential, fake or cosmetic, but intentionally used, it can be a potent perceptual tool, offering interesting opportunities in architectural design. Color perception in architecture is a complex phenomenon influenced by many parameters that go beyond the physical qualities. It has cultural associations and implications that vary from one place to another and that are related to memory and history. It has the power to modify the perception of context and define the identities of cities, sometimes as a consequence of restrains such as local materials, weather conditions or traditional construction systems. Color can be used as a mechanism to transform the perception of spaces and dimensions. It can articulate and conceal formal elements but also it can render support or counterpoint to architecture features, allowing a plane to retreat or advance, 100

101


modifying the spatial effect. Also, color can be a method of high-

provide students the necessary basis in this topic. Discussion

lighting the construction process by stressing the presence of

classes based on recommended readings are held as well. Stu-

an element or making it disappear. Color can be considered an

dents are asked to develop a practical assigment using as theo-

independent layer in design, not being related to program or

retical support the main Manifestoes on this topic.

volumetric composition, but can be also applied with a functional

Also a series of case studies are analyzed by students in order

purpose, as a system of orientation, information or identification.

to understand the different strategies, regarding color, used by

These applications of color are based on reason, but frequently

architects.

color is used for its potential to generate emotion and produce

Attendance and an intense participation of students are manda-

meaning and identity. Color has been described as a bridge be-

tory.

tween art and architecture. This course examines some decisive examples of colorful archi-

Class 01: Experiencing color. Introduction.

tecture from vernacular constructions such as the white medi-

Class 02: Color and Vernacular architecture. Text: Luis Barragán,

terranean villages to the work of architectural practices. This

“the Color of Mexico.”

analysis introduces aspects of color theory in order to provide

Class 03: Text Discussion: Le Corbusier, “Polychrome Architec-

insights into how contemporary architects use color, counting

ture.”

on it as another material and design tool available to them. The

Class 04: Constructive polychromy: structural color. Text: Gerrit

study of these case studies focuses not only on color physics,

Rietveld, “ Colour in architecture.”

perception and psychology, but also on the different design strat-

Class 05: Text Discussion: Bruno Taut, “The rebirth of color” vs

egies. In addition, the main manifestos on this topic are discussed

Theo Van Doesburg, “Space, Time and Color”

in the class from Semper’s “Preliminary remarks on polychrome

Class 06: Case study choice.

architecture and sculpture in Antiquity” to the most recent ones

Class 07: Color Codes.

which analyze how artificial colored light, translucencies and

Class 08: Functional Color. Text: Robert Venturi & Dennis Scott

transparencies are used to generate a global sensorial experi-

Brown, “Signs and systems for a mannerist architecture for to-

ence. This seminar aims to contribute to a better understanding

day.”

of color in architecture, providing a broad overview and discus-

Class 09: Text discussion: Rem Koolhaas, “ The future of color is

sion of this topic.

looking bright.” Class 10: Students’ projects pinup.

This seminar try to study the different roles that color has per-

Class 11: Color meanings. Text: Michiel Riedijk, “Code, space and

formanced in architecture through history in order to best ex-

light.”

ploit its’ features and to consider it as a powerful tool for the

Class 12: Text Commentary.

design process today.

Class 13: New materials for new colors. Class 14: Color: the psychologic experience.

The first aim of the seminar is reflecting on the use of color,

Class 15: Final presentation.

and the different approaches that have been taken by architects through history, The final objective of the course is applying these concepts to students’ architectural approaches. The seminar is carried out in both theory and practice. Lectures 102

103


BIBLIOGRAPHY C H R O M A

Albert, Josef. Interaction of Color. Yale University Press, New Heaven, 1963.

Swirnoff, Lois. The Color of Cities: an International Perspective. New York: McGraw-Hill, 2000.

Glasner, Barbara; Schmidt, Petra; Chroma, Design Architecture & Art in Color Basel, Boston: Birkhauser, 2010.

Lenclos, Jean-Philippe; Lenclos, Dominique. Colors of the world: the geography of color. Oxford: Butterworth Heinemann, 2002.

Riley II, Charles A. Color Codes: Modern Theories of Color in Philosophy, painting and architecture, literature, music and psychology. Hanover: University Press of New England. 1995.

Mahnke, Frank H. Color, enviroment, and human response: an interdisciplinary understanding of color and its use as a beneficial element in the sesign of the architectural enviroment. The Ecology of Building Materials. New York:Van Nostrand Reinhold, 1996.

Swirnoff, Lois; Dimensional Color. New York: W.W. Norton, 2003.

Meerwein, Gerhard; Rodeck, Bettina; Mahnke, Frank H; Bruce, Laura; Gaskins, Matthew D; Cohen, Paul; Color: communication in architectural space. Basel, Boston: Birkhauser Verlag, 2007

Bahamón, Alejandro; Álvarez, Ana María; Light, Color, Sound: sensory effects in contemporary architecture. New York: W.W. Norton & Co. 2010. 104

Porter, Tom; Mikellides, Byron. Colour for Architecture today. Abingdon, Oxon; New York, NY; Taylor & Francis, 2009.

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CASE STUDIES

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As I stood in the room throughout the day, I

EXERCISE 1

read the painting as the colors I had originally

8:09 AM

painted them as: a vibrant gold, a neutral

LIGHT STUDY

black, a cool blue, a bright orange. But once I saw the swatches that came from the actual By comparingI was swatches throughout the were day, photographs, surprised. My colors however, it becomes clear The thatphotograph what we duller, darker, or desaturated. percieve everyday “blue” or “orange” from 10:54 AM is theasone I found producedmay the actually look gray or brown on the paper. most pleasing swatches, and photograph from 12:47 PM is the one which looked the

10:54 AM

By comparing swatches throughout the day,

2:57 PM

however, it becomes clear that what we percieve everyday as “blue” or “orange” may actually look gray or brown on paper.

As I stood in the roomI throughout the day, I most accurate to how choose to remember

4:36 PM 2:57 PM

read the painting the colors I had originally the painting in myas head.

8:09 AM

painted them as: a vibrant gold, a neutral black, cool blue, across a brightthe orange. once As the asun moves sky inBut a single comparing swatches throughout thescene day, IBy saw theshadows swatches that came from actual day, the and brightness of the however, becomes clear My thatas what we photographs, I was surprised. colors just outsideit the window changes well,were and percieve everyday as “blue” or “orange” may duller, darker,growing or desaturated. The photograph the greenery on the adjacent building

read the painting as the colors I had originally

actually look gray or one brown on paper. from 10:54 AM is the I found produced seems to disappear and reappear as the

painted them as: a vibrant gold, a neutral

2:57 PM

8:09 AM 12:47 PM

most pleasing swatches, and the photograph afternoon comes. As I stood throughout the day, from 12:47 in PMtheis room the one which looked theI

10:54 AM 8:09 AM

read painting theI colors originally most the accurate to as how chooseI had to remember painted them as: a vibrant gold, a neutral the painting in my head. black, a cool blue, a bright orange. But once

12:47 PM 10:54 AM

I saw the swatches that came from the actual photographs, I was surprised. My colors were

duller, darker, orwindow desaturated. The as photograph just outside the changes well, and from 10:54 AM is the one I found produced the the greenery growing on the adjacent building

duller, darker, or desaturated. The photograph

most swatches, and the photograph seemspleasing to disappear and reappear as the from 12:47comes. PM is the one which looked the afternoon

from 10:54 AM is the one I found produced the

the painting in my head.

most pleasing swatches, and the photograph

As the sun moves across the sky in a single

from 12:47 PM is the one which looked the

4:36 PM

day, the shadows and brightness of the scene

just outside the window changes as well, and

the greenery growing on the adjacent building seems to disappear and reappear as the 12:47 PM

black, a cool blue, a bright orange. But once

IAs saw swatches that came thethe sun moves across the from sky inthe a actual single photographs, I was surprised. My colors were day, the shadows and brightness of the scene

most accurate to how I choose to remember

10:54 AM

As I stood in the room throughout the day, I

10:37 PM with lamp 4:36 2:57 PM PM

10:37 PM 4:36 PM with lamp

most accurate to how I choose to remember the painting in my head.

afternoon comes.

10:37 PM

with lamp

As the sun moves across the sky in a single day, the shadows and brightness of the scene just outside the window changes as well, and the greenery growing on the adjacent building seems to disappear and reappear as the 12:47 PM

10:37 PM * Work by Cora Visnick BArch 2015

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with lamp

afternoon comes. 115


EXERCISE 11 ITHACA COLOR STUDY

318 E. Seneca Street - Private Business 3435c warm gray 2 155c 7629c sign 7606c 7628u

300 E. Seneca Street -CTB 3435c warm gray 2 155c 7629c sign 7606c 7628u

324 E. Seneca Street - Private Residence 105c 7618 white 7401c 156c 7622c

308 E. Seneca Street - Standard Art Bldg 7689c blue front warm gray 1u 1495c orange sign 1805c

404 E. Seneca Street - Private Residence

312 E. Seneca Street - The Shop 155c painting along bottom 7617c brick 144c awning 7629c red 7407c yellow 377u white black 0961u 7692c blue splotch on stone wall

The collection The of collection material The ofsamples collection material samples of material a reveals samples a reveals a warm grayreveals 3u

7401c transition from transition saturated from transition colors saturated from in the colors saturated comin the colors com-in the com-

5415c 5455c fused colorfused palette color of softer fused palette and color of muted softer palette and colors ofmuted softer colors and muted colors 5463c window trim mercial areas mercial of theareas street mercial oftowards the areas street a of more towards the difstreet a more towards dif- a more difon the residential on the residential portion on of thethe portion residential street. of the portion street.of the street.

The collection The collection of material Theofcollection samples material samples reveals of material areveals samples a reveals a transition transition from saturated from transition saturated colorsfrom in colors the saturated comin thecolors com- in the commercial areas mercial of the areas street mercial of the towards areas streetaof towards more the street difa more towards dif- a more diffused color fused palette color ofpalette fused softer color and of softer muted palette and colors ofmuted softercolors and muted colors on the residential on the residential portion on the ofportion the residential street. of theportion street.of the street.

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* Work by Thomas Esser MArch 2014

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EXERCISE 111 COLOR TRANSFORMATIONS

surfaces

background

starkly white building of cast and polThe only color, other than white, in theThe building ished is the natural color of the wood benches. concrete, plaster and wood is grafted onto the back of an 18th-century manor house that what floats gently on a lushly rolling Bohemian The color modification seeks to explore landscape. The building, which includes a would happen to the space if the wall, ceiling glassed-in and floor colors were altered. By painting the cloister and a dormitory for 40.

ceiling and back wall a dark blue the room’s The floor plan depicted in the upper right mass becomes taller and lengthened, where corner of this page shows the portions of the as by painting the wall the same blue color restructure that Pawson modified. Pawson’s sults in a narrowing and compaction of space. goal was to create an area which connected In both cases the use of color can be shown to the monk’s daytime and nighttime activities. exaggerate that actual condition of the space, Architecture and color was utilized to provide which is observed when the room is left in its a uniform link between the new and old porpure white state. tions of the building. The absence of chromatic color suggests that white light offers When the color of the floor is transformed into the monks a pure and uncomplicated environa highly chromatic color, light would bounce off ment to meditate and live in. of the floor, washing the walls in a subtle hue of the floor. This use of color helps uniteLong the floor windows and deep light wells were incolor to the appearance of the overallcorporated space. into the structure to allow the natural environment to influence the atmospheric Yellow and red colors seem to provide a more color of the building’s spaces. When the sun engaging space suited for worship, where asthe worship hall appears to glow with is bright blue (a common religious color) tend to crea bright white intensity, and in the morning ate a place that is too cold feeling toaevoke quite ablue hue fills the room. The resulting sense of god;y reverence. color, though they are subtle, match the pace and activities of the monks.

monk color

The tradition monk rob was a dark brown before Pawson designed this project. Somewhere along the design route, Pawson was able to change the color of the monk robe to a natural linen white. What would have happened is a different color was used instead of white? What if each monk wore a different color?

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* Work by Thomas Esser MArch 2014

The color of religious clothing has a strong history and if you look a the Roman Catholic Church, you will see brightly colored robes that provide a unified sense to mass and mag-

lighting

The main hall is illuminated with indirect lighting. The color of the light inside of the room is significantly influenced by the natural color of the day lighting outside. The image in the upper left depicts the normal appearance of the worship hall on an average day. As the sun sets the color of the space will naturally shift to a reddish hue, moving to119 The wards a blueish purple until the sun sets. natural day lighting links the indoor user to the


DRAWING COURSE

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2D CAD W CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE W O R K S H O P O P E N TO A L L S T U D E N T S V I S U A L R E P R E S E N T A T I O N I N S T R U C TO R : LO R E N A D E L R I O

Drawing is our way to communicate, our language. Plans, sections, and elevations should contain not only all the information about dimensions, construction, material, operation, and program... but should also be the representation of our own architectural aspirations. Every line we make in our drawings should be meaningful, as a word is in a sentence. By graphic means we have to convey limits, movement, structure, materiality, activity, context, spatiality, scale, and identity. To achieve all the nuances of expression it is necessary to use different types of lines, hatches, & symbols... controlling intensity, density, and meaning. This course takes students through an overview of architectural representation, international conventions, and basic tools in AutoCad to control line type, line weight, hatches, blocks, layer management, and printing. This workshop is divided into two linked sessions starting with a basic introduction to 2D representation and the program, while concluding with more advanced applications, including one practice in which the students are required to apply the tools and knowledge from the workshop through the printing of a final drawing.

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* Exercise proposed to students

* Examples of 2D drawings

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Information to convey with our drawings: LIMITS Contact with the ground Boundaries Interior-Exterior Differentiation between open or covered exterior space Visual limits: Solid- Transparent Spaces

PRINT

HOW?

There are two ways to PRINT 1. Printing from a defined LAYOUT 2.Printing from MODEL

LINES Continuous Dashed Doted

In this tutorial we’ll see how to print from the model. First we’ll draw in a NO-PRINT layer a frame big as our paper. In this case, we will be printing in a 1 /100 scale in a A4. So we’ll draw a rectangle 21 x 29.7.

HATCH

MOVEMENT Circulation: corridors, crossing spaces... Circulation: vertical communications Practicability: Openable elements, doors, windows, furniture with various positions

Solid color Lines Dots Shapes, squares, circles, triangles... Customized

STRUCTURE Visible and hidden

BLOCKS

MATERIAL Nature of the construction: No literal representation, but solid vs light, opaque vs transparent or translucent... Differentiation in the pavements, that also give an idea of different uses and differentiation between interior-exterior

4) Regions will be created in the current layer and with its properties.

Structural elements Trees Furniture People TEXT

PROGRAM/ACTIVITY Furniture People

Program Surface Hight Detail explanation

CONTEXT Existing vs new Vegetation

DIMENSIONS

SPATIALITY Depth Sequence Flow in the building SCALE Relation with the human body Relation with the activity developed in the building Relation with the context, natural or urban

Go to EDIT PAGE SETUP, where we can change all the parameters.

5) Regions are considered SOLID, so by UNION of the regions we create a SOLID with the properties of the sum of all the regions selected, very useful to calculate surface and to create diagrams

* Pages extracted from the turtorial produced specificly for the workshop 124

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