Michal Koszycki
PRINCETON UNIVERSITY : Masters of Architecture
DUKE UNIVERSITY : Bachelor of Arts Rx co-lab Gensler 1100 Architect DIP Design Studio t: 919-257-0303 e: m.koszu@gmail.com
WRITER’S CABIN
A writer’s cabin is the ultimate place of refuge. The architecture actively participates in the production of solitude. The user is distanced simultaneously from the forest surrounding the cabin as well as from the artifacts of everyday life within it. 7KH DUFKLWHFWXUH GRHV QRW GHÀQH a clear boundary between the inside and the outside, but rather curates a continuous, folded space between translucent and transparent resin panels.
SLIT-SCAN PATH MAPPED TO A CIRCLE
STUDIO FALL 2010 | STAN ALLEN
MAT CITY
STUDIO SPRING 2012 | JESSE REISER
5.8 MI
SENDAI, JAPAN
On March 11th, 2011 the coastal area of Sendai, Japan, was destroyed by a tsunami. As the memory of the catastrophe fades in peoples’ minds, however, they will inevitably resettle the area despite the danger. The previous tsunami visited the area in 1896. This project proposes an optimized, dense urban infrastructure that would stop this cycle. The unique urban morphology would allow people to safely occupy the coast and constitutes a prototype for “the rim” of Japan. The city form can be overstructured to withstand any wave size at the same time dissipating its energy and protecting areas further inland.
PROTECTED URBAN AREAS PROTECTED URBAN AREAS
2000 - 5000 FT
MAT CITY
MACRO TOPOGRAPHY MACRO TOPOGRAPHY
The recurring inundation would change from a catastrophe to a city-wide festival...
CIRCULATION CIRCULATION
MAT CITY
LEISURE
SPORT
RECREATION
PRODUCTIVE LANDSCAPE
CONCERT
MEDIATING SURFACE SURFACE MEDIATING MORPHOLOGY MORPHOLOGY HOTEL
SHORT RANGE SURFACE LEVEL
SOFTPROGRAM PROGRAM SOFT top SHORT surfaceRANGE level
VERTICAL
UNIT LEVEL
HARDPROGRAM PROGRAM HARD surface thickness level VERTICAL
LONG RANGE
SUBSURFACE LEVEL
INFRASTRUCTURE INFRASTRUCTION LONG RANGE subsurface level
RESTAURANT
COMMERCIAL
HOUSING
OFFICE
STUDIO SPRING 2012 | JESSE REISER
SIMPLE DEFLECTING STRUCTURES
STRUCTURAL PERFORMANCE Vs TSUNAMI
STRUCTURAL PERFORMANCE vs TSUNAMI STRUCTURAL PERFORMANCE vs TSUNAMI
. mV
. mV
. mV
corners corners
structural weakness structural weakness
INTERESTING
INTERESTING SOLUTIONS SOLUTIONS
reinforced concrete buildings reinforced concrete buildings
seawalls
seawalls
INFRASTRUCTURE INFRASTRUCTURE DAMAGE DAMAGE
stiff stiff compact
compact
flexible flexible porous
porous
GRADED DEFLECTING STRUCTURES
tree grove
. mV
. mV
. mV
YIELDING STRUCTURES
foundations
tree grove
LITTLE AREA PROTECTION
D
‘WEAK’ STRUCTURES
foundations
LITTLE AREA PROTECTION
open plane
Water penetration inland
Water penetration inland
open plane
DE A O RL
E OV
NO RESISTANCE TO FLOODING
NE
R VE
LITTLE RESISTANCE TO FLOODING
CONSTANT RESISTANCE INDEPENDANT OF TSUNAMI STRENGTH
MAT CITY
bulge
lift
dip
local roughness
flat platform
STUDIO SPRING 2012 | JESSE REISER
market living unit
courtyards / pathways
green space
MAT CITY
STUDIO SPRING 2012 | JESSE REISER
SCULPTURE MUSEUM
STUDIO FALL 2010 | STAN ALLEN
SCULPTURE MUSEUM LONG ISLAND CITY, NY
The building is a shifting public landscape for the education, production and viewing of artwork. Classrooms, galleries, workshops, and live-work studios for artists are distributed throughout the structure in individual room-pods which constitute the only enclosed part of the building. The attention of the community of curators, visitors, artists, and casual passersby is focused on the main outdoor production space in the center of the donut shaped form. The central shaft also serves as the loading pathway for the vertical transportation of oversized artwork.
SCULPTURE MUSEUM
STUDIO FALL 2010 | STAN ALLEN
STRUCTURE
FLOOR SLABS
EXHIBITION WORKSHOPS CLASSROOMS LIVE/WORK STUDIOS MUSEUM STORE
PROGRAM
COMPETITION ENTRY | RX-COLAB & ARUP
Triple E-Maersk
12h
800
(in minutes)
11h
700 600
8h
500
1 io
Port of Hong Kong service time average is 10h
Scenario 1 service time average is 220 min
Sc
en
ar
300 200
90min
70min 100
RESPONSIBILITIES: Designer / Systems Designer
100min Scenario 2 service time average is 41 min
Scenario 2 18000
15500
13000
11000
6000
4000
2000
0
0
The container port consists of an on-shore and an off-shore hub designed to become part of the Port of Singapore. The proposal reenvisions the port as a logistics center for international trade through cross-programming, improvements in network-connectivity, and introduction of latest sustainability solutions. A key aspect of the design is the reinvention of port operations. An elevated monorail network with Automated Receiver and Handling Units (which combine the roles of cranes and trucks) HOLPLQDWHV WUDIĂ€F ERWWOHQHFNV DQG FUHDWHV D IDVW DFWLQJ Ă H[LEOH V\VWHP ZLWK XQSUHFHGHQWedly large stacking capacity.
Kawasaki
400
A competition entry created as a collaboration of Rx colab (Razvan Ghilic-Micu, Jia- Xin Chum, Michal Koszycki) and Arup in the roles of lead design and sustainability consultant respectively.
Emma Maersk
AN OPERATIVE UNIT FOR THE 21ST CENTURY
Triple E-Maersk
Service Time
9000
NEXT GENERATION CONTAINER PORT
TEU capacity (assuming full capacity is exchaged with the yard)
Single piece of traditional equipment APM terminals crane design: shared structure Traditional Port: a collection of equipment with 1:1 Structure to Handling Unit ratio
Structure Proposed design: Maximum efficiencies from sharing structure among many handlig units; The distinction between port and equipment is blurred
1 crane
Increase in handling intensity (TEU per Handling Unit)
ship
1
Handling Unit
COMPETITION ENTRY | RX-COLAB & ARUP
NEXT GENERATION CONTAINER PORT
track
BERTH
50m 2.44 m 6.1 m 180m
TRACK TYPE | FULL
130m
PLATFORM 180m
SAMPLE AREA | GROUND PLAN
180m
SAMPLE AREA | SUSPENDED TRACK ABOVE
TRACK SEGMENT USE INTENSITY
max = 100%
max = 95%
max = 184%
TRAFFIC CONGESTION INTENSITY
max = 100%
max = 98%
max = 122%
PICK-UPS AND DROP-OFFS PER LOCATION
QUALITATIVE TRAFFIC ANALYSIS FOR DIFFERENT TRACK PATTERNS
COMPETITION ENTRY | RX-COLAB & ARUP
NEXT GENERATION CONTAINER PORT
1.05 m
Centering aps
Bogie Stabilizing Wheels Mechanical Lifting Unit (outside of the beam) Receiver and Handling Unit (RHU)
Telescopic Spreader Twistlocks
2.59 m
Container
2.44 m
INTELLIGENT INFRASTRUCTURE: KIT OF PARTS
COMPETITION ENTRY | RX-COLAB & ARUP
A simple non-slip system can be introduced for controlled climbing and descent of an RHU.
Facilities to switch sides could occur at any discontinuity in the track network - at the platform’s edge or by one of the hypar supports. A system with an independent ipping mechanism is chosen as shown below. Note that the RHU is able to return to the underside of the track itself, staging a free-fall around the curve.
g
Selected for further development due to compact size and shorter turning time
SIMULATION SNAPSHOTS
FOLDING SPACE
FOLDING SPACE
A COMPUTATIONAL EXPLORATION Architecture always responds to spatial constraints. The device of a joint or hinge is an archetypal spatial condition which allows UHGLUHFWLQJ WKH Ă RZ RI VSDFH around an obstacle or simply for YROXPHWULF HIĂ€FLHQF\ DQG H[FLWLQJ adjacencies. This project applies digital tools to the problem of space packing. A SUHGHĂ€QHG DUELWUDU\ SURJUDPPDWic connectivity diagram has been folded into a tight, irregular site.
STUDIO SPRING 2011 | AXEL KILIAN
MAZE
FOLDING VOLUME / FOLDING CIRCULATION
FIGURE
?
SCALE
HINGE
FOLDING SPACE
STUDIO SPRING 2011 | AXEL KILIAN
Neighbour Index for space creation 1 - just corridor
30
70 DIR = int(random(1,6)); if (int(random(0,4))!=1) DIR = 1;
1- just corridor
30
DIR = int(random(1,6)); if (coundecounter%2=0 ){if (int(random(0,8))!=1) DIR = 2; } if (coundecounter%2=0 ){if (int(random(0,8))!=1) DIR = 1; } codecounter++;
70
GENETIC ARTEFACT control Vs variability
FOLDING SPACE
Most importantly, joints break up and mark space. They enable users to map themselves inside space. Too few joints are boring, too many - create a maze. While the connectivity and programmatic layout of the space created is absolutely rational and deterministic, the actual adjacencies are impossible to understand. The project plays on the intriguing discrepancy between reality and what the user understands about the layout of the entire structure - the problem of the map.
DIR = int(random(1,6)); if (coundecounter%2=0 ){if (int(random(0,8))!=1) DIR = 2; } if (coundecounter%2=0 ){if (int(random(0,8))!=1) DIR = 1; } codecounter++;
DIR = int(random(1,6)); if (int(random(0,4))!=1) DIR = 2;
EXEMPLARY FOLDING GENOTYPES
STUDIO SPRING 2011 | AXEL KILIAN
LINEAR CIRCULATION FOLDED INTO A VOLUME
POSITION POSITION CODECODE RELATIVE TO TO THE BLOCK RELATIVE THEPREVIOUS PREVIOUS BLOCK
1
LINEAR CONNECTIVITY DIAGRAM FOLDED INTO A VOLUME
2 3
4 ROOMS CORRIDORS
5
HINGE CODE HINGETO CODE RELATIVE THE CONTACT PLANE RELATIVE TO THE CONTACT PLANE
1
2
3
THE UNFOLDED CONNECTIVITY DIAGRAM WITH MARKED SPACE ADJACENCIES
4
FOLDING SPACE
FITTING - NOT FITTING SPACES
A
B
?
B
?
A measurable
questionable
CIRCULATION KNOTS DISORIENTers
SH HOUSE It is intriguing how the topological intervention becomes a misleading clue to the interior. In the case of windows which are clearly measurable with the eye (and thus conceived by reason) the interior is rationally connected to the exterior. The bulge of the SH house, on the other hand, introduces a tip, while at the same time being almost entirely uncheckable. OUTSIDE OUTSIDE
?
DISTANCE TRAVELE
D ??
REALITY
HIRSHHORN GALLERY IN A BOX
EXPECTATION
EXPERIENCE
STUDIO SPRING 2011 | AXEL KILIAN
CHANGING MORPHOLOGIES OF UNFOLDING CUBE
FLEXIBLE WORKSHOP SPACE PRINCETON, NJ
With a simple spatial move the building provides a ODUJH VFDOH Ă H[LEOH ZRUNVKRS VSDFH IRU WKH SXEOLF 7KH VSDFH LV HQWLUHO\ GHĂ€QHG E\ D IRRW FDQWLOHYHU which acts as an infrastructural roof providing utilities from above. All the mobile tools and equipment are FRQWDLQHG RQ WKH JURXQG Ă RRU LQVLGH WKH EDFN ZDOO of the building, and travel onto the working deck during the day. Most importantly a custom ETFE and felt curtain system was developed for environmental enclosure and space partitioning.
STUDIO FALL 2012 | PAUL LEWIS
CURTAIN STACKING
STACK BACK ESTIMATE
7 FT PACKED INSIDE U-TURN
TYPE I : ETFE
337 FT OF CURTAIN INSIDE STACKING ARE
4 1/2” STEEL TRACK 1’ 6” LONG MANUAL VENTILLATING ZIPPER 1’ ABOVE FLOOR 6’ O/C
1 7/8"
CURTAIN LEADER ENDS BEFORE STACKING AREA
10 1/16"
ETFE REINFORCEMENT
11 1/16"
15 % LINEAR PACKING
1 11/16"
1'-0"
POURED CONCRETE FLOOR SLAB
WEIGHT
TYPE III : WORKING AREA
TYPE II : SHADING
TYPE I : ETFE
MECHANIZED PULLING SYSTEM
2” FIBER CEMENT BOARD
2” FIBER CEMENT BOARD
SEALING BRUSH
ETFE CURTAIN 3 LAYERS 250 mic THK EACH
FIRE-PROOF, WASHABLE MEMBRANE INSULATION
2” FIBER CEMENT BOARD
SHADING SCREEN
FLEXIBLE WORKSHOP
STUDIO FALL 2012 | PAUL LEWIS
FLEXIBLE WORKSHOP
PLAN PLAN 1/4” - 1’ 0 “
PUBLIC ACCESS: EXHIBITION + DISPLAY
PLEIN AIR ASSEMBLY
STUDIO FALL 2012 | PAUL LEWIS
RCP RCP 1/4” - 1’ 0 “
PRIMARY STRUCTURE
SPACE DIVISION: TRACK + CLIP-IN CURTAIN SYSTEMS
LIGHTING GRID: NATURAL + ARTIFICIAL
TERTIARY CAPABILITIES: CEILING GRID + MEP
FLEXIBLE WORKSHOP
STUDIO FALL 2012 | PAUL LEWIS
SOLATUBE FOR DAYLIGHTING CURTAIN TRACK 2” FIBER CEMENT CEILING PANELS ACOUSTIC GLASS INSULATED CONCRETE FLOOR
FLAXIBLE WORKSHOP
STUDIO FALL 2012 | PAUL LEWIS
‘STUPID’ IDEAS FOR ARCHITECTURE
‘STUPID’ IDEAS FOR ARCHITECTURE EXPLORING THE COLLAPSE OF MIND AND MATTER THROUGH CONCEPTUAL (a)TEC(H)TONICS
The project begins with the desire to ‘look’ beneath the surface of reality and into the pochĂŠ of the material. It is mining these never-to-be spaces of non-experience for their conceptual, imaginary, and emancipatory potential. It investigates the questions of freedom through visuality: proposing a new materiality where vision, understood as the struggle with opacity, is dispersed within the material bulk. 7KURXJK D VHULHV RI VWULFWO\ VLWH VSHFLĂ€F ZDOO SURMHFWLRQV WKH SURMHFW UHVWDJHV WUDQVSDUHQF\ LQYLVLELOLW\ Ă€QGLQJ WKH QHFHVsary material frictions to return it to its role in dissolving architecture and enacting transgressions across the opaque materiality of the object. Architecture becomes a direct technology of vision. The projections effectively undo representation and leave the viewer in a space where there is nothing left to see. The technological setup involved in the creation of these LQVWDOODWLRQV IURP OLJKW FROOHFWLRQ ZLWK Ă€VKH\H OHQV DUUD\V WR YLHZHU VSHFLĂ€F DQDO\VLV DQG GLVSOD\ FRQVWLWXWHV D SURWRW\SH for a ‘seeing architecture.’
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
DIGITAL PROJECTION ONTO A COLUMN
PENDULUM
COLUMN
HOLE
‘STUPID’ IDEAS FOR ARCHITECTURE
2
1
1
2
2
1
2
1
1
2
1
2
12
2
1
1 2
1 2
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
tectonics
material
form
tectonics
form material
FLOW OF LIGHT AND INFORMATION
‘STUPID’ IDEAS FOR ARCHITECTURE
DIGITAL GLASS Light is collected and displayed per surface area of the materiDO VSHFLÀF WR WKH ORFDWLRQ RI WKH viewer. The wall sees. Viewer’s perceptions vacillate between noticing the obvious technological support of the setup on the one hand, and buying into the see-through depth and material dissolution, on the other.
interesting moment
back
forth
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
KINECT HEAD TRACKING
PROJECTOR
CAMERA ON A 2-AXIS MOTION RIG
‘STUPID’ IDEAS FOR ARCHITECTURE
VIEWER POSITION SPECIFIC PROJECTION GIVES THE ILLUSION OF TRANSPARENCY
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
1.
2.
3.
4.
8.
7.
6. 5.
10. 9.
13.
12.
11.
14.
16. 15.
PRELOH ÀVKH\H FDPHUD _ SOH[L VDQGLQJ ULJV _ OHQVHV DQG OHQV GLDJQRVLV F\OLQGHU _ SLQKROH ZHEFDPV _ WZR D[LV PRWLRQ ULJ _ PLUURU SRFKH ER[ SDUWV _ PDWHULDO SURSHUWLHV UHVKXIÁH ZDOO RQH _ GLJLWDO FDPHUD LQ D QRUPDOL]DWLRQ WR VXUIDFH ULJ _ LQYLVLEOH VROLG _ JODVVHV ZLWK DQ LQIUD UHG /(' IRU KHDG WUDFNLQJ _ SLQKROH OHQVHV _ PDWHULDO SURSHUWLHV UHVKXIÁH ZDOO WZR _ PDWHULDO SURSHUWLHV UHVKXIÁH ZDOO WKUHH _ PLUURU SRFKH ER[ DVVHPEOHG _ UHWURUHÁHFWLYH PLUURU ZDOO _ DGMXVWDEOH YLHZ DQJOH ZHEFDPV
CONCEPTUAL TECHNO-MATERIAL DEVICES
‘STUPID’ IDEAS FOR ARCHITECTURE
TRANSPARENCY INVISIBILITY REALITY
virtual image coincides with the position of the object
S
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
... is synonymous with glass ... allows for a simulated environment ... occurs when the form expresses inherent material, mathematical, and functional principles ... is lightness ... allows one to see ... allows one to be seen ... is an extension of vision ... is a condition where there is nothing left to see ... dissolves the subject ... is a dissolution: as when poche becomes space ... is a dissolution: as when column becomes space ... allows for simultaneiety ... is freedom ... is power ... is a retort to opacity ... depends on perception
‘STUPID’ IDEAS FOR ARCHITECTURE
RELEVANT TECHNOLOGIES S
SPATIALIZED LIGHT COLLECTION DEPTH OF FIELD VIRTUAL VIEW RECONSTRUCTION FALSE TRANSPARENCY
S
S
S
S
INVISIBILITY s
s s
s
S
S
S S S
s
s S
S
s
s
s
s s
s S
|1| fresnel transparency |2| negative fresnel lens _ _ IUHVQHO UHÁHFWLRQ _ _ SRVLWLYH IUHVQHO lens
|1| emittance _ _ FRUQHU FXEH UHWUR- _ _ GHVLJQHG UHÁHFWLRQ |2| simple transpar_ _ DEVRUSWLRQ UHÁHFWRU ency _ _ VLPSOH UHÁHFWLRQ |2| ray bending _ _ GLIIXVH UHÁHFWLRQ |3| diffuse transpar- _ _ YLUWXDO YLHZ UHFRQVWUXFWLRQ ency _ _ LQYLVLEOH PLUURU |4| fresnel prism VROLG GLDJUDP
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
_ _ PDJLF PLUURU _ _ FDXVWLFV IURP D |2| dynamic camera water surface array _ _ OHQWLFXODU ÀOP _ _ JHRPHWU\ UHFRQ- |3| bird’s eye view VWUXFWLRQ IURP UHFRQVWUXFWLRQ GHSWK RI ÀHOG |4| Shack-Hauptmann _ _ GHSWK RI ÀHOG WHVWV ZDYHIURQW VHQVRU
_ _ LPDJH IURP O\WUR camera |2| invisible metamaterial |3| mirage invisibility FORDN |4| designed caustics
_ _ GHSWK RI ÀHOG WHVW |2| adaptive IR FDPRXÁDJH D tank masked as a civilian vehicle |3| camera bundle _ _ LQYLVLEOH PLUURU VROLG
_ _ LQYLVLEOH VROLG PLU- _ _ LPDJH IURP WKH URU FRQVWUXFWLRQ WKURZDEOH EDOO |2| adaptive IR camcamera RXÁDJH _ _ LQYLVLELOLW\ WKURXJK UHWURSURMHFWLRQ _ _ LQYLVLELOLW\ WKURXJK UHWURSURMHFWLRQ
_ _ VLGHG YLGHR VHQVRU _ _ SDQRUDPLF LPDJH IURP WKH VHQVRU _ _ LPDJH IURP WKH elastic camera array |4| elastic camera array
MARFA ART CONSERVATION CENTER
PLAN REFLECTION TEST : INSTANT DENSITY
STUDIO FALL 2011 | GUY NORDENSON
MARFA ARMY AIRFIELD ART CONSERVATION CENTER MARFA, TX
The 2 million square foot conservation facility is both overtly there, and as if not there at all – a mirage in the distance. Only a ripple in the desert’s continuity betrays its location. 7KH FRPSOH[ LV GHÀQHG E\ D WZR VLGHG PLUURU ERXQGary. The four projecting wings (each of which houses a major programmatic component) resemble fortress embankments and recall the complex’s security function as well as its character as a refuge for research and long-term conservation of the most valued art pieces. The architecture of the complex highlights the cateJRULFDO RSSRVLWHV RI DEVHQFH SUHVHQFH JURXQG ÀJure, and value/barrenness - resonating with the idea of conservation and attaining a rich, almost magical presence on the outskirts of Marfa.
MARFA ART CONSERVATION CENTER
1:4000
STUDIO FALL 2011 | GUY NORDENSON
PROFESSIONAL EXPERIENCE Gensler 1100 Architect DIP Design Studio
RESPONSIBILITIES: PROPOSAL PREPARATION & GRAPHIC DESIGN, DIAGRAMMING & IMAGE RETOUCH, SUBMITTAL REVISION & DESIGN SPECIFICATION, MILLWORK DRAWINGS, RENDERING, URBAN LAYOUT, TEST FITS
RIVERSIDE HEALTH CENTER
QUEENS PUBLIC LIBRARY
NEW YORK, NY
143A
1
A6.3
2
LOS ANGELES, CA
EXIST. COLUMNS, TYP.
L
LIN
BRAND NEW SCHOOL
NEW YORK, NY
COUNSELING 154A
B
143
N1
5'-2"
N1
1 B
A4.3
TRIAGE 155 144A
10'-7 1/4"
B
CL
REG/INTERVIEW 11'-5 1/4"
ALIGN
B
10'-11 1/2"
C L
1 A4.1
2'-6"
O1
MANAGER
B
B
REG/INTERVIEW
156
REG/INTERVIEW
157
B
158
High-performance Insulated Glazing with Glare Reduction
Green Housekeeping
Materials Manufactured and Extracted Regionally
Daylighting
Energy Efficient Interior Lighting Daylighting Controls
Water Conservation Low-flow Fixtures
Views
Radiant Floor Heating
Increased Ventilation and HVAC Efficiency
144 1 1/2" I
22
96
97
155A
83 .0
째
B
6'-7 1/4"
12'-2 1/2"
A
1 1/2"
11'-3 3/4" DN
162
5'-6"
IT CLOSET D
VINYL E
37
167
NOTE: DIVIDER STRIP LAYOUT TO BE VERIFIED W/ EXISTING CONC. JOINTS
E CUSTODIAN CLOSET
159A
159
MECH. SHAFT; REFER TO MECH DWGS
E
EL 0'-1" T.O.F.F. FIRST FLOOR P1
126A
AWNING BELOW; REFER TO 9/A8.9
A
A6.9
NEW ELEVATOR
3
DIVIDER STRIPS IN TERRAZZO FLOORING, TYP; SEE 23/A9.2
7 SIM NEW SHAFT
NEW ELEVATOR E
127
Q Q
126
95 CORRIDOR
93 93
D
WAITING (STD CLINIC)
LINE OF NEW SLAB; REFER TO STRUC. DWGS
M
3
4'-9"
11'-9 1/2"
162A MAT #2
A6.2
2
161A
1 1/2"
92 92
WALL MOUNTED TV W/ IN WALL BLOCKING AS REQ'D; SEE AV DRAWINGS
11'-5"
P2 1
H
E
M3-V
P1 H
E
KITCHENETTE
2'-5 3/4"
FACE OF CMU BLOCK TO ALIGN W/ FACE OF EXISTING COLUMN
20 20
AT #2
C L
C L ALL DOOR FRAMES TO BE HELD 3" OFF WALL TYP, U.O.N.
M2-D
A
6'-0 1/4"
163
2'-2 1/2"
H
K RECESSED FIRE EXTINGUISHER, TYP; REFER TO SPECS
8'-2 3/4"
E
161
102B
TELEPHONE CLOSET
2'-0"
UP
163A
NEW STAIR B
C L
EQ
I 8'-2 1/2"
H
H
EL -5'-5 1/2" T.O.F.F. LANDING
C L
8'-6 1/2"
M5-A
WOOD
째
C L
EQ
145A
97 .0
5'-1 1/2"
E 4 1/4"
VE,
8'-6 1/2"
ALIGN
3 3/4"
161B
7.3
9
158A
3" TYP
I 8'-0"
NING S, TION
157A
156A
O1
1'-10 1/2" 2
ALIGN
1 SIM A6.23 M3-A
WORK EXPERIENCE
TEST FITS
HOUSING COMMUNITY HOTEL COMPLEX
SEATTLE, WA
CHARKOW, UKRAINE
NOWE WLOKI, POLAND
0,10 0,00
view of PUDGET SOUND P.Q. P.Q.
P.Q.
P.Q.
ADMIN STATION
P.Q.
CONF.
CONF.
BOARD ROOM
P.Q.
COFFEE ROOM
CONF.
.
AN
F.E
CH IC
AN IC
AL
ELEVATOR LOBBY ME CH
CENTRAL SERVICES
AN IC AL
typ.
typ.
+0,25 P.Q. ( ' %
.
typ. P.Q.
P.Q.
P.Q.
P.Q.
P.Q.
CONF.
P.Q.
0,00
P.Q.
typ. F.E
view of DUWAMISH AREA
+0,15
P.Q.
P.Q.
ADMIN STATION
P.Q.
view of DOWNTOWN
P.Q.
-0,25
P.Q. P.Q. P.Q.
P.Q.
P.Q.
P.Q.
P.Q.
P.Q.
-0,25
P.Q.
P.Q.
typ.
view of COLUMBIA TOWER
view of PUGET SOUND P.O. P.O. P.O. P.O.
P.O.
typ.
ADMIN STATION
FILE
P.O.
view of PUGET SOUND
P.O.
P.O.
CONF.
P.O.
P.O.
CENTRAL SERVICES
ADMIN STATION
typ.
P.O.
CONF.
P.O. SERVER ROOM
ADMIN STATION
P.O.
P.O. P.O.
P.O.
DOWN
P.O.
P.O. ELEVATOR LOBBY
P.O.
P.O.
typ.
ADMIN STATION
P.O.
STOR. P.O.
P.O.
P.O.
P.O.
SICK ROOM
P.O.
typ. P.O.
CENTRAL FILE
FILE
view of DOWNTOWN
P.O.
P.O.
P.O. ADMIN STATION
P.O. P.O.
64th
P.O. P.O.
P.O.
P.O.
P.O.
typ.
view of CASCADE
scale: 1/32” = 1’-0”
view of PUGET SOUND
BOARD ROOM
CONF.
CONF.
P.O.
P.O.
P.O.
typ.
RECEPTION
ELEVATOR LOBBY
ADMIN STATION
P.O.
UP
P.O.
P.O.
typ. P.O.
ADA REST.
FILE
view of DOWNTOWN
P.O.
P.O.
P.O. ADMIN STATION
COPY / PRINT
CONF.
P.O.
P.O.
P.O.
P.O.
P.O.
63rd
+0
FILE P.Q.
view of MT. RAINIER
+0,15
+0,10
P.Q.
ADMIN STATION P.Q.
+0,50 +0,15
P.Q.
P.Q.
P.Q.
FILE
P.Q.
-0,20
AL
CH
P.Q.
+0,50
ADMIN STATION
P.Q.
P.Q.
P.Q.
P.Q.
P.Q.
P.Q. P.Q.
0,00 +0,20
COPY/ PRINT
P.Q.
P.Q.
SERVER ROOM
ME
STORAGE
P.Q.
SICK ROOM
P.Q.
P.Q.
CENTRAL FILE
+0,30
+0,20 P.Q.
MAIL/ COPY/PRINT
RECEPTION
P.Q.
+0,30 +0,30
P.Q.
CONF.
P.Q.
ME
ADMIN STATION P.Q.
PANTRY
P.Q.
P.Q.
CONF.
P.Q.
P.Q.
+0,40 +0,20
CONF. P.Q.
P.Q.
view of DOWNTOWN
CONF.
P.Q.
typ.
P.Q.
COATS
view of PUDGET SOUND
view of CASCADE
scale: 1/32” = 1’-0”
OTHER ‘Stupid‘ Ideas for Architecture : a Supplement Historical Reconstruction Projects Sculpture etc.
‘STUPID’ IDEAS FOR ARCHITECTURE
‘STUPID‘ IDEAS FOR ARCHITECTURE SUPPLEMENT
MIRROR POCHE Once a battery is connected the LED inside the mirror box turns on. Though there are no external signs of this, the user’s mind is left to ZRQGHU DW WKH SRWHQWLDOO\ LQÀQLWH number of light bounces that follows, creating an exhaustive density comparable to a volume.
off
...me too. Have you seen the construction photographs?
on
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
RESISTOR
LED
BATTERY
MIRROR SURFACE
‘STUPID’ IDEAS FOR ARCHITECTURE
INVISIBLE SOLID A simple geometric construction of mirrors creates the illusion of transparency effectively camRXÁDJLQJ WKH VROLGV ZLWKLQ (YHQ though the rays of light no longer travel along their usual paths a properly positioned observer has no means of perceiving the difference. At other angles of view the FRQVWUXFW RIIHUV GLIIHUHQW UHÁHFWLYH effects.
VIEW ANGLE INTERACTIONS
Ü
INCOMING RAY
MIRROR SURFACE
Ü
Ü
DEPARTING RAY
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
AVIOR H E B OR R R MI
PROTOTYPE SCREEN
HAVIOR T BE REN SPA AN TR
‘STUPID’ IDEAS FOR ARCHITECTURE
MATERIAL RESHUFFLE Exploring materiality as a branch of semiotics we can imagine many inversions and mixes of properties, matter(s), and functions - tectonic orders which make sense only in the mind of the beholder.
THESIS STUDIO SPRING 2013 | LIZ DILLER & MICHAEL MEREDITH
MATERIAL
HABITUAL FORM
SURFACE PATTERN
GLASS window
view
wall
grain
floor
bonds
WOOD
BRICK
HISTORICAL RECONSTRUCTION PROJECTS
DUKE UNIVERSITY CHAPEL DURHAM, NC
SAN FRANCESCO A FOLLONI MANTELLA, ITALY
MEDIEVAL OXFORD OXFORD, ENGLAND
ART HISTORY DEPARTMENT | DUKE UNIVERSITY
HISTORICAL RECONSTRUCTION PROJECTS
ART HISTORY DEPARTMENT | DUKE UNIVERSITY
ANIMATION SNAPSHOTS
SCULPTURE etc.
PUBLIC SCULPTURE PROPOSAL FOR DUKE UNIVERSITY
SCULPTURE ETC.
DIVERSIONS INVERT PALLADIO
VILLA CORNARO
VILLA ROTONDA
VILLA MALCONTENTA
SCULPTURE ETC.
SCULPTURE ETC.
4-DIMENSIONAL CUBE
UNDOING PERSPECTIVE