Columbia GSAPP MSAAD - Architecture Graduate Portfolio

author MICHELLE LOZANO design GSAPP PORTFOLIO degree MASTER OF SCIENCE IN ADVANCED ARCHITECTURAL DESIGN year 2017 location COLUMBIA UNIVERSITY 40.8075° N, 73.9626° W

contact www.elledomain.com michelle.lozano009@gmail.com 7863558893

Image Title

animation title

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~ GSAPP MSAAD 2017 ~

FOREWORD In any city, it has an inscribed construction and destruction, it speaks to a past but deals with the present. The notion of time and how you move through it initiates a sense of derailment and creates a narrative. The three studio projects presented are on three different stages, three different locations, and contain separate objectives. Their identities are not reflected by the end product. Each of their paces vary, external factors shape the process and refrains it from being based on linear configurations; a drawing, a model, a render, an animation, a process does not follow a conventional order.

In “SMLXL”, Rem Koolhaas presents a series of autonomous episodes. He deals with scale, program, movement, and stasis, in no chronological order. He explores contradictions, everyday objects, and a person’s inner monologue; in essence their narrative. The projects illustrated here follow this notion.

animation micromegacity

The logo of EllE DOMAIN represents a link to my website. Throughout the portfolio the logo is shown with a image underneath it indicating an animation is a part of the production and process of a project. Please view it along with the printed version. The title beneath the image corresponds to it’s name on the website.

I founded EllE DOMAIN in 2015 to continue experimentation focused on computational representation, and render generative process. The relation of design and media, and the result use of animation is enhanced reality that helps convey ideas.

animation folding park

www.elledomain.com

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02

FOREWORD

03

INDEX

04

STILLS

MAIN CONTENT (STUDIOS) 06

THE CITY & THE CITY

36

MICRO MEGA CITY

56

RIVERSIDE PARK

COMMENTARY (ESSAYS) 78

PERCEPTION OR EXPERIENCE

80

DETECTION, NOT ASSUMPTION

ADDED FOOTAGE (ELECTIVE) 04

TRANSFORMABLE DESIGN METHODS

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IMAGE INDEX

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~ GSAPP MSAAD 2017 ~

Transformable Design Methods_ Tech Elective, Matthew Davis

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Animation Stills

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~ GSAPP MSAAD 2017 ~

design studio COPULA HALL instructors STEPHEN CASSELL ANNIE BARRETT location BESZEL & UL QOMA 00.0000° N, 00.0000° W program GOVERNMENT BUILDING gateway offices council halls parking committee rooms circulation systems

THE CITY & THE CITY

THE CITY & THE CITY Copula Hall, is a building that resides in the book, The City & The City by China Mieville. The setting takes place in two cities that are situated in the same geographic space, but governed by different political systems. The border between Beszel and Ul Qoma meanders its way unmethodically through the two cities, dividing blocks, buildings, and even people into zones either completely within one city or shared spaces of overlap between the two, called crosshatch.

The only gateway between the cities is the shared building of Copula Hall which houses each cities’ respective government.

(4) SHIT / SHIT / SHIT

The projective cartography is an investigatory dissection and analysis of the novel. Characters, events, locations, and their relationships through time are mapped into areas of either total, alter, or crosshatch.

LOCATION_UL QOMA

LOCATION_CROSSHATCH

LOCATION_BESZEL

CONFERENCE 3 YEARS AGO

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ALTER / TOTAL / CROSSHATCH

(18) TRIPLE KISS HELLO

(25) 3 AUT SHERMAN ROSEH VIJNIC

3 BOOKS (8) BETWEEN THE CITY & THE CITY (13) PEOPLES HISTORY OF UL QOMA (24) THE SECRETS OF THE PRECURSOR AGE

(13) 3x CALLED DHATT

(13) CODE LIST i miss besz dumplings = am in trouble working on a theory = know who did it same weather over here = nothing to report (11) 3 VANS Page: 10 “Two or THREE in my time. Drugs stuff. Mostly stops short of that, Page: 15 a floor or THREE than the others, so Besź juts up semiregularly and the as well as THREE days a week from a shop in Mashlin, in western Page: 16 It was stolen. Three days ago. Did you? Find it? Jesus. What was … dubious—” “For THREE days?” “Have you got it? What happened? It was Page: 19 TV programs. At THREE in the morning I was drunk and very awake, looking me through bureaucracy THREE or four cases ago. I had kept in touch. She Page: 20 or two or THREE local buildings, then would end in a sharp vertical plane Page: 21 I don’t know, THREE years ago or so? Bit less? I hadn’t seen her it split into THREE. Orciny’s the secret city. It runs things.”21 Page: 22 was here—what?—THREE years ago. She was around dodgy local politicos, but she Page: 23 from Besźel two, THREE years ago, turns up dead now. Maybe Drodin’s right she Page: 24 I had prepared. Three wore headphones, but most were fluent enough in Besź at a conference about THREE years ago. You might remember, there was the big exhibition Page: 36 and one, two, THREE other vehicles, then the white van—it must be the Page: 40 “Of which THREE then turn up burnt out or vandalised in some form “All but THREE, including the charmer in the cells, reported by the end She sifted. “Three.” “That sounds high—THREE out of thirteen?” “There That sounds high—THREE out of thirteen?” “There are going to be way it’s less than THREE out of thirteen.” “You could … It does sound this. Of those THREE with passes that got stolen, how many owners have previous me. “All THREE of them. Shit. All THREE for inappropriate storage. Shit.” “ them. Shit. All THREE for inappropriate storage. Shit.” “Right. That does sound unlikely, “Of the THREE vans that get stolen that night that have visas, all Page: 45 Dhatt gave me THREE times before getting through to him. “Tyador,” he had Page: 46 well. I have THREE PhD students at the moment. One is in Canada, the one of my THREE, Inspector. I’m afraid there’s not much I can tell you.

Page: 65 outside, and we THREE waited. “Did you ever think it was worth a Page: 70 the camp, and THREE years study for Ul Qoma citizenship. Speaking Illitan and learning, paid in, after THREE hours of escorting, and I had him drop me where Page: 79 to-top shelf THREE rows back from the main walkway found, pushing past a Page: 80 be two or THREE buildings, and in the warrens of that, Breach came and Another two or THREE Breach joined us. “Look at this,” I said. “ in two or THREE languages. A discussion midway. Why was I shown this? “…

Coming with me.” Three-quarters of the room raised their hands briefly. “Said Page: 82 position by centuries. Three other pieces were missing, from those early digs, all from recently visited, the THREE writers were subjected to ferocious contumely. “Look.” I got

(23) 3 BREACHERS RAINA SAMUN BYON

Page: 83 “Four, five. Three pieces are missing.” “So a couple of those days Page: 86 throws they incapacitated THREE of the gang. Some of the others rallied, and the Page: 92 “Were there THREE targets?” I said. I was the reason it had gone

O

Page: 94 I had spent THREE days with Ashil, since his release from whatever hidden hospital Page: 104 and yearsends, the THREE Christmases of December; but the Arrival Ball was always the Page: 106 four he sounded; THREE he could not. 106

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~ GSAPP MSAAD 2017 ~

R ° : 02 CULTURAL/SOCIAL CONDITIONS

THE CITY & THE CITY VISUAL CODES

OBJECTS

ROTATE

FOOD

STRETCH

LOCATION_UL QOMA ANIMALS

COMPRESS

LANDSCAPE

BEND

SOUNDS

TWIST

INFRASTRUCTURE

INDENT

ARCHITECTURE

BULGE

LOCATION_CROSSHATCH

LOCATION_BESZEL

CHAPTERS P1 1

TIMELINE RECOMPOSED

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CULTURAL CROPS

Projective Cartography

This diagram is a spatial mapping of objects, or transformations of an object that registers different qualities and conditions. An invented formal language, or visual code, in which cultural conditions and actions crop up in the story.

Imagine holding the bar instead of reading the book, the idea is to create another form of narrative.

It began with an extrusion and then a transformational application in relation to the timeline, or when it occured.

The simple deformations are categorized by socio-cultural norms: objects, food or smell, animals, landscape, sounds, infrastructure, and architecture.

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Diagram

In the lower diagram, the cultural crops are restitched to recompose the reading for a seamless transition between the three locations. The retrospect timeline depicts the socio-cultural categories from temporal to narrative, a collapse of space and time.

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~ GSAPP MSAAD 2017 ~

R ° : 03

KO PO RD BES K Z VE GU COS ORD NN EL VE NT TV A NN E ILL A UR ECS RST A RA GE CE DO OP SZ A NT OV PLIR STR ER AS & C VU Z OL TOP AFF LK E D ISZ OV T A PO VIA STR OW N NT A MA CAM SZ IR HE M ST GY ASH ED LIN VY AR EV LE U ST OV S KY

EZ

BU DA YOZ H PE FU ST EF P NIC BU STR AR K U ND EL A AS LAR AL SZ IA PA SQ RK U OR A CIN RE CO MAT OW Y N S UL N KU UTT C AI NIG ON H ST RA OO SK NE BE BES OP SZ W Z SZ JE EL EL H WO LF AIR AL PO VIC RT VE

NC

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Visual Mapping

Diagram

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U’S OF JU SL FIC OS BRO AV V E PE KA KS PRO SJA RN TR SZ ST AS RA Z SZ

PR

The mapping of the book, and analysis of events, evolved from a quantitative approach to a spatial understanding of the locations, and shared locations within the book. The diagrams explore the overlaps within Beszel and Ul Qoma, representing a third city existing only in the in-between spaces.

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UL M TE MP AIDIN AS AV MA YAN LE O E HA F H QO LIA ILTO INE W VIT &Y N RIV AHID MA AB O N ER LA BA LE BR PO ID LIG C LIC NDA RO N Y I W OLIN GE HT ’S CH ES AP AY IN AM TA TE T B IO T EA UN A H N UX IFIC OU UL ’S YIR AT SE CO OF FIC ST ION KW P B AT HE E AID AR IO IO AD SO N BIS Y ST QU PA R H YO AR RK LA AM K EET TE KA RS O DR ING NDA ’S IN S OR CH KING HE S HIDE XH T ID A I UL

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UL QO YA M QU L IR AN A AIR EE HU N ST BO CZ BRID POR AV L T E TR GE UE YE’A ISLE ZILL EH CIT N O OT FF IZE EL IC NS E HE S AD QU AR TE RS

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KO PO RD BES K Z VE GU COS ORD NN EL VE NT TV A NN E ILL A UR ECS RST A RA GE CE DO OP SZ A NT OV PLIR STR ER AS & C VU Z OL TOP AFF LK E D ISZ OV T A PO VIA STR OW N NT A MA CAM SZ IR HE M ST GY ASH ED LIN VY AR EV LE U ST OV S KY

EZ

BU DA YOZ H PE FU ST EF P NIC BU STR AR K U ND EL A AS LAR AL SZ IA PA SQ OR UAR RK CIN E CO MAT OW Y N S UL N KU UTT CA O NIG I N H ST RA OO SK NE BE BES OP SZ W Z SZ JE EL EL H WO LF AIR AL PO VIC RT VE

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LOCATION_UL QOMA

QO YA M QU L IR AN A AIR EE HU N ST BO CZ BRID POR AV L T E TR GE UE YE’A ISLE ZILL EH CIT N O OT FF IZE EL IC NS E HE S AD QU AR TE RS

UL MA TE ID M AS IN YA PLE AV M UL AHA N HIL OF IN E QO LIA T W EV & Y ON ITA RIV AHID MA BL ER BA BR N PO OLA EL ID C LIC NDA RO N Y IG I W OLIN GE HT ’S CH ES AP AY IN AM TA TE TIO T BE UN A H AU N IFIC OU UL X’S S Y E A CO OF IR T FIC ST ION KW P B A H A E AID TIO IO R EA SO DQ N BIS Y ST UA PA R H YO RK RT LA AM K EET KA ER O DR ING NDA S ’S IN OR HID KIN SHE C XH IN HIDA G C STAT EAW P3 L CIS A R IO UB Y TU N KA IUM BR SHA NN EA SP AR ST CH TE RO AD A FA IU SP UN CT PT M EK GIR S WA TA HA ILL EAR RE L YA & HO & S CO L US MIR E UH RE AN AS HE DIS AD H QU TR AS AR Z TE RS

LOCATION_CROSSHATCH LOCATION_BESZEL

Analytic Mapping

TO P

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Diagram

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~ GSAPP MSAAD 2017 ~

TWO CITIES IN ONE The figure gound studies read the two cities within it’s context as postive and negative compositions.

The Gateway study models contain separate strands of movement on different levels.

The idea are for the strands to evolve into paths that have more shared moments and biforcations. The paths created by the strands, underlies a sense of uncertainty if you are, or are not, following the correct path.

Figure Ground, Orthogonal

Figure Ground, Radial

Figure Ground, Multidimensional

Gateway Studies, 3 levels

Gateway Studies, 2 levels

Gateway Studies, 3 levels and 1 level

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Massing model revealing the relation of both cities to each other.

Massing model uses two distinct materials to denote an interlocking relationship in the volumes.

The model investigates how surfaces treat the corner, and how they turn. The twisting transformation of the solid maintains a fluidity.

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~ GSAPP MSAAD 2017 ~

R ° : 05

Top View, Gateway

Model

The gateway proposed consists of continuous, interweaving traffic lanes that meander at different elevation heights. The shape of the knots creates a double threshold that either has a direct route to switch cities, or a loop that reroutes the traveller back to their initial starting point.

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Perspective, Gateway

Model

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~ GSAPP MSAAD 2017 ~

PLAN PROGRESSION

CITY AS LINE/ CITY AS SURFACE The role of the membrane is a continuation of the gateway as it twists up into the building and maintains a fluid boundary between both governments. It separates the program per floor and forms a pinwheel progression, as shown in the models.

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Dividing Membrane

Model

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Membrane and upper floor, council halls and lobbies.

Membrane and floor below, office spaces Ul Qoma.

Membrane and lower floor, office spaces Beszel.

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~ GSAPP MSAAD 2017 ~

CIRCU

PROGRAM

R ° : 08

“It is other UL QOMA 5 PARLIAMENT HALL & DINING ROOM 4 DEPARTMENT & OFFICES 3 DEPARTMENT & OFFICES unit

MEMBRANE

PRIVAT

5 VIEWING GALLERY & EXTERIOR SPACE

BESZEL

PUBLIC

ENVEL

5 CITY COUNCIL HALL & DINING ROOM 4 DEPARTMENT & CITY COUNCIL OFFICES 3 DEPARTMENT & CITY COUNCIL OFFICES

ADJACENCIES

council halls offices offices shared program gateway shared program

5 4 3 2 G -1

6 5 4 3 2 G -1

GATEW

UL QOMA & BESZEL 2 PARKING, RECEPTION, LOCKER ROOMS G DELIVERY & LOADING -1 OVERSIGHT COMMITTEE

Program Distribution

Diagram

CIRCULATION

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“It is not the passage itself from one city to the it is the manner of the passage.”

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unit

unit twist

2 systems of circulation

PRIVATE CIRCULATION

PUBLIC & PRIVATE ENVELOPE SPIRAL

GATEWAY

Circulation

Diagram

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~ GSAPP MSAAD 2017 ~

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Site Plan

Drawing

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GROUND PLAN scale 1/16”

“Beyond the Beszel gates, below the main mass of Copula Hall, a no-man’s-land. The tarmac was unpainted: this was neither a Besz nor an Ul Qoman thoroughfare, so what system of road markings would be used?”

Ground Plan

Drawing

FLOOR 5 scale 1/16” DEPARTMENTS

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Plan, Floor 3 and Floor 5

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FLOOR 6 scale 1/16” PARLIAMENT HALL, CITY COUNCIL, AND DINING AREAS

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R°:1 3

Drawing

SECTION

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~ GSAPP MSAAD 2017 ~

R° :1 4

The sectional attributes of the drawing portrays the layering of the gateway lanes, circulation ramps, and envelope veil.

Section Perspective

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Drawing

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~ GSAPP MSAAD 2017 ~

EAST ELEVATION

scale 1/64”

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roof

floor 5 floor 4 floor 3 floor 2 ground

East Elevation R ° : 16

Night, Veil Transparency

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Drawing

Render

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~ GSAPP MSAAD 2017 ~

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Approaching Gateway

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Render

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Gateway Lanes

~ GSAPP MSAAD 2017 ~

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Render

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~ GSAPP MSAAD 2017 ~

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Exterior Circulation Ramp

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Render

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~ GSAPP MSAAD 2017 ~

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Council Hall R ° : 21

Membrane and Circulation

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Interior Render

Interior Render

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~ GSAPP MSAAD 2017 ~

design studio MICRO MEGA CITY advisor MARKUS DOCHANTSCHI location RANDALL’S ISLAND 40.7932° N, 73.9213° W program MASTERPLAN public areas landscape residential institutional commercial transit systems circulation systems

ISLAND OF ANYWHERE A new masterplan for Randall’s Island is a design tool that is automated and flexible. A machine with an input and output translation that can adapt and respond to variables and accomodate to any program. While the existing urban fabric does not apply anymore, the project aims to answer, how to control the future density of growing cities?

The concept of the new island are series of interdependant networks, where each layer dictates the result of the other to create multiple land use patterns depending on programmatic focus. The need for a tool is based on designing a higher efficiency with a highest density, or density with quality.

In order to build an input and output translation, a set of rules and guidelines were determined, as well as parameters that deal directly with urbanization.

RULES: 1. Average person walks about 15 blocks.

2. Blocks are divided by program type.

3. Programs are divided by density and scale.

4. Scale is determined by distance from focal point.

5. Density is defined by control points.

PARAMETERS: 2D 1. BLOCK SIZE = length and width 2. BUILDING SIZE = range of length and width 3. ROADS = control of width 3D 1. BUILDING HEIGHT = # of floors 2. FREE ZONES = void areas

animation micromegacity

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~ GSAPP MSAAD 2017 ~

NETWORK METHODOLOGY The systems begins with defining entry points along the perimeter of the island, the points are the main factor that determines the amount of density. The mobility network derives from a deviation of the direct lines between the axes. It creates zones and major mobility arteries, instead of having a convulted net of transit.

Density Control Points

Main Axes

Topography

Landscape/ Hardscape & Density Dispersion

Mobility Network

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Distortion of digital massing models generated by location of focal points.

The heaviness of the network lines begins to formulate the ondulation of the massing.

Combination of 2d and 3d distortions.

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~ GSAPP MSAAD 2017 ~

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Zoom In Perspective and Plan

Stepping back from the larger scale and focusing on a smaller zone, an FAR study illustrated the control of the parcel set back in relation to building height. The street widths were also controlled in either direction. The study is a combination of the FAR with density distribution, the parcel size versus building height, and the block deformation versus the street width.

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Drawing

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~ GSAPP MSAAD 2017 ~

R° :2 4

The grid variations are made using different shapes for blocks, where the distortion is greater the closer to the focal points.

Radial Grid Distortion

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Drawing

ozano ga city ntschi

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~ GSAPP MSAAD 2017 ~

_URBAN DESIGN INPUT & OUTPUT

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PROGRAM QUANTITY

% OF LOW DENSITY

FOCAL POINTS

PUBLIC SPACES

N D W E

Program

% OF MED DENSITY

% OF HIGH DENSITY

% OF LANDSCAPE

DENSITY CONTROL POINTS

DETOUR NETWORK

DENSITY OF ZONES

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FOCAL POINTS

NEW ISLAND BOUNDARY

IDEAL MASTERPLAN

MOBILITY NETWORK

LANDSCAPE/ HARDSCAPE

MASSING

INTERCONNECTED NETWORKS

TOPOGRAPHY

Diagram

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~ GSAPP MSAAD 2017 ~

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_MINIMUM EXTENT

Minimum Extent

Render

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ENT

Maximum Extent

Render

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~ GSAPP MSAAD 2017 ~

MASTERPLAN All the network methodology layers are incorporated into the Master Plan, however not in a linear process. Layers overlap, or disconnect, or are relooped into the translation.

The center of the dispersions expand and guide the community clusters that begin forming.

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Masterplan

Drawing

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~ GSAPP MSAAD 2017 ~

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Masterplan Oblique

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Render

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~ GSAPP MSAAD 2017 ~

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Oblique Section

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Render

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~ GSAPP MSAAD 2017 ~

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Landscape/ Hardscape R° :3 2

Massing and Circulation

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Render

Render

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~ GSAPP MSAAD 2017 ~

PROBLEM: HIGHWAY CREATES A SEPARATION IN THE PARK. IDEA IS TO SOLVE A CONNECTION.

design studio POWERS OF N instructor MARIANA IBAÑEZ at DOROTHY CONNOLLY collaborator YINI XU location NEW YORK, NY 40.7128° N, 74.0059° W program PERFORMING ARTS CENTER theatres outdoor stages park dining

RIVERSIDE PARK

Powers of N is about movement, time, duration, and performance. The project is located at Riverside Park at the culmination of west 79th street. The design proposal for the performance arts center redefines the site by actually folding the park into the river.

This strategy allows you to enter and exit the system, and experience in continuity the complexity of the organization. For the midterm, the fringe aesthetic derived from the production of fragmented volumes, which then began to formulate the overall organization as an archipelago with an interconnected circulation network that is divided between performers and audience. The park is composed of three islands, with performance theatres on each.

86TH ST

A linkage system was introduced to create relationships between the site and the city, where some parts are fixed while others are in movement. The Linkage system is also about connecting both linear, and nonlinear movements.

79TH ST

AUDIENCE: DRIVER

72ND ST

animation folding park

PERFORMANCE: ACTIVATED BY VISITOR

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~ GSAPP MSAAD 2017 ~

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Performance Section

Render

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Model constructed of various materials and translucencies including acrylic, 3d print plastic, and spray paint for a reflective finish.

A continuous ring encloses the three islands to reveal a transit network on the perimeter.

The interpretation of water was abstracted through an etched acrylic, indicating how the spaces function below water line.

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~ GSAPP MSAAD 2017 ~

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Midterm Proposal, Archipelago

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Render

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~ GSAPP MSAAD 2017 ~

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Midterm Proposal, Performance and Recreation

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Render

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Metropolitan Museum of A rolling circle

Linkage System

American Mus of Natural H

Diagram

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Rehearsal Room 1492 sqft

Recital Hall 1421 sqft *2

Concert hall

1400 seats 17178 sqft

Movie Theatre

RECREATION

60/80/120 seats 11178 sqft

Music hall

MUSIC

1800 seats 9056 sqft

Restaurant 3792 sqft

6409

Chamber Theatre 313 seats 6409 sqft

CONCERT HALL

Opera Theatre 31609

THEATRE

1200 seats 31609 sqft

5634 sqft

Office

5634 sqft

6000 seats 103756 sqft

Black Box Theatre 150 seats 4492 sqft

Cafe

GALLERY

1878 sqft

Outdoor Performance Area

Opera Studio 1878 sqft

Dance Studio 1878 sqft * 2

EDUCATION

Gallery

Cafe

1878 sqft

Rehearsal Room 1492 sqft

Large rehearsal room 2063 sqft

Dance Hall

1200 seats 31609 sqft

DANCE Dance lab 2112 sqft

Exterior Circulation

Diagram

Three clusters were created by means from the linkage system as well as the varying scale of the performance areas. A circulation and infrastructure network was extracted from the linkage system and New York City grid.

A circulation and program analysis on the site, distributes public visitors, from service, and performer entries. Each program category has a different relationship between the performer and audience; dance is dynamic static, music is static static, and theatre is static dynamic.

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~ GSAPP MSAAD 2017 ~

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Masterplan

Drawing

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Site Plan

Drawing

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Theatre Plan

Drawing

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Outdoor Theatre Plan

Drawing

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Theatre Section

Drawing

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Outdoor Theatre Section

Drawing

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~ GSAPP MSAAD 2017 ~

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Maintaining a parkness characteristic displaces indoor program below water line.

Folded Park

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Render

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~ GSAPP MSAAD 2017 ~

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Different modes of transit navigate throughout the park; pedestrians, cars, and boats.

Transit Types

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Render

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~ GSAPP MSAAD 2017 ~

PERCEPTION OR EXPERIENCE ARCHITECTURAL VISUALIZATION SINCE 1900/ REINHOLD MARTIN

Visuality of architectural space is intertwined with architectural photography, however the two mediums are not the same thing. A visualization of architectural space, separates itself as a means of representing a space of perception; while an architectural photograph emphasizes the space of an experience. Architecture’s tendency in intertextuality leads to borrow techniques from photography, regardless of being poor sources of accuracy of the subject, it influences ‘Presentations of Architecture’. For example, the model photograph of Le Corbusier’s Citrohan House in 1923, represented an emerging genre of model photography. The image aspirated towards an ideal frame that contained pictorial values of Architecture and landscape in combination with each other. Although the photograph is comprised of a fabricated construct, what humanizes the image is the inclusion of site, such as the ground plane, where there is an inherent pleasure of a setting with an unobstructed context.

Setting however, has two notations in an architectural image; the artificial as the visuality of the space, and the natural as an architectural photograph, both relating to the relationship of a space to it’s surroundings, not it’s close reading as an isolated object or building. These two premises are dependant of the composition. An artificial setting is a construct of its own, each element specifically placed and scaled, where the aftereffect is how the composition is arranged. On the other hand, a real setting, or one that is placed in a natural environment, depends on the position of the viewer and the camera’s standpoint. It is a specific view that is formulated and captured in the frame. It is intended to be venerate, a sell worthy shot including all aspects of quintessential; emotion, quality of materiality, and ultimately provocation in composition. These specific characteristics creates stage sets or architectural settings that loosen boundaries between a building and its surroundings.

In Modernism, the dynamic between Architecture and photography can be understood in respect to the construction. In a Mies Van Der Rohe case study, specifically the cool black and white interior images of the Tugendhat House of 1930, embraced representation of perception. The main space of the living area, a highly published capture, is in fact a distorted perception. The photographs were intentionally taken with a wide-angle lens for proportional discrepancy. “The extended depth of the image alters the perceived proportion between height, width, and depth, rendering the Tugendhat House in photographs longer and lower than on site.” The professional image illustrated a specific spatial idea that has had an impact in the history of Architecture and the way Modernism is understood via media.

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It opposed a Contemporary perspective; where after modernity, having multiple notions of how to illustrate representation, allowed for a building to begin to exist more as its own conditions. In Privacy and Publicity: Modern Architecture in Mass Media by Beatriz Colomina from 1994, the author explicates that photographical representation in Modernism is due to its engagement with the emerging technologies of representation at the time; such as photographs, books, films, and advertisements. An analysis review about Colomina’s book, written by Graham Bewley, states that modernity only becomes modern with its engagement with the mass media. What Photography did for Architecture was commodifying it and disseminating it through the media to be consumed by the masses. The dynamic of Architecture and photography, although seen as transient by Colomina, is paradoxical because in essence, photography is a fixed image. It is fixed both in time and in composition, and an image can, due to technology, can outlast a building’s construction, and therefore be widely understood from its specific perception from the fleeting observer at the time it was taken.

The intertextuality of photography and Architecture, of a perception or of an experience, is pertinent to the story it wants to tell, as well as not tell. The content can intend for a specific narrative, or be narrative free and just a story without a story, either way stories are made believable through visualization. A model of building, is a type of representation where it’s story can either be literal to its source, or convey a specific spatial idea that cannot otherwise be inferred in the actual structure. A photograph of a model is then considered a representation of a representation. A photograph of a model, in comparison to a photograph of the actual building the model depicts, are not the same thing, but they are intertwined. The way it is photographed, the perspective at which the camera is placed, can make what we are looking at seem uncertain. Is it a building or a model? The process of how it is visualized and how it narrates the architecture, portrays whether it’s real. Although, that is not to say an image of a model of building is any less real than an image of the building. A representation of a representation is not any less significant. In the following examples by Peter Eisenman and Le Corbusier, the quintessence of their architectural case studies is particularized in their corresponding visualizations via perspective, materiality, composition, and setting.

The image of Peter Eisenman’s House II in 1969, challenges the verity of the perspective. The characteristics of the composition of the image, such as: how the building is anchored to a corner slightly hidden by a mound, the vast overcast sky, the intentional absence of treescapes, and the asymmetrical proportion of the sky to the amount of land in the foreground; all correspond to the camera perspective paralleling a human perspective. The sharp contrast between the black shadows in the interior to the uniform white field the building sits on, resembles as well the capability and extent of what the human eye can perceive. The farther the subject or object, the less clarity. It is a realistic notion of an ambiguous viewpoint as opposed to a continuous high resolution of depth of field. These are visual implications of the representational photograph in Modernism, where the color white, and gradient variations thereof due to shadow and light, while honest in its ideology, can misconstrue the reality of the photograph and alter the sense of materiality. House II sheds its scale specificity by employing conventions of the architectural model in the actual object. The house looks like it was constructed like a model, true to its intention as an ambiguous object. It was built from 1969 to1970 out of plywood, a finish veneer, and paint. The physical model was constructed using cardboard. Cardboard is a generic term for a heavy-duty paper material of various strengths. The materiality of the model and the understanding of the space it exhibits, has a real likeness, thus arising the question of is cardboard real? Is it real as a true material of construction?

Cardboard is analogous to the image, ambiguous, and generic in its specification.

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In a lecture focusing on object experience, given by Reinhold Martin in the course Architectural Visualizations by 1900, Martin pointedly compares axonometry and photography. The concentration of the images shown were on the ambivalent objectivity that was withheld from particular visualizations and the imagining of space outside of cartesian coordinates. Space is a late nineteenth century development until there were methods to help visualize it. In the 1920’s, Architects were using photographs in a similar way to axonometry, to ascribe facticity, exhibiting objective representations. Le Corbusier’s Citrohan House from 1923, followed this notion. The model images shown below consists of two main perspective views. Apart from their literal representation, they also inform a collaboration between photography and Architecture by making everything known, like the way that Le Corbusier’s identifies with mass consumption of printed media. The initial concept of the design is a prototype for a mass produced house, and to become the standardization of production. The design of the model is the second project for Citrohan House. The project versions parallel the design concept, the design process, as well as mass production of media, where there are more than one version.

In Illustration 3 and 4, the model is representative of a significant architectural aesthetic manifestation, where the house is shown elevated above the ground and freeing the ground itself. In the sense of a composition, the space between the ground and the underside of the lifted floor plate, blurs the hard line between foreground and background. The stark shadow of that space in comparison to the immediate brightness of the white on the building, creates a centralized image and maintains the focus of the building as an object. The separation of space between ground and building detach it from contextual characteristics. However, the inclusion of a second view, showing the opposite perspective, allows it to be seen in the round, given the viewer a perception otherwise not understood in one frame.

Le Corbusier and Eisenman were not involved in the production of the photographs of their models or buildings, they did however establish a new practice provided by the photographed work, whilst becoming a subject matter of architectural history. The specific photographic influences from Le Corbusier’s and Eisenman’s case studies of Citrohan House and House II, stripped away decoration. The lack of traditional details associated with conventional houses allowed it to employ conventions of the architectural model. The varying perceptions of the visualizations of the models created unpredictable experiences with the intent of evoking strangeness, detaching from fabricated agendas.

It allowed for the exploration of the line between ephemeral and physical, figure and fuzziness, a commentary to truth and reality.

The relationship between buildings and their surroundings; containing qualities of irregularity, asymmetry, and texture in its visual composition, are qualities that adhere to the conventional idea of framing a vista. We incline towards naturalistic settings and thus valorize captures of picturesque aesthetic ideals, regardless of artificiality. When working in a model space, specific views are formulated and then framed into a printed medium.

It is an unchanging, conceptual world, where the image is intended as a sell worthy shot including all aspects of quintessential; emotion, setting, quality of materiality, and provocation in composition, blissfully unaware of realistic forces. Representing a space of perception and representing a space of experience is largely apparent in the difference between a capture of a real space and that of a model. The way we perceive the subject, or building, or idea, ultimately aims to produce effects with an induced atmosphere; challenging the question: is it a perception or is it an experience?

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Beatriz Colomina, Privacy and Publicity: Modern Architecture As Mass Media (MIT Press, Cambridge 1994).

Claire Zimmerman, “Photographic Modern Architecture: Inside the ‘New Deep,’” Journal of Architecture 9, n. 3 (Autumn 2004): 331-354. TAYLOR & FRANCIS ONLINE Eisenman Architects, House II. www.eisenmanarchitects.com/house-ii (accessed December 2016) Fondation Le Corbusier, Maison Citrohan. www.fondationlecorbusier.fr (accessed December 2016)

Graham Bewley, Reviewed Work(s): Privacy and Publicity: Modern Architecture as Mass Media by Beatriz Colomina (Journal of Design History, Vol. 10, No. 1, 1997), 99-101.

Illustration 1

Illustration 2

Illustration 3

Illustration 4

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DETECTION, NOT ASSUMPTION DESIGN THEORIES/ ENRIQUE WALKER

OMA’s winning competition entry in 2014 for the Axel Springer campus in Berlin, is located on a significant historical site, for a client who has helped perform a radical change. Axel Springer, is a publication company who transitioned from print to digital media, intended to lure in publication, in design, and in the city’s context. The main concept of OMA’s proposal is an open valley, that’s mirrored, creating an accessible, collective overview of the spaces. A question of authorship parallels the Axel Springer proposal, it broadcasts the work of individuals for shared analysis, but puts into question, is the ‘openness’ of both the concept and the form of the building reflecting an ambiguity of author? Based on the relation between the worker and his computer, is the author the person that judges or the person that produces?

The trapezoidal site boundary where the new campus will be constructed is adjacent to Axel Springer’s old campus and Zimmerstrasse, a street that previously separated East and West Berlin. The bisection of the site, OMA’s first formal move, creates the asymmetrical valleys that open up to Zimmerstrasse. The second formal move, mirroring the valleys halfway through the building, produces the window, or diagonal atrium.

The atrium, illustrated in glass via the competition renders, reveals the common, informal spaces formed by the valley terraces. Visually, the window of the atrium portrays the manifestation of broadcasting the work of individuals to other parts of the building, however it is unclear whether the openness that is embodied in the logic is symbolic or actual. If you are looking through the window into the building, is it the same portrayal of staring intently at a screen? The relationship between the worker and his computer, parallels the program typology of Axel Springer to a general question of authorship in Architectural discourse - where the integration of concentration and vigorous interaction leaves an ambiguous definition of who is the judge and who is the producer.

Currently, the project is ongoing in the Design Development phase, and the published drawings of the plans and section are not true to the building, but a diagram of the relationships between the formal and informal office spaces. The main entrances for users of the campus are located on the North and South facades, linking a direct route to the street and adjacent campus. Each floor is composed of two elements, an enclosed space for the formal office spaces, or the solid parts of the building; and an uncovered area, where informal interactions take place, allowing for unprecedented exchange that’s detectable by the public.

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The public can experience the seemingly hyper-accessible environment of Axel Springer via the window peak entrance, as well as the ground floor lobby, meeting bridge, and rooftop bar, but can only remain on those levels. Nonetheless, as the main corner of the atrium opens up, on the opposite corner it closes; the building is not mirrored symmetrically. In the plan, it is legible where the atrium space is enclosing on the North East corner, not fully touching or aligning with the building’s edge. There are three types of plans, two portraying a full logic for each office space organization, and another a hybrid of both, showing pockets of mixed interplays. ue to its asymmetrical composition, the northern valley houses a greater floor area, with terraces jogging in and out of the central atrium. On the other hand, the terraces of the southern valley are comprised as one continuous stream. The pattern of a jagged edge opposing a straight edge is coherent throughout the representations of the project. There is a direct correlation between plan and elevation, where the framing of the window is comprised of a jogging line on the bottom, opposite a straight line towards the top. From the initial formal moves, to the organizational logic of the plans, the project is inherently advancing an argument that it is not authorless. There is a consistency of moves and strategies in the design method that are integral to the symbolism of its openness. Yet, it is contradicting in the actuality of how the space is used. If a space is qualified by the actions, how is a design critiqued, where the meaning of the space is reduced to the actions that take place?

In the section, the consistency from both the plan and elevation is slightly disparate in that both sides of the valley jog as they move up or down the building. The section fully encloses the atrium, as opposed to revealing it, yet does unfold the connecting bridges that separate the program diagram of the building.

Each quadrant contains a separate program, in terms of who is using the space and how it is being used. The quadrants are divided by program groups, General Springer, Exchange, Executive Springer, and Newsroom. Apart from the connecting bridge, the circulation is unclear as to whether there is an interconnecting system associating each of the quadrants. In the plan, cores are located in order for the upper floors to be accessed only within the solid parts of the building, without piercing the terraces, how then, would a worker move between terrace to terrace vertically? While there is a visual openness to the building, there is not one concerning how all parts of the program, and the people located within them, can constantly interact. The upper levels are for the authors that judge, below are for the authors that produce.

Overall, the seminar questioned if positions taken in the field, and their arguments, are either agitators for which design is discussed or subjective readings of design approach? Or both? My initial attitude towards the seminar, where my interest lied in what I had preemptively assumed to be design theory (along with the books supporting that assumption), was in fact not design theory, but design process.

Nonetheless, stating that design theory is null is incorrect as well. Theory evolves from the process of design, specifically, how you choose to design, whether the argument is acknowledged preceding a building or in retrospect. OMA’s Axel Springer campus is something that was designed and then understood in steps, literally and figuratively, yet the criteria that makes those steps acceptable is as ambiguous as the question of authorship when discussed in the context of a collective.

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Axel Springer Campus. http://oma.eu/projects/axel-springer-campus (accessed May 2017)

Axel springer campus, berlin, germany, 2014- : OMA]. (2015). A + U: Architecture and Urbanism, (9540), 86-89.

OMA: New office space for axel springer, zimmerstrasse, berlin, germany - design, 2014. (2015). GA Document, (132), 8-13.

Illustration 1

Illustration 2

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IMAGE INDEX

R° : 0 2

Projective Cartography

Diagram

R° : 0 3

Visual Mapping

Diagram

R° : 0 4

Analytic Mapping

Diagram

R° : 0 5

Top View, Gateway

Model

R° : 0 6

Perspective, Gateway

Model

R° : 0 7

Dividing Membrane

Model

R° : 0 8

Program Distribution

Diagram

R° : 0 9

Circulation

Diagram

R° : 1 0

Site Plan

Drawing

R° : 1 1

Ground Plan

Drawing

R° : 1 2

Plan, Floor 3

Drawing

R° : 1 3

Plan, Floor 5

Drawing

R° : 1 4

Section Perspective

Drawing

R° : 1 5

East Elevation

Drawing

R° : 1 6

Night, Veil Transparency

Render

R° : 1 7

Approaching Gateway

Render

R° : 1 8

Gateway Lanes

Render

R° : 1 9

Exterior Circulation Ramp

Render

R° : 2 0

Council Hall

Render

R° : 2 1

Membrane and Circulation

Render

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R° : 2 3

Zoom In Perspective and Plan

Drawing

R° : 2 4

Radial Grid Distortion

Drawing

R° : 2 5

Program

Diagram

R° : 2 6

Minimum Extent

Render

R° : 2 7

Maximum Extent

Render

R° : 2 8

Masterplan

R° : 2 9

Masterplan Oblique

Render

R° : 3 0

Oblique Section

Render

R° : 3 1

Landscape/ Hardscape

Render

R° : 3 2

Massing and Circulation

Render

R° : 3 4

Performance Section

Render

R° : 3 5

Midterm Proposal, Archipelago

Render

R° : 3 6

Midterm Proposal, Performance and Rec

Render

R° : 3 7

Linkage System

Diagram

R° : 3 8

Exterior Circulation

Diagram

R° : 3 9

Masterplan

Drawing

R° : 4 0

Site Plan

Drawing

R° : 4 1

Theatre Plan

Drawing

R° : 4 2

Outdoor Theatre Plan

Drawing

R° : 4 3

Theatre Section

Drawing

R° : 4 4

Outdoor Theatre Section

Drawing

R° : 4 5

Folded Park

Render

R° : 4 6

Transit Types

Render

Drawing

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R°:0

Type of Medium