XXXXXXXXXX Works 2012-2017
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Design + Research Studios Material Machining | Woools Threads Responsive Architecture | Aurora Volta The Picturesque | Beauty, Relativity, and Sublimity Architecture Design Studio I + II | Copy Paste Growth Roofscape Biblio Fenestra Strampscape Architecture Design Studio III | Promenading Environments Museo Morell Andalusian Retreat Design Develop Build Guga S’Thebe Children’s Theatre | On The Ground Midwives Quarters Have | Conceputalizations
Contact
goldstein.hannah.nicole@gmail.com 404.528.8407
1 | DESIGN + RESEARCH Woools Threads Aurora Volta Beauty, Relativity, and Sublimity
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1.1
MATERIAL MACHINING | wool threads Reasearch Team | xxxxxxxxxx + xxxxxxxxxx Instructor | xxxxxxxxxx
Inspired by the work of the late Frei Otto, and his research of analogue computing, this research explores the properties of thread-drawing substances and how they act when enveloped by a liquid membrane such as water. While immersed in liquid, due to tensile forces, the threads draw together resulting in the formation of self-stabilizing pneus branched structures. Though the formations of the threads appear randomized, they are not random at all, but in fact subject to certain rules or laws. Tensile thread structures subject to such laws result in three legged nodes formed through bifurcations, since any other type of node, whether a four, five, six, etc. legged node would not result as stable. These machines designed simulate optimized stable systems and structures under tensile load. Several parameters contribute to the outcome of each experiment inlcuding: length of threads, distance between threads, thickness of threads (water absorption), as well as the technique used to remove the device from the water. Every machine begins in a stage where the threads are completely taught. Once a certain percentage (4-15%) is determined and applied to the machine, the threads are loosened and prepared to be immersed into a liquid substance.
phase I| machine processes | nomenclature
E A B F
C F
E B
D
36 threads 8 % slack
A B C D E F
36 threads 8 % slack
Branch Trunk Bifurcation Node Butress Complex Buttress
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1.1
Research began by developing machines, which could each be used for multiple experiments With such machines, the data from each trial became virtually unlimited. Though each experiment rendered unique results, all results showcased common figural characteristics. Recurring occurrence of the Y and N figures across every machine used during experimentation indicated that these two types of figures produced the most stable structures. After multiple trials on the original square machines, three new machines were designed with modifications of specific variables: thread length, number of threads, grid layout/density, and number of floor plates. Each new machine resulted from further understanding of the variables in the machines previous to it. By understanding how each variable behaved in every machine, the final one designed presented more controlled results. This machine underwent a total of four phases. Each phase showcased a new understanding of the threads’ behavior.Because the final phase of this machine became the framework for the models with a change in materiality, intense analysis was necessary to understand its behavioral complexity.
phase II | figures
Transformation 3 of 4 8%
Transformation 3 of 4 10 %
Transformation 3 of 4 12 %
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1.1
Transformation 3 of 4
As a result of all the data collected, the most conclusive included that: [1] the self-organization of the threads always resulted from a bifurcation, [2] in a tensile structure a three legged node is always the most stable, and [3] both Y and N figures are the most stable figures in such structures.
North
After the development and design of the dry-thread technique, in order to build a structure out of a new material which was self-stabilizing, and would stand on its own, it was necessary to make minor modifications, adjustments, and exag gerations in some areas based on design. The structure, which emerged autonomously, was beautiful and delicate as well as incredibly strong (something that does not come up often as a means to describe a structural system), and without a doubt, able to not only support its own weight, but much more. This wool technique is easily adaptable to any site, meaning this technique, has the ability to render an infinite number of outcomes. In the end, the research proved to be a great start in understanding innovative techniques for structural elements in buildings. Instead of designing s building and later imposing a structural system, which is simply there in order to hold up the building, this technique opens up the doors to more explorative thinking about the relationship between structure, form, and materiality.
phase III | reasearch with site parameteres | transformation 3
West
South
East
Transformation 3 of 4
8%
10 %
12 %
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1.1
4
3
2
1
Semi-Rigid
phase IV | site Implementations | building tectonics conceptualization
Rigid
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RESPONSIVE ARCHITECTURE | aurora volta Partner | xxxxxxxxxx Instructor | xxxxxxxxxx
Through innovative technology, the design interventon on site was created as a fluid continuity of experience for the visitor. By setting up visiual rhythm, the visitor will be linked and subconsciously propelled through the site. This rhythm can be established by the use of ephemeral lighting, mirroring, and dynamic apertures, which will engage and inspire visitors. Piezolectric tiles and electromagnets will be used to animate the intervention on site. The tiles will be utilized to track visitors and enable local activation. Signlas will be sent to electromagnets inside the vaults, controlling the rotational angle. The undulation of the vaults will attract visitors, and dynamic apertures will create defined circulation paths, linking the park.
site propulsion
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1.2
minimal surface studies
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PIEZOELECTRIC TILE ACTIVATION
body + machine relationship | the kiss
STATIC
KISS
TOP VIEW
SIDE ELEVATION SOAP FILM FORMATION CYCLE
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1.2
1 : 2 scale prototype
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1.3
THE PICTURESQUE | Beauty, Relativity, and Sublimity Instructor | xxxxxxxxxx
Despite the diversity of interpretations and associations that the notion of beauty involves, it is possible to identify two input features common to almost any application of beauty: the origin of the concept of beauty and the existence of at least a couple of words in almost all Latin and modern languages. Beauty and the perception of it, by the subject, are the two ends of a spectrum of fundamental aesthetic concerns. The definition of the first can be subjective or objective to involve or not the subject, while the latter invariably occurs in relation to it; what could be assumed as beautiful in itself and the beautiful in me. The first such position suggests that beauty is given mainly by the presence of relationships that may be related to contextual and formal elements. The latter position openly opposes this reasoning and also points out that one can see objects naturally or culturally, despite that their symmetry and perfection could be considered far more beautiful or how this relativity could lead to something beyond the realm of beauty and into that of the subliminal. In the “Critique of Judgment� Immanuel Kant affirms the sublime and the beautiful, ascribing to the condition of purposeless purpose, considering the usefulness and ability to cause pleasure in objects of everyday life. We, for example, enjoy the utilitarian form of a well-made hammer, because it has been prepared for the use for what it was conceived. In the case of beauty, we identify the same pattern of finality in an object, and we recognize and appreciate their organizing principle, but the object itself does not necessarily have to be useful. Something can be beautiful without being useful, precisely because it has certain characteristics that we can identify for our benefit, although the object itself is useless. It is for this fact that our position with respect to the beauty of an object is strictly disinterested, even when its very purpose is to oblige. A flower is beautiful because you can recognize its organization, symmetry and colors as usual pleasuring characteristics, but they themselves do not have a specific utility to us. Kant says: Objective purposiveness can be cognized only by referring the manifold to a determinate purpose, and hence through a concept. Even from this it is already evident that the beautiful, which we judge on the basis of a merely formal purposiveness, i.e., a purposiveness without a purpose, is quite independent of the concept of the good. For the good presupposes an objective purposiveness, i.e., it presupposes that we refer the object to a determinate purpose (Kant p.227 ). Denis Diderot, meanwhile, rarely handles the relationship between the good, the useful, and the beautiful throughout his presentation on the last of these concepts, but basically argues that the concern about how useful it may be has nothing to do with its beauty and for something to be good, it is not necessarily beautiful. Edmund Burke, in turn, coincides with Diderot in this regard, and adds to this denial of the relationship between goodness, beauty, and utility to establish that beauty is not measured by how appropriate it is, but how the object is to us. For Burke, beauty is the quality or those qualities in bodies, through which not measured by how appropriate it is, but how the object is to us. For Burke, beauty is the quality or those qualities in bodies, through which they cause love, or some other similarity to this passion; and in this respect clarify that its definition is simply limited to the sensible qualities of things, in order to preserve the extreme simplicity of a theme that, rather than distract the subject with secondary or emotional associations around the object, you impress by the strength of what deserves to be observed. His contribution in terms of the beautiful and the sublime is openly acknowledged by Kant: We can now also compare the transcendental exposition of aesthetic judgments we have just completed with the physiological one, regarding which work has been done by someone like Burke and many acute men among us, so that we may see where a merely empirical exposition of the sublime and of the beautiful may lead. Burke, who deserves to be mentioned as the foremost author in this way of treating the subject, discovers along this route (p. 223 of [the German translation of his work) “that the feeling of the sublime is based on the impulse toward self preservation and on fear. i.e., on a pain, a pain that, since it does not go so far as actually to disarrange the parts of the body, gives rise to agitations. And since these agitations clear the vessels, small or large, of dangerous and troublesome obstructions, they are able to arouse agreeable sensations. These do not indeed amount to a pleasure, but they still amount to a kind of pleasant thrill, a certain tranquility mingled with terror (Kant p.138).
hand, experience and nature of the creator, and the other, of our own sensitivity. “Beauty too is a mean. It is not the opposite of ugliness”(Hartshorne). The aesthetic experience involves a placid contemplation of what pleases us, but not everything in that effect is likely to be recognized for its beauty. The complex human nature is impressed with the perception of a variety of objects, beings, and situations that may or may not arouse hedonistic interest, but where the difference between pleasure is brought to the contemplation of beauty. Notions associated with beauty as unity, variety, order, and regularity can not respond to this concern, considering that there is no measureable way to determine the presence of beauty in our environment. The breakdown of the relationship between purpose and beauty assumed by Diderot and Burke, clearly leads to the sustained separation between both goodness and beauty, as one of the landmarks that characterize the aesthetics of the Enlightenment. An object can be useful, or its effect on man may be characterized by the degree of benefit offered; but not for such reasons will be considered necessarily beautiful or ugly. The aesthetic experience is not given only in perception; in the act of creating something beautiful, it intervenes part of the sensitivity of its author. When an artist chooses to represent their views with respect to a natural or cultural element, not necessarily involved in their creation judgment, he will leave his personal stamp. In this match Diderot and Burke admit that it is not necessary that the original object be beautiful in order for the work inspired by it to be. in the act of creating something beautiful, it intervenes part of the sensitivity of its author. When an artist chooses to represent their views with respect to a natural or cultural element, not necessarily involved in their creation judgment, he will leave his personal stamp. In this match Diderot and Burke admit that it is not necessary that the original object be beautiful in order for the work inspired by it to be. This relativity of beauty allows for the introduction of the concept of the sublime as an element of contrast to beauty. According to Burke, the human mind exists, most of the time in a state he calls the state of indifference. This is defined as a state that is neither suffering nor pleasure (Burke 30) and is the state of indifference, completely separated from each other. The complete separation of pain and pleasure that results in gradual variations of both emotions, but do not necessarily result in the emergence of the emotional state opposite. In other words, it would be two independent scales from each other: when one is modified the other does not have to have an effect. The third definition concerns us is that of delight. Delight is the removal or mitigation of suffering. You could say that pleasure is a relative pleasure and although pleasure is completely independent of suffering, delight is linked to it. The concept of delight is the bridge that connects the idea of pleasure with the sublime. The sublime, being founded on principles of awe and terror, never descends to anything light or playful...Infinity is one of the most efficient causes of the sublime: the boundless ocean, for that reason, inspires awful sensations...That general, equal gloom which is spread over all nature before a shore with the stillness, so nobly described by Shakespeare, is in the highest degree sublime (Price). Emotions linked to suffering are stronger than those that have to do with pleasure and are insofar as they remain rooted in the mind more clearly. Although Burke begins by describing suffering and pleasure, apparently these emotions lead to the ideas of the sublime and beauty; however, never clearly distinguishes what is the cause and what is the consequence. Burke’s theory traces the cause of the sublime and its sources, relating suffering, so we could understand the sublime as an emotion derived from others. The fact that Burke has designated it as the strongest of emotions and more powerful than the feelings linked to pleasure, allow us to think that it is possible that it is a more primitive idea. Such a basic idea can not be derived from another. Instead, they are the other emotions that derive from it; this apparent contradiction is due to the fact that Burke could not shake context. As a man of the 18th century, he does not accept the existence of primitive emotions in civilized man. From that point of view, although the sublime might be the cause of suffering, it may only exist in a primordial state. Once civilization comes into the equation, the idea of the sublime vanishes so the civilized man can only evoke through suffering
Burke, Edmund. A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Oxford University Press, New York, 1996. Burke, Edmund: Sublime and Beautiful. Great Literature Online. 1997–2004 Diderot, Denis. D’Alembert’s Dream, Part 1 and 2. Forsell, Matthew: Clark, Andrew. Excerpts from Diderot’s Part. Hartshorne, Charles. Wisdom as Moderation, Chapter 1: “The Mean and the False Extremes.” Kant, Immanuel. Kant’s Critique of Judgment. London: Macmillan, 1914. Print. Price, Sir Uvedale. Chapter IV and V from On The Picturesque, pp. 90-109. Spuybroek, Lars. The Sympathy of Things, 2nd ed., Chapter 4 : “The Radical Picturesque,” pp.159-181. Spuybroek, Lars. “The Ages of Beauty: Revisiting Hartshorne’s Diagram of Aesthetic Values.”
Works Cited Filler text filler text
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2 | ARCHITECTURE DESIGN STUDIO I + II Growth Roofscape Biblio Fenestra Strampscape
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2.1
COPY PASTE | growth Instructor | xxxxxxxxxx
A
F
I
B
G
J
B
H
J
C
A B C D
Robie House Cheney House Winslow House Frank Lloyd Wright House Studio
sample precedents
E Modern Wing F The Rookery G Unity Temple
H Sears Tower I Aqua Tower J IBM Building
building in site model
2.1
Floor Growth + Expansion
Complex Intersections + Layering
Expansion Through Vertical Layering
plan | axon 120° | axon 210°
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2.2 2.1
COPY PASTE | roofscape Instructor | xxxxxxxxxx
roof explorations
2.3
COPY PASTE | biblio fenestra Instructor | xxxxxxxxxx
B
A
projected elevation
C
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2.3
A
B
36
2.4
COPY PASTE | strampscape Instructor | xxxxxxxxxx
2d exploration | physcical exploration
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2.4
site implementation | poolscape
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3 | ARCHITECTURE DESIGN III museo morell andalusian retreat
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3.1
PROMENADING ENVIRONMENTS | museo morell Instructor | xxxxxxxxxx
interior | first floor
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3.1
PROMENADING ENVIRONMENTS | andalusian retreat Instructor | xxxxxxxxxx
exterior | connection to site
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4 | DESIGN DEVELOP BUILD Conceputalizations On The Ground
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4.1
GUGA S’THEBE CHILDRENS THEATRE | on the ground Instructors | xxxxxxxxxx + xxxxxxxxxx
The Guga S´ Thebe Children Theatre project is part of Program, where students from different international schools – designed and built a theatre and performance space as an extension to the current Arts and Culture Centre Guga S’Thebe. The projects was built in collaboration with the South African architect, Carin Smuts (CS Studio, CPT) and the structural engineering company imagine structure GmbH (Frankfurt). Located in one of Cape Town’s oldest townships, the Arts and Culture Centre Guga S’Thebe attracts local children, adolescents, and artists, as well as international tourists.
building | welding team
During my time in Cape Town, I led a small team of students as lead welder. We spent our time ensuring that the insulation panels, buildt from straw and clay, were properly attached before commencing work on the facade. Combining reused or recycled waste materials with traditional earth construction methods is a critical component in the development of low-cost construction methods. The research within the program focused on full-scale, developmental, neovernacular structures, which experimented with such composite materials.
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4.2
MIDWIVES QUARTERS HAVE | conceptualizations Instructor | xxxxxxxxxx
conceptual plan ideations
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