Exercise 1.1 was the introduction to the grammar of architecture. Specifically I was assigned the verb interlock. This verb would serve to be my inspiration for my future work. The work explored in Exercise 1.1 shows my broad experimentation with the limits of interlock.
In Exercise 1.1 I explored interlock using three formal “nouns�: line, plane, and mass.
I looked into the concepts of spatial interlock as well as a more direct interlock.
INTERLOCK
When talking about an object, interlock is a method of having the parts/pieces ofthe object together, while also describing that parts/pieces may be combined in such a way that they can’t come apart, but not necessarily attached.
Exercise 1.2 called for an exploration of interlock using a combination of the three “nouns�. I explored how spaces interlocked, but also how volumes interlocked.
With Exercise 1.2 I looked into the idea of a continuous strip that would cause interlock. This can be seen with my basswood stick frame to the right and the chipboard spiral above.
I created volumes that were formed from a cage design, except the models themselves didn’t read as interlock.
I soon realized that I should create volumes out of chipboard and make those volumes interlock. The basswood frame defines the spaces with the chipboard volumes.
I drafted two sections (top) and six elevations (bottom) of the cube. The sections were used to illustrate the idea of volumetric L’s interlocking to create space.
The elevations are shown in the form of an unfolded cube. When represented as such, it is possible to see similarities in the separate elevations of the cube.
The final cube I made consisted of 3 interlocking chipboard volumes.
The model also has a basswood frame that consists of two continuous basswood cubes that interlock around each other as well as around the created volumes.
The spaces I defined in this are not the spaces that are inside of the volumes. Rather, the spaces I defined are those that are outside of the volumes, but contained in the basswood frame.
Exercise 2.1 was an introduction to building analysis. Specifically, in a group, we went and analyzed Newhouse III. We had to design a sequence of perspectives, as well as other normative drawings.
We use the human body as a measuring tool.
Partners: Gianluca Ferrari Joao Pedro Elley Xinran Min
Exercise 2.2 introduced habitable spaces within our models. I connected these spaces with the influence of my results from exercises 1.1 and 1.2. In this exercise, another primary focus was site and how the structure interacted with site.
For my first attempts, I took inspiration on the volumes from the previous exercise, but there was no natural flow or sequence to the models.
I reverted back to the shape of my final from Exercise 1.2, and explored how those spaces could connect.
As the project became more defined, it became more apparent that it was about concealing the “good view� until the end of the sequence. There was also an idea of the space getting larger as a person were to go through it.
In the final model I decided to make the site and model an experience for an individual. The experience was that when you reach the model portion, you are forced into a crawl that you don’t escape until closer to the ende of the sequence.
There was an idea of increased light and views of the good view as a person moves throughout the work.
Slightly different color chipboards are used to represent the volumes which are being interlocked.
The basswood stick frame creates volumes on the same grid that the model and the site do. The frame interlocks with the model. If to be pushed farther, then the frame would lead the publics eye in the direction of the good view.
There are angled slits to allow for light, representation of an interior ramp, and to allow exclusive views of exterior spaces.
The site is a space at which you are meant to look at, but not directly interact with.
I drew perspectives using charcoal to describe the major sequential spaces within my design.
The first few spaces are within a tunnel-like feature that wraps around the site, with small viewings into the site, but nothing allowing for interaction with the site.
With these perspecives specifically, it is apparent that there is more light within the structure.
Following the sequence, the spaces appear to get larger and more well lit. This continues until the last, very open, larger space that directs a person’s view towards the “good view�.
In Exercise 3.0 the learning goal was to analyze a case-study to find relationships within the house and in relation to context. The primary parts of our focus were scale, movement, context, nouns, and verbs. I was working with the Element House by MOS Architects.
Through my observations I noted that the building had little to no relationship with its site, and that there was a central core to the house that everything radiated away from.
When creating my axon, I wanted to focus on the verb that I obtained while analyzing the project, branch. I realized while working with this building that private spaces radiated from the center in modular units.
I found that the farther away from the core of the house, which is the most public living space, the more private the spaces became. My axon shows the public vs. private aspect to the house. The part you can see into is the core of the home, but the parts that are completely drawn are the most private spaces, usually a bedroom.
My final model (top) is diagrammatic in nature. This model shows that as you radiate from the center of the house you enter more private spaces.
The stick frame represents the most public space, while chipboard walls represent a semi-public and semi-private space, and the foam represents the most private spaces of all.
The primary concept behind Exercise 4.0 was that I was designing a combination living space, gallery, and work area for an artist of my choice. This artist’s abode was placed in a community of other artists. For my artist I chose sculptor. The freedom of the work space and gallery space let me focus on the form of the structure.
These simple study models show my quick thinking of how I was going to apply shear to my structure.
The inspiration that I took from Excercise 3.0 was to have a large central and public space.
The central space later developed into a long tunnel that was formed through the verb shear. Off of this tunnel were placed instances of private spaces that were hidden away because the public would be forced down into the tunnel.
The tunnel became part of the gallery, expanding my gallery space and allowing for an instance of public space throughout the structure.
With my next series of models, I inversed the space of the long long hallway from an indoor space to an outdoor space. The shear through the structure was created to separate private and public spaces, as well as to create public movement.
My earlier models didn’t incorporate the site as much, but in the later models I used the also used the site to force movement.
I looked into different windows that allowed for a lot of natural light into the work space, gallery ,and living area.
My final model introduced a thick wall that wrapped around the private side of the shear. This wall houses the private circulation, as well as allows a certain amount of light to come into the working space and the living space.
The massive wall forces public movement down the larger ramp and through the large shear within the building.
The public, when they follow the public sequence, will find themselves staring down the same shear that they entered through.
The model that I created separated into separate pieces. Each of the pieces serves a separate primary function.
The three major pieces I had were the public piece (bottom), the private piece (top), and the private circulation piece (previous page).
These parts of the whole model are separated literally through the verb shear, and symbolically through their primary functions.
When looking at the section of my model, it is clearly visible that there are spaces that are separated by the verb shear.
When looking at my section there is a thickness in materials that decreases as you move from the private portion of the building to the public portion.
The sections also show how the structure interacts with the site. The thick wall on the edge of the private space carves out a volume into the ground. There is also the absense of a wall on the public portion to connect the interior and exterior public spaces.
When looking at the site plan, it can be seen that I took into account the surrounding sites. I created a shear wall that lined up with my neighbor’s (Ivania Rivera) to create a more private entrance for her artist. I also connected my outdoor public area directly to her outdoor public plaza.
I worked with another neighbor (Bram Monson) to line up my public entrance directly to his public entrance. By doing this we created a single point at which both of our public entrances diverged off from.
My floor plans help to show the shear effect throughout the building, as well as the organization of the floors. The circulation is stored in the outer wall, as well as a thick window feature inspired from Ronchamp by Le Corbusier.
My axonometric is diagrammatic in nature. This axon shows the original shear, and the separation of the public and private portions. It also shows that the separation of these spaces creates movement through the center. The axon also depicts two other moves: the wrapping wall of circulation around the private portion and the extrusion of the private space on the public side to present it as a different space from the rest.
The diagrams show the verb shear, the separation of public and private spaces, a sunlight diagram, and the different paths of circulation within the structure and the site.
The perspectives shown to the right show the sequence as a person would walk through the public circulation of the structure, specifically the exterior. These perspectives show how the public originally enter in the sheared space, and then find themselves looking down the same spatial moment at the end of the sequence.
These perspectives were created with charcoal. The darkness that was placed in the sheared space was exaggerated slightly to show how a person would feel walking through that space.