Joric Barber Instructor Michael Smith Fundamental Architectural Representation Fall 2014
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Project 1 - Cube Project 2 - Learning Space Project 3 - Pavilion Project 4 - Museum Stair
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Project 1 Cube
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The aim of this project was to create a cube from specifically shaped parts that could be split in multiple ways. Each design required a certain number of these parts and at least two distinct spaces.
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ARCH 1110 Fundamental Architectural Representation
Project 2 Learning Space
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This design utilizes the formal logic of the Carpenter Center for the Visual Arts as key architectural features. The column grid is extended into the intervention as well as the grid created by the brise soleils. Small, medium and large learning spaces are located on distinct levels mimicing the “highs and lows” found in Le Corbusier’s design.
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Project 2 Learning Space
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Project 3 Pavilion
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The agenda for this project was to create a pavilion that housed the sculptures Appeal to the Great Spirit by Cyrus Dallin and Untitled by James Baldwin, while framing views of the Christian Science Center. My design is a monolithic symmetrical structure with apertures as a central focus. These apertures frame the site and attempt to collapse, distort and expand space. The design relies heavily on light to achieve affects and is therefore dark in all areas except the aperture space. The two sculptures are placed on pedestals and are viewed upon entering and exiting the project.
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Project 3 Pavilion
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Project 3 Pavilion
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SECTION 1 SCALE 1/3’’-1’
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Project 3 Pavilion
COLLAPSE Joric Barber
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Joric Barber PLODED AXONOMETRIC
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ARCH 1110 Fundamental Architectural Representation JORIC BAR
Project 4 Museum Stair
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This project is about subtractive volumes that are architectural manifestations of the rooms and landscapes within the paintings, The Daughters of Edward Darley Boit and St. Luke Drawing the Virgin. The halls and rooms leading to The Daughters of Edward Darley Boit are an orthogonal representation of the position of each girl. Apertures placed 6 inches above the floor provide enough light to maneuver through the sequence but maintain the darkness present in the painting. Just before the painting room an aperture removed from an opposite wall allows for a quick glimpse of the painting. The room in which the painting is held is meant to mimic the space behind the girls with light entering from a hallway leading out to the rest of the museum. St. Luke Drawing the Virgin is housed on the second level of the project. Museum attendees are restricted to entering the viewing space only from the right side representing the small room in the painting. Extending out from the viewing room is a funnel, a materialization of perspective, which tapers towards a small aperture on the exterior wall of the project. Light from this aperture provides a halo effect. The funnel is the only additive piece in the entire museum space and it disrupts and highlights the rest of the design. The funnel carves through most of the project and is registered in one staircase and in one room. That room tucked above the other spaces is used purely to experience and understand this architectural detail. Stairs are central to the design with two main stairs providing circulation between the two spaces. The entire sequence that makes up The Daughters of Edward Darley Boit space is too a small 2 foot set of stairs with deep steps upwards of 3 feet. Although they are fundamental to the project each set of stairs is unobtrusive, sculpted from the surrounding space rather than placed into it. A third set of stairs leads to the funnel room. This stair is smaller in width to hide it yet to distinguish it from the circulatory staircases.
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Project 4 Museum Stair
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