Del rio Academic Experience by Lorena del Río

LORENA DEL RIO ACADEMIC EXPERIENCE 1

CV 1981

Born in Madrid, Spain

2008

BS and Master degree in Architecture School of Polytechnic University of Madrid

2005-2006

Teacher Assistant in the course “Advanced Urban Projects” at the Architecture School of Polytechnic University of Madrid

2005-2006

Member of the Research Group “MINIMAL HOUSING” of Polytechnic University of Madrid

2008-2012

Project Architect at Selgascano Office. Madrid

2009-2010

Completed courses in Architecture PhD at the Architecture School of Madrid

2011-

Currently completing PhD Thesis in Plastic Architecture

2012-2013

Visiting Critic Architecture Department Cornell University

2013-2016

Visiting Assistant Professor Architecture Department Cornell University

2014

Found RICA*Studio, in partnership with Iñaqui Carnicero

ACADEMIC EXPERIENCE 2005-2006

UPM ETSAM Architecture School of Polytechnic University of Madrid Teacher Assistant in the course “Advanced Urban Projects” at the Member of the Research Group “MINIMAL HOUSING” of Polytechnic University of Madrid

2012-2016

CORNELL UNIVERSITY AAP. Architecture Art and Planning Department

2012-2013 2013-2016

Visiting Critic Visiting Assitant Profesor

2014

UNIVERSIDAD SEVILLA+UNIVERSIDAD LUSIADA OPORTO+ UNIVERSIDAD LUSIADA LISBOA Fronteiras. Summer Workshop

SCHOLARLY SERVICES AT CORNELL UNIVERSITY Fall 2015

Member of the BArch Selection Committee. Early Decision. Regular Decision. Architecture Department

2014-2015

Member of the B Arch Curriculum Committee. Architecture Department

2014-2015

Member of the B Arch Curriculum Sub-Committee on Visual Representation. Architecture Department

Spring 2015

Member of the BArch Selection Committee. Early Decision. Regular Decision. Architecture Department

Spring 2015

Academic Careers Discussion in Architecture: Sessions for MArch II students. Architecture Department

Spring 2015

Portfolio Workshop: Sessions for Undergraduate and Graduate students. Architecture Department

AWARDS · SCHOOLARSHIPS · EXHIBITIONS · PUBLICATIONS · LECTURES

2014

Honorable Mention International Competition for the Design of the Dalseong citizen’s Gymnasium. Korea,

2013

Runner up. Europan 12 Competition. Housing Kagran,Vienna, with Neeraj Bhatia

2011

Honorable Mention. Europan 11 Competition. Housing San Bartolome with Iñaqui Carnicero

2011

Honorable Mention . Sculpture Museum at Leganes Garden. Madrid with Iñaqui Carnicero

2009

Shortlisted . Guest House Competition in Villafranca de los Barros. Extremadura with Iñaqui Carnicero

2008

Second Prize. Collaboration with Raul del Valle at New Police´s Courts Building Competition in Madrid

2007

First Prize. Collaboration with Iñaqui Carnicero at VIVA Competition for the creation of 320 Experimental Housing in Madrid

2005-2006

Awarded MEC Scholarship from the Spanish Ministry of Education

2004-2005

Second Prize Emilio Larrodera Urbanism Awards, C.O.A.M

2003

Awarded Scholarship from the EU-exchange program at Roma Tre University

2015

Publication ASSOCIATON Vol. 7 Cornell University. Juegaterapia Playground

2015

Publication GA HOUSES Nº 141 PROJECT 2015. Editorial A.D.A EDITA Tokio. Spiral House

2014

Publication EUROPAN 12 Austria Awarded. Housing in Kagran Vienne

2014

Publication Bauwelt 17-18.4 May 2014 / 09.05. EUROPAN 12

2014

Publication Architekturjournal wettbewerbe Jänner 2014/312. EUROPAN 12

2014

Publication Europan 12 España

2014

Publication GA HOUSES Nº 130 PROJECT 2014. Editorial A.D.A EDITA Tokio. Revolutionary House

2014

Publication GA HOUSES Nº 136 PROJECT 2014. Editorial A.D.A EDITA Tokio. Rada House. Madrid.

2014

Publication ASSOCIATON Vol. 6 Cornell University. Various Projects

2012

Publication EUROPAN 11 Awarded. Housing in San Bartolomé

2012

Publication GA DOCUMENT Nº 121 (EMERGING FUTURE) Editorial A.D.A EDITA Tokio. Sculpture Museum in Leganes, Madrid

2010

Publication “CIRCO” Tuñon y Mansilla PhD Courses. Architecture School of Polytechnic University of Madrid

2007

Contributed to the publication “V.R. Vivienda Reducida”. ISBN: 84-935571-0-2, derived from the “MINIMAL HOUSING” project and its presentation, during the EURAU CONGRESS at ETSAM Polytechnic Univ. of Madrid

2005

Publication on the students´ yearbook 2004-2005 “CARNE FRESCA”. Università degli Studi Roma Tre

2002

Publication on the students´ yearbook 2002-2003 of Alberto Campo Baeza at the Architecture School of Polytechnic University of Madrid

2014

Exhibition EUROPAN 12. THE ADAPTABLE YOUNG URBAN STRATEGIES at “ AMSTETTEN.Vienne

2013

Exhibition at International 2013 Emerging Future at GA Gallery, Tokio. Japan. Revolutionary House

2012

Exhibition Awarded Sculpture Museum at Leganes Competittion at the Spanish Association of Architects

2012

2015 2014

Exhibition EUROPAN 11. TERRITORIOS Y MODOS DE VIDA EN RESONANCIA. ARQUITECTURAS PARA LA CIUDAD SOSTENIBLE at “ Circulo de Bellas Artes de Madrid”. National Exhibiton of the Europan 11 Awarded

Speaker at Campus Internacional Ultzama. Fundación Arquitectura y Sociedad SYMPOSIUM “ La evolución de la pedagogía: arquitecture en España” Universidad de Puerto Rico. Panel: Jose María Torres Nadal, Antonio Vélez, Iñaqui Carnicero, Julio Salcedo and Rafael Balanzo.

2013

Lecture at Architecture School University of Puerto Rico with Iñaqui Carnicero

2012

Lecture at Gerald D. Hines Collage of Architecture, University of Houston

2007

Lectured at Architecture School of Polytechnic University of Madrid, for the Master of Urban Planning with Emilio Ontiveros

Elevation Scale - 1” = 64’

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

Site Plan Scale - 1” = 80’

Site Section Scale - 1” = 80’

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

FIRST YEAR BARCH PROGRAM DESIGN STUDIO

Pages 10 to 23

SECOND YEAR BARCH PROGRAM DESIGN STUDIO

Wind interactive skin system

Wind Power Electricity

Pages 24 to 39

2(H2O)

2(H2) + O2

2(H2) + O2 Nickel-hydrogen battery

2(H2O) Electricity

19 STRUCTURE AND SUSTAINABILITY CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

MODEL PHOTO

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

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

MODEL PHOTO

OPTION STUDIO 4TH BARCH PROGRAM + 2ND YEAR MARCH PROGRAM DESIGN STUDIO

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

Pages 40 to 65

3RD, 4TH BARCH PROGRAM + 1ST, 2ND YEAR MARCH PROGRAM ELECTIVES

Pages 66 to 153

DESIGN STUDIOS

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. 11

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 â&#x20AC;&#x201D; like architecture â&#x20AC;&#x201D; 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 demonstra13

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. 15

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 habita16

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.

The Instrument 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. 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.

Process: EXERCISE I 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. 19

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 constructionâ&#x20AC;&#x2122;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 objectâ&#x20AC;&#x2122;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

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”.

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 siteâ&#x20AC;&#x2122;s essential tectonic qualities. Therefore, qualities of striation, stratification, undulation, moments of 90Â° 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

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?

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 semesterâ&#x20AC;&#x2122;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. 25

Baird Prize: ﬁrst assigment. As a warmer up for the semester, we start with the Baird Prize Competition.The project to be design is a lamp, one to one scale prototype with an instruction pamphlet. The Baird Prizes were established in 1927 by Mrs. M. Z. Baird of Cleveland Ohio, the mother of two former students in Architecture, Thomas J Baird ‘25 and Lincoln Baird ‘28. The prize directs that one or more prizes, each in the amount of at least $200 with a total maximum of $850, be awarded to a winner(s) of a special second-year design competition. Students work individually for the competition, without instruc-

Wind interactive skin system

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

Wind Power Electricity

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

2(H2O) Electricity

“a device that generates light.”

STRUCTURE AND SUSTAINABILITY CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

* Work by Hyemin Jang BArch 2015

26 EN

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

The walker’s lighthouse. The main project of the semester is the developed through an iterative process, introducing the cyclic reconsideration and evolution of design with the gaining of new knowledge. Six main cycles are to be considered: -research/analysis -conceptual strategy -implementing tools, process -checking viability -architectural drawings as instructions -architectural images as promises

The project.

The lighthouse as a program and a site operates as an index to both a physical and a virtual environment: students should 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

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

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013 18F GL +218.00

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

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

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

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The Pilgrimage has become a characteristic of Galicia. The way

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

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the international interest for those is growing everyday. Building

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

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

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Section Scale - 1” = 64’

Wind interactive skin system

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

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Wind Power Electricity

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2(H2) + O2 Nickel-hydrogen battery

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

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

Scale - 1” = 32’ STRUCTURE AND SUSTAINABILITY

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

struction. The semester project will have to decide (students choice) weather to add a new construction for the hostel in the existing lighthouse surroundings or replace it, incorporating a new light to the proposal, making it more powerful in length ####

coverage. Program.

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

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

Skin Composition

Views

bath, eat, rest, enjoy, read, communicate, in a building not larger than 5000sf.

Program

Plumbing System

Electrical System

Research / Analysis.

Possible HVAC System

View

Groups of 5 students, one from each section will work together for this purpose. Each group will do a presentation on a given subject varying from technical aspects, codes, context, or con-

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

Lightness

14 Texture L01 SL + 163’ Waterproof

Rigid Insula

Indoor Dining - 2000 sq ft

cepts.

PROGRAM + VIEWS

Motorized R

EGRESS + SYSTEMS

Low-e Doub

Perforated C

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

Solar Exposure

Polished Gra

Prelimiray selection of subjects:

L01 SL + 150’

Panel Suppo

Suspended

Composite L01 SL + 138’

Exterior Pav Gravel Fill

Concrete Fo

Compacted Waterproof

C05

B02

B03

B04

C06

STRUCTURE + WALL SECTION

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

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

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’

L-04 SL + 86’

Views

L-05 SL + 74’

Egress

L-06 SL + 62’

L-07 SL + 50’

L-08 SL + 38’

Program

L-09 SL + 26’

1-climate, environmental data

Vertical Circulation

Horizontal Circulation

2-physical context

L-10 SL + 14’ Sea Level

Skin Composition

Views

3-historical/social context

View

4-precedences on similar activities Program Lightness

5-gravity/lightness 6-opaqueness/transparency

View Texture

7-thik/thin 10

Lightness Solar Exposure

9-heating and cooling

Texture

10-life safety

Composite

11-detailing

Solar Exposure LH SL + 275’

Program

LONGITUDINAL SECTIONS

8-rough/smooth

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’

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

GL SL + 134’

L-01 SL + 122’

L-02 SL + 110’

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

L-03 SL + 98’

L-04 SL + 86’

L-05 SL + 74’

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 Motorized Roller Shade System

L-09 SL + 26’

Low-e Double Glazing System Perforated Corten Panel

L-10 SL + 14’ Sea Level

15 Implementing Tools. Process. Polished Granite Tile Flooring

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 their ideas BUILDING ENVELOPE + MODEL

STRUCTURE + WALL SECTION

L01 SL + 138’ Exterior Paving Gravel Fill Concrete Footing

with solutions. Geometry and order will play a mayor

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

Compacted Soil Waterproof Membrane

C05

B02

B03

B04

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

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

10 spring break. 12 13 15 16

View

Lightness

Texture

Solar Exposure

Composite

CORNELL UNIVERSITY, AAP | DEPARTMENT OF ARCHITECTURE | SPRING 2013

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.

* Work by Isidoro Michan BArch 2015

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 studentâ&#x20AC;&#x2122;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 semesterâ&#x20AC;&#x2122;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 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.

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. 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. 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

* Work by Jessica Jang BArch 2016

33 3

BOOKSHELF

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: 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 Small Medium Large Small Medium Large

A Reading Room A Debate Space — open air A Courthouse A Viewing Room An Exhibition Space — open air An Archaeological Museum A Music Room A Performance Space — open air A Music Conservatory

Small A Tasting Room Medium A Dining Space — open air Large A Culinary School SITES Small BODY Medium PRIORAT REGION SPAIN (near the city of REUS) Large MERIDA SPAIN

LARGE CONSIDERATIONS and CONCERNS

MEDIUM - OB

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? 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’?

Sited on the to

the surroundin

reinforce and r

the church, an

path that wrap

to introdudce a

path while also

At certain poin

to meet the gr

towards one o

three surround

The entire inte

impact on the s Final Model / 18” x 18” / canopy represented as bristol paper

church and land

ements of the e

way to accentu

as well as a med

from the path a

Site conceptulization with sightlines

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.

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

* Work by Takuma Johnson BArch 2016

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

cut taken below level of canopy in order to show hiking path and covered spaces

rn edge

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.

Iteration drawing of roof canopy geometry

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?

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

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? Site Plan / 1:400

GROUND RULES

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

AREA OF INTERVENTION: 96.340sqf ≈ 8.950 m2 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 Sections / 1:200 / [top to bottom]: longitudinal, north east corner, southern edge

AREA OF ROMAN/ISLAMIC RUINS THAT CAN BE INCORPORATED TO THE NEW BUILDING: 20.450sqf ≈ 1.900 m2

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

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

COURTHOUSE COURTHOUSE

up up

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

CULINARY SCHOOL PROGRAM COMPONENTS 1.0 Entry 1.1 Foyer 1300sqf ≈120m2 1.2 Reception 300sqf ≈ 30m2 1.3 Main Toilets 600sqf ≈ 55m2 sub total 2.200 sqf / 205 m2

CONCEPT CONCEPT DIAGRAMS DIAGRAMS 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 3.0 Research Facilities 3.1 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

scale scale :: city city

scale scale :: path, path, courtyard courtyard

VOID : COU PUBLIC

RESTRICTED SECURE

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

3.6 Study Rooms: Two study rooms 1000sqf+1000sqf≈ 90m2+90m2 3.7

Computer Lab

1000sqf ≈ 90m2

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

up up

SITE SECTION : CROSS

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

8 8

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 up up

5 Service Areas for staff 5.1 Administration: Offices and secretary 600sqf ≈ 55m2 5.2 Dinning room 1300sqf ≈120m2 5.3 Kitchen 1000sqf ≈ 90m2 5.4 Locker rooms. Separated m/w 1000sqf+1000sqf≈90m2+90m2

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

up up

LONG SECTION

* Work by Jessica Jang BArch 2016

TAIR LIC S PUB O MS HRO WAS

scale : city

RAC TER

scale : path, courtyard

ES FIC OF

ED STAIR RESTRICCTT

ICCE POL FFICCE O

RAC TER

PLANS : FLOORS 02-04

TAIR SECURE S

ROOM WAAIITING

MS WASHROO

RATION

IBE JURY DEL

ON CEL

DETENTI

STAIR SECURE

NS RUI

IR TED STA RESTRICCT

P O MS HR O WAS

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

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

ES FIC OF

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

RE SECUNTRY E

AIR C ST UBLI

E AF

ICCE POL FFICCE O

TAIR SECURE S

PLANS : FLOORS 02-04

ENCE CONFER PROGRAM DIAGRAM

TAIR LIC S PUB OMS HR O WAS

YER TEN RY FO

NIGHT AERIAL VIE

ES FIC OF

NS RUI

IR TED STA RESTRICCT

RE SECUNTRY E

TAIR SECURE S

ENCE CONFER

ED STAIR RESTRICCTT

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

OYER NE TRY F

ES FIC OF

M TROO COUR

IR TED STA RESTRICCT

ENCE CONFER

TAIR LIC S PUB O MS HR O WAS

E’S JUDG FERENCE CON

ON CEL

AIR C ST UBLI

STAIR SECURE

TAIR LIC S PUB OMS HRO WAS

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

P O MS H RO WAS

CE LI CE PO FFI O

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

E’S DG E JU FFIC O

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

STAIR SECURE

Parking Space

ROOM RREADING

RATION

IBE JURY DEL

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

R STAI

SECURE

IR TED STA RESTRICCT

DETENTI

RESTRICTED

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

LIC PUB O MS HRO WAS

Y BLI RAR

PUBLIC

MS WASHROO

VOID : COURTROOM + ATRIUM + CIRCULATION CORRIDOR

M TROO COUR

E’S JUDG FERENCE CON

5.5 Storage 1000sqf ≈ 90m2 AAIITINGROOM W 5.6 Garbage and Utility Room 1400sqf ≈130m2 sub total 7300sqf ≈665m2

ENCE CONFER

NIGHT AERIAL VIEW

PLANS : FLOORS 02-04

NIGHT AERIAL VIEW 13

VIEW FROM STREET

VIEW FROM RUINS

PROGRAM DIAGRAM

VIEW FROM ST

VIEW FROM RUINS

VIEW FROM

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. 41

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

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.

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.

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

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 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 semester the studentsâ&#x20AC;&#x2122; projects needed to be tested out by our target audience. For that, we invited three groups of children, a total of 30 kids between 6 and 8 years old from the Elisabeth Ann Clune Montessori school of Ithaca to the final presentation 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. The fact of considering the problem of the studio as â&#x20AC;&#x153;realâ&#x20AC;?, 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.

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

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

for children.

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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.

-POOL Y-POOL POOL NOODLE-GROUND NOODLE-GROUND NOODLE-GROUND FICAIL ICAIL IFICAIL TOPOGRAPHY TOPOGRAPHY TOPOGRAPHY

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TINKERPLAY CORA VISNICK, B.ARCH 2015

0 8í -

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.

8í - 0î

4í - 0î 4í - 0î í-

0î

2í - 0î

6í - 0î

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

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.

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.

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

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”

NATURE. SHELTER. FUTURE HOPE 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.

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 doctorâ&#x20AC;&#x2122;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 doctorâ&#x20AC;&#x2122;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

PLANTS

CANS

GLOVES

COLORED ROPE 57

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 ďŹ&#x201A;exibility 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

Slide

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. Through analysis of this dappled light, inspiraton was drawn from the light filtration of fabrics and woven Bubble Dream textiles and how the light changes as the fabric departs from a given surface. These properties and the desire to abstractly simulate trees and vegetation influenced the continuous undulating surface language that can be found throughout the project. The budget and feasability restrictions on the project This project is inspired by the quality of light produced by filtradesign decisions modulationrepresented and rep- by tion of thedrove trees. This dappled light regarding has been frequently etition. This need for modulation of aqualities. woven structure painters, poets, and other artists for its pleasant This connecsparked the indroduction of the circleand intorelaxing the design. tion with nature is soothing and can have healing properties. The feeling of a continuous undulating surface is divided into three realms: the ground-scape, the canopy, and the Through analysis of this dappled light, inspiraton was drawn from play domes.The groundscape consists of artificial mounds light produced by filtrathe light filtration of fabrics and woven textiles and how the light changes equently represented by designed for seating, planting, and as a base for lighting t qualities. This connecas properties. the fabric from a given properties andconthe deand relaxing ordeparts structural posts. The surface. canopyThese is a shade structure sire to abstractly simulate trees and vegetation influenced the continuous spiraton was drawn from structed out of cardboard (or plastic) tubes whose geomnd how the light changes undulating etry surface that strategy can be found the surproject. andlanguage connection createsthroughout an undulating properties and the defluenced the continuous face overhead. The play domes use a similar construction throughout the project. The budget restrictions on theand project drove design strategy asand thefeasability canopy but hang lower in individual n the project drove design units. They are designed for children to play and of s need fordecisions modulation of regarding modulation and repetition. This need for inside modulation he circle into the design. around them. The is to create a dynamic andthe enera woven structure sparked thegoal indroduction of the circle into design. g surface is divided into getic zone for positive thinking and playing. The desire is play domes.The groundeating, planting, and as a that with these three zones, users will feel that they are s a shade structure con- The feeling of a continuous undulating surface is divided into enveloped in a separate worldand of the flowing landscape and e geometry and connecthree realms: the ground-scape, the canopy, play domes. The groundead. The play domes use undulating surfaces both above and below. The sensation hang lower and in indiscape consists of artificial mounds designed for seating, planting, and as a 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 willconergetic zone for positive e three zones, users will out of cardboard (or plastic) tubes whose geometry and connecstructed be visually stimulating and relaxing. ld of flowing landscape tionofstrategy an undulating overhead.aThe play domes The sensation being Forcreates my prototype I will surface be constructing portion of the use e shadows and patterns a and similar as the hang lower planting, and in indistimulating 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. cting a portion the

3’

1.5’

8’

2’

5’

g, 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.

RNELL 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’

ELENA SOPHIA TOUMAYAN, CORNELL B.ARCH

PLAY CUBES ANDRĂ&#x2030;S GUTIERREZ, B. ARCH 2014

als and lding is Aberg, PLAY CUBES various I have been exploring cubes at various scales with difructed ferent with various inter-cube-relationships. cubes at materials various scales withand different materials and ir own I have been exploring various inter-cube-relationships. The final prototype I am building is boxes with The final prototype I am building is one of these studies. of these Building on work various one scales with studies. different materials andby Heinz Strobl and Erik Aberg, o wrapThe I amfinal creating largeBuilding scale, three-dimensional play objects out of various on iswork by Heinz Strobl and Erik Aberg, nships. prototype I am building materials. The first one is made out of cheaply and easily constructed blocks 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 CUBES nd play boxes, draw e-dimensional play on objects out of various them and watch as their creations change as the boxes

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first one is made out of

around foam cubes to their create own soft and interesting textured blocks modular is versioncloth allows kids to make cheaply and easily constructed standard cardboard boxes. and interlocking these cubes todifferent create transformable furniture and play exploring cubes at various scales with ch as creations change as the boxesmaterials and ree im-their structures. This version allows kids to make their own boxes, draw inter-cube-relationships. The final prototype I am building is cond is taking lessons origami tobewrap shows blocks of from cubes would interact with a large modular e 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 imreate soft and interesting textured modular g 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 o first create transformable andeasily play by notone he made out of cheaply constructed reconfigure theisearly investigations into the and potential ofthemselves. this simple shape.TheThe modularsecond is taking lessons from rdboard boxes. This Iversion allows kids own and more by not modular large cubes have developed allowtoformake thesetheir programs origami to wrap cloth around foam cubes to create soft hen able interact with a large modular on be them andtowatch as their creations change asallowing the boxes limiting themselves to the full cube size but square foot modular dgeting

themselves. Theprograms. secondtoisbe taking lessons from origami to textured wrap ty of plug-in There are three imcomponents inserted and removed. Due to time and budgeting and interesting blocks and interlocking these constraints, this system will not be prototyped at this stage. d foam cubes to create soft 1950s and interesting textured blocks eatured by MOMA in larger the that shows cubes to create furniture and play strucking these cubes createshape. transformable furniture and transformable play potential of thistosimple The modular allow for these programs and more by not blocks of cubes would then be able to intertures. These s of cubes would then be able to interact with a large modular cube size but allowing square foot modular actprograms. with There a large modular cube system that allows a variety that allows a variety of plug-in are three imnd removed. to time and budgeting right of a projectDue featured by MOMA in the 1950s that shows plug-in programs. There are three images on the right will not beinto prototyped atof this estigations 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.

I have developed allow for these programs and more by not mselves to the full cube size but allowing square foot modular to be inserted and removed. Due to time and budgeting his larger system will not be prototyped at this stage.

ANDRES GUTIERREZ, BARCHPLAY 2014 CUBES

Z, BARCH 2014

S GUTIERREZ, BARCH 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, 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.

DESIGN SEMINARS

PPPP

PLASTICS, PAST, PRESENT, PROSPECTIVE USES 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 “Every material possesses its own language of forms and none may lay claim for itself to the forms of another material. For forms have been constituted out of the applicability and the methods of production of materials. They have come into being with and through materials.” Adolf Loos, “The Principle of Cladding,” 1898. When first synthetic substances were developed architects, artists and designers were fascinated by the potential of the new materials.This initiated a period of intense experimentation and searching for new forms and concepts that could adapt to the new products and to the new society that saw in the characteristics of these materials the perfect representation of progress and future.Technical limits and high production costs, due to the oil crisis, resulted in the end of the plastic euphoria around 1973. This seminar will take the students through an overview of the use of plastics in architecture through history, trying to understand the relationship between form and material. We will investigate the technical solutions applied in constructing with plastic through the analysis of a group of case studies and the semester will end with the design and construction of an INFLATABLE pavilion counting on a budget under 500$. “Every new material means a new form, a new use if used according to its nature”. Frank Lloyd Wright, “In the cause of architecture: Composition as Method in Creation.” 1928. 67

out

Evacuate

Entrance

[COME PLAY] MAY 5 10AM-12PM SIBLEY DOME

JELLOpavilion 68

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

TEAM

Nils Axen Danica Davis Bee Gan Yiwei Gao Irene Garcia Boyao Jiang Lucia Lee Jingyang Liu Liam Martin Alejandra Martinez Jinting Yang Yaoyi Zhou

The Jello Pavilion is an inflatable structure in the spirit of Ant Farm: the avant-garde group of architects who revolutionized the use of plastics with the ambition of creating flexible, democratic and fun spaces for people in the 1970s. Students in Lorena del Rio’s “A Journey into Plastic” Seminar conceived the Jello Pavilion as a collaborative design build project to bring a wave of fun during the stressful final weeks of the semester. With a budget around 300$ the pavilion is comprised of over 100 plastic panels of various geometries secured together through a calibrated technique of heating. This thin plastic shell achieves its volumetric potential with a high-power fan that inflates air in through a tubular appendage in a constant way. A globular shape when fully inflated, the pavilion is easily manipulated into different formal configurations through the fastening of Velcro strips attached throughout the volume. Despite its complex system of assembly, the Jello Pavilion portrays a simple image of fun, and is filled with balloons and light projections at various times throughout the day. The Jello Pavilion is an opportunity for all to literally enter a bubble of fun in the midst of hectic campus life. It also carries on the tradition of plastics as a cheap, malleable and flexible material with incredible potential for designers.

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. 85

A JOURNEY INTO PLASTICS The advantages of plastics such as lightness, cost-efficiency, climate control capabilities, extreme tailoring are not its main features. The proper characteristics of these materials in terms of light transmission, bounce, color possibilities, make up a group of new aesthetic effects resulting in the creation of atmospheric, sensual and provocative spaces. But what is the future of plastics? Should architects look for new concepts for plastics in architecture in order to best exploit its particular characteristics? Or should we keep on evolving materials in order to adapt them to our new concept of architecture? This seminar studies the past, analyze the present and make a forecast for the future of plastic materials. The course takes the students through an overview of the history of these materials from their inception to the present. State of the art technologies in plastics is investigated through a group of case studies to help students develop their knowledge and skills in this topic. Plastics are analyzed by considering them in four different ways: 1) as a structural material, 2) as a fluid material, 3) as manufactured elements and 4) as floids, i.e. as an envelope or skin in architecture. This seminar focuses on both theory and practice; students are asked to develop an exercise in which they apply these concepts to their architectural approaches. This seminar tries to relate the proper characteristics of this wide range of materials with a group of new aesthetic effects resulting in the creation of atmospheric, attractive and sensual spaces. It is important to analyze the materials in order to best exploit their particular features and to consider them in the first stages of the design process.The first aim of the seminar is to trace the history of plastics from their inception to the present in order to better understand how these materials were used in architecture in the past and how can architects use them today. The course takes students through a general overview of the main production techniques as well as state of the art technologies. The proper characteristics of plastic materials are studied through the analysis of a group of case studies to help students develop their knowledge and skills in this topic. The final objective of the course is applying these concepts to 86

studentsâ&#x20AC;&#x2122; architectural approaches. The seminar is carried out in both theory and practice. Lectures provide students the necessary basis in this topic. Discussion classes based on recommended readings are held as well. Students are asked to develop two different assignments. In the first one, teams of two students, analyze a contemporary case study, in which a significant element of the building had been constructed using synthesized materials. In the second one, which is individually completed, students are asked to develop a project considering plastic elements as a main part on the design. This seminar addresses to the distinctively characteristics of the plastic materials giving special attention to the way them can be used in construction. The analysis of the case studies focuses on the concerns that should be taken when constructing with plastic materials, in terms of joining, welding, gluing, element dimension, transportation, etc. But also aesthetic effects are considered. This journey is compound by 15 trips. Trip 01: Experiencing plastic. Introduction. Trip 02: Plastic: a structural material. Trip 03-04: Plastic: from Substitution to Inspiration. Up to 1939: the beginning of a new Industry 1939-1945: the material of the war 1945-1950: industrialization of the plastics 1950-1960: plastic as a formal-aesthetic revolution Trip 05: Historical applications. Trip 06: Project in Detail: Selgascano headquarters. Trip 07: Plastic as a structural material. Trip 08: Plastic Classification. Trip 09: Project in Detail: Cartagena Auditorium. Trip 10: Studentsâ&#x20AC;&#x2122; projects pinup. Trip 11: Projects in Detail: Merida Youth Factory. Trip 12: Plastic as a cladding material. Case studies presentations by students. Trip 13: Projects in Detail: Plasencia Auditorium. Trip 14: Plastic as floids, envelop or skin in architecture. Trip 15: Final presentation.

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.

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. 89

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

Simmons, H. Leslie. Olinâ&#x20AC;&#x2122;s Construction: Principles, Material and Methods. New York: John Wiley & Sons, 2007.

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

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

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

Weston, Richard. Materials, Form and Architecture. London: Laurence King Publishing, 2003 90

Uffelen, Chris Van. Pure Plastic. New Materials for todayâ&#x20AC;&#x2122;s Architecture Salenstein: Braun 2010

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

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

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

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

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. 92

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. 93

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

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

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

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. 94

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

Richard Buckminster Fuller. Flyâ&#x20AC;&#x2122;s Eyes Dome. Colorado USA, 1967.

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

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

Pascal Hausermann and Claude Costy. Prefabricated housing. Prototype.1973. 95

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.

Hans Walter Müller. Nomadic Church. Inflatable 10’ . max occupancy 200 p. Nantes, France, 1968.

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.

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

Bruce Goff. House in Urbana. Research Project, 1952. 96

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

Hexagonal dome. Folded and unfolded.

Hexagonal valt. Folded and unfolded, using 30ÂŞ triangles.

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

Florian Vischer. Covering for the Swiss National Exhibition. Lausanne, Switzerland.1964. 97

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. 98

Arteks arquitectura. Perruquetâ&#x20AC;&#x2122;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. 99

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.

Shiro Studio. Radiolaria. Pontedera, Italy 2009.

JKMM Architecture Office. The finnish Pavilion at Shanghai World Expo. Shanghai, China 2010. 100

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

Lacaton & Vasal. UniversitĂ¨ Pierre MendĂŠs. Grenoble, Francia. 2001.

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

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

Abalos & Herreros Architects. Luis Gordillo Studio. Madrid, Spain. 2002. 101

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

Abalos & Herreros Architects. Recycle Facilities at SantAdrià de Besos. Sant Adriá de Besos, Spain. 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. 102

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

Hank Koning and Julie Eizenberg Architects in collaboration with Ned Kahn Artist. Childrenâ&#x20AC;&#x2122;s Museum Pittsburgh. Pittsburgh, USA. 2004.

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. 103

R&Sie (n) FranĂ§ois Roche, StĂŠphanie Lavaux and Jean Navarro. Hybrid Muscle Pavilion. Chang Mai, Thailand, 2003.

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

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. 104

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

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

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. 105

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. 106

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. 107

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. 108

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. 109

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

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

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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.

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

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EXERCISE 1 CASE STUDY ANALYSIS

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.

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ructure

avilion was made for the o friendly cartoon, the pavilion

Individual Module Elements

Exploded Pavilion Elements

Section showing simplicity of attachment

* Work by Julia Gamolina BArch 2014 119

Case Study II: Facade 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 panels, a common industrial building material. Using silkscreen, these panels are printed with a repetitive plant motif.

120

acade

t, pleasantly filtered onate faรงade panels, els are printed with a

* Work by Julia Gamolina BArch 2014 Front Entrance Section showing panel attachment 121

Case Study III: ETFE

122

ETFE

20% of solar energy used for

letting in more light than glass Steel Structure with ETFE Detailing

ventilation system

20 mm drain hole

main steel structure

steel bracket

extrusion; waterproofed between caps

Section showing environmentally friendly design

Individual Piece attachment detailing

* Work by Julia Gamolina BArch 2014 123

[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:

The [E]spiral bench will be made out polycarbonate pipes. Some of the properties of this

- Transparent material are:

- Light Weight but strong - Transparent

- Having an excellent mechanical strength - Light Weight but strong

- U.V. Resistant

- Having an excellent mechanical strength

- Scratch, fire and water resistant (Not water proof) - U.V. Resistant

- Durable and long lifefire and water resistant (Not water proof) - Scratch, 5'-9"

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

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

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.

BOLTS AND NUTS

1'-8"

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"

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

PART DESCRIPTION

- Mechanical tools: two wrenches.

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

3'-0 1/16"

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

SIDE VIEW

- 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

SECURITY BOLTS GAUGE !0

FRONT VIEW

* Work by Arturo Corzo BArch 2013 124

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

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

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

$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

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.

Carrington Ryan Ryan Carrington

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

EXERCISE 11

Material: Expanded Polystyrene

ARCHITECTURAL DESIGN

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

Wall

Window

Glue

Human Human Human Birdhouse Birdhouse Birdhouse

Material Properties: Material Properties: 3’

1’

1’6’

1’

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

Wall

oror or

Window Window

Glue Glue Wall

Window

Glue

* Work by Ryan Carrington BArch 2015 125

126

* Work by Josehp Kennedy BArch 2015 127

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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, 129

modifying the spatial effect. Also, color can be a method of highlighting the construction process by stressing the presence of an element or making it disappear. Color can be considered an independent layer in design, not being related to program or volumetric composition, but can be also applied with a functional purpose, as a system of orientation, information or identification. These applications of color are based on reason, but frequently color is used for its potential to generate emotion and produce meaning and identity. Color has been described as a bridge between art and architecture. This course examines some decisive examples of colorful architecture from vernacular constructions such as the white mediterranean villages to the work of architectural practices. This analysis introduces aspects of color theory in order to provide insights into how contemporary architects use color, counting on it as another material and design tool available to them. The study of these case studies focuses not only on color physics, perception and psychology, but also on the different design strategies. In addition, the main manifestos on this topic are discussed in the class from Semper’s “Preliminary remarks on polychrome architecture and sculpture in Antiquity” to the most recent ones which analyze how artificial colored light, translucencies and transparencies are used to generate a global sensorial experience. This seminar aims to contribute to a better understanding of color in architecture, providing a broad overview and discussion of this topic. This seminar try to study the different roles that color has performanced in architecture through history in order to best exploit its’ features and to consider it as a powerful tool for the design process today. The first aim of the seminar is reflecting on the use of color, 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 130

provide students the necessary basis in this topic. Discussion classes based on recommended readings are held as well. Students are asked to develop a practical assigment using as theoretical support the main Manifestoes on this topic. Also a series of case studies are analyzed by students in order to understand the different strategies, regarding color, used by architects. Attendance and an intense participation of students are mandatory. Class 01: Experiencing color. Introduction. Class 02: Color and Vernacular architecture. Text: Luis Barragán, “the Color of Mexico.” Class 03: Text Discussion: Le Corbusier, “Polychrome Architecture.” Class 04: Constructive polychromy: structural color. Text: Gerrit Rietveld, “ Colour in architecture.” Class 05: Text Discussion: Bruno Taut, “The rebirth of color” vs Theo Van Doesburg, “Space, Time and Color” Class 06: Case study choice. Class 07: Color Codes. Class 08: Functional Color. Text: Robert Venturi & Dennis Scott Brown, “Signs and systems for a mannerist architecture for today.” Class 09: Text discussion: Rem Koolhaas, “ The future of color is looking bright.” Class 10: Students’ projects pinup. Class 11: Color meanings. Text: Michiel Riedijk, “Code, space and light.” Class 12: Text Commentary. Class 13: New materials for new colors. Class 14: Color: the psychologic experience. Class 15: Final presentation.

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BIBLIOGRAPHY C H R O M A

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

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

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.

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. 132

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

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

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.

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

Holtzschue, Linda. Understanding Color, an introduction for designers. New York; Wiley, 2002.

Moor, Andrew. Colours of architecture: coloured glass in contemporary buildings. London: Mitchell Beazley, 2006. 133

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Lancaster, Michael. Colourscape. London: Academy Editions, 1996.

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CASE STUDIES

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As I stood in

EXERCISE 1

read the paint

8:09 AM

painted them

LIGHT STUDY

black, a cool b

I saw the swat

By comparing photographs,

however, it b duller, darker,

percieve every from 10:54 AM

actually look g most pleasing

from 12:47 PM

10:54 AM

As I stood in most accurate

read the paint the painting in

8:09 AM

painted them

black, cool b As the asun mo comparing IBy saw theshado swat day, the

however, photographs, just outsideit thb percieve every duller, darker, the greenery g

8:09 AM

actually look g from 10:54 AM seems to dis 12:47 PM

most pleasing afternoon com As I stood from 12:47 in PM

10:54 AM 8:09 AM

read paint most the accurate painted them the painting in

black, a cool b

IAs saw swat thethe sun mo photographs, day, the shado

duller, darker, just outside th from 10:54 AM the greenery g

most seemspleasing to dis from 12:47com PM afternoon

12:47 PM 10:54 AM

most accurate

the painting in

As the sun mo

10:54 AM

day, the shado

just outside th

the greenery g

seems to dis 12:47 PM

afternoon com

12:47 PM * Work by Cora Visnick BArch 2015 142

2:57 PM

4:36 PM 2:57 PM

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

10:37 PM 4:36 PM with lamp

4:36 PM 10:37 PM

with lamp

10:37 PM

with lamp 143

EXERCISE 11 ITHACA COLOR STUDY 300 E. Seneca Street -CTB 3435c warm gray 2 155c 7629c sign 7606c 7628u

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

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 collection of material Theofcollec samp mate

transition transition from saturated from transition saturat colors

mercial areas mercial of the areas street mercial of the towar ar st

fused color fused palette color ofpalette fused softer colo and of s

on the residential on the residential portion on the ofporti the res

144

* Work by Thomas Esser MArch 2014

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

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

404 E. Seneca Street - Private Residence

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.

145

bac

EXERCISE 111 COLOR TRANSFORMATIONS

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ished c onto the that floa landsca glassed

The flo corner

structur goal wa

the mo Archite

a unifo tions o

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146

* Work by Thomas Esser MArch 2014

The co history Church that pro

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where olor re-

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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 to147 The wards a blueish purple until the sun sets. natural day lighting links the indoor user to the

148

DRAWING COURSE

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150

* Exercise proposed to students

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.

* Examples of 2D drawings

151

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

MOVEMENT Circulation: corridors, crossing spaces... Circulation: vertical communications Practicability: Openable elements, doors, windows, furniture with various positions STRUCTURE Visible and hidden 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 PROGRAM/ACTIVITY Furniture People CONTEXT Existing vs new Vegetation 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.

* Pages extracted from the turtorial produced specificly for the workshop 152

HOW? LINES Continuous Dashed Doted HATCH Solid color Lines Dots Shapes, squares, circles, triangles... Customized BLOCKS

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

Structural elements Trees Furniture People TEXT Program Surface Hight Detail explanation DIMENSIONS

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

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