PORTFOLIO
Rashid Muydinov
Candidate, Master of Architecture Boston Architectural College Segment I
My passion for architecture is driven by the social implications and forces it assumes as an art and science, in particular, its capability of educating and making changes in people’s lives. As I pursue my education at graduate level, I intend to further inquire possibilities of architecture to address issues - social, environmental and structural; of today and tomorrow - and to find solutions beyond conventions. Through my exploration of materials, methods, emerging technologies and sustainable design, I seek to create an architecture that would some day bring changes to communities at every level and scale.
STUDIO PROJECTS
OTHER WORKS
MUSIC TRANSFORMATION Studio A SA7103
04
BERKLEE ART GALLERY Studio A SA7103
08
BARCELONA PAVILION Studio B1 SB7101
18
LOVEJOY WHARF TERMINAL Studio B1 SB7101
28
ARNOLD ARBORETUM VISITOR CENTER Studio B2 SB7202
42
MISSION HILL GREENHOUSE Studio B2 SB7202
56
THE NEXUS HOUSE
72
Competition Entry
PEDESTRIAN BRIDGE Structures I TM7320
80
TIMELINE
86
History of Architecture B HT7120
DRAWINGS & SKETCHES Freehand Drawing AS151
CONTENTS
90
Studio A SA7103 Semester Spring 2012 Instructor Mila Chun Duration 4 weeks
Music is liquid architecture. Architecture is frozen music. -Johann Wolfgang von Goethe
Music Transformation
This project sought to transcribe relationships among component parts of one system (music) to another (architectural) through analytical drawings. In my analyses, I studied such relationships as hierarchy, scale, and a datum holding these elements together in a popular tango song by an Argentine musician ﾃ］gel Villoldo [El Choclo], then translated to a spatial arrangement.
6 Music Transformation
My initial representation of the first 20 seconds of the musical piece in two-dimensional diagram illustrates the two main components - piano [in hues of red] and guitar [dark grey], tied together in the background by cello [hues of blue], a third instrument. The intensity of colour parallels the pitch of each component in the music, while the form represents the flow.
[C] Sections
[A] Diagram. Representation of the tango piece in 2D
[B] Axonometric view
7
Studio A SA7103 Semester Spring 2012 Instructor Mila Chun Duration 7 weeks
...We believe that the most essential and memorable sense of three-dimensionality originates in the body experience and that this sense may constitute a basis for understanding spatial feeling in our experience of buildings.
-Charles Moore and Robert Yudell/Body, Memory and Architecture
Berklee Art Gallery
Elasticity of Space
9
The design concept of expansion and compression was abstracted through my analytical studies of the human body and its movements within a context during a back extension exercise on an inclined equipment. The observation of the spatial changes in the back and abdominal muscles was carried out through 3d prototype device. My studies of these changes continued in my exploration of the concept of compressive and expansive space in the Art Gallery for the Berklee School of Music, with an emphasis on the circulation and threshold.
10 Body Sentient
Observation of changes in back muscles through body device
Expansion and compression in a 3D model
Berklee Art Gallery 11
[A] Photographic studies of body during back extension exercise
12 Body Sentient
[B] Expansion and contraction in muscles
Berklee Art Gallery 13
14 Body Sentient
Concept development
Berklee Art Gallery 15
A
B
16 Body Sentient
C
Level 1. Gallery
Facade
Section A
Level 2. Roofdeck
Side elevation
Section C
D
Section B
Section D
[C] Drawings
Interior renderings
17
Studio B1 SB7101 Semester Fall 2012 Instructor Matthew Morong Duration 4 weeks
Art does not reproduce what we see; rather, it makes us see. -Paul Klee
Studies of Mies van der Rohe’s
Barcelona Pavilion
This project looked into an iconic example of early Modernism, Mies van der Rohe’s German Pavilion in Barcelona. Based on the photos and drawings of the Pavilion, my inquiries sought to explain the narrative dictated by the materiality and layout of the objects in this minimalist structure.
20 Figures & Passages
[A] Primary axis between masses (below) and secondary axis between interior components
Barcelona Pavilion 21
[B] Invisible Surfaces Under light, materiality of the reflective surfaces ceases to exist and the space appears infinite
22 Figures & Passages
[C] The Onyx wall. Its centrality is evident in the implied perimeter of the Pavilion [shown in blue diagonals] and in relation to interior components [red lines]
Barcelona Pavilion 23
1 2
3
[D] Alba’s statue Her dynamic figure appears against the orthogonal geometry of the Pavilion as one moves through the space. Standpoints from which the statue is seen [below] and a winding path to approach her
24 Figures & Passages
1
2
3
The statue of Alba
Barcelona Pavilion 25
Level of focus
ee nm arb le On yx wa ll
Gr
Tr bo anslu x ce nt
5
R po eflec ols tiv e
Alb a
Y
4 3 2 1
X
Path towards Alba
Viewspan
Path to Alba
26 Figures & Passages
[E] Dispersed focus
Une promenade visuelle
My subsequent analyses studied spatial narrative dictated by other focal points en route to Alba from a starting point by the office building [diagram in bottom]. Along this passage, the visitor’s span of view changes at any given point and one of the focal points become a central figure [see diagram in middle, opposite page]. Note that the statue engages us most either at the farthest [starting] location or closest to herself; in between these standpoints, our focus is dispersed through the reflective surface of the water and the light box, symmetric patterns of the Onyx and the green marble walls. Thus the Barcelona Pavilion, albeit seemingly lucid and straightforward at first glance, is experienced with elements of surprise at every step.
27
Studio B1 SB7101 Semester Fall 2012 Instructor Matthew Morong Duration 5 weeks
Lovejoy Wharf Terminal
Isolated Monumentality & Visual Documentation
29
30 Isolated Monumentality
The richness of the urban fabric of the North End neighbourhood of Boston is perhaps best experienced along its seemingly spontaneous streets with colourful palette of old and new, lively and void, public and residential spaces. Within such chaotic organization, however, public buildings establish a visual order and define one’s orientation in and documentation of the space. With their monumental scale, surface articulation and reserved sobriety, these landmarks contrast with the interwoven texture of the surrounding street edges and isolate visitor’s view to provide a visual relief in the busy background.
Texture of North End: The Leonard Zakim Bridge
The design intent for the water transportation terminal at the Lovejoy Wharf seeks to vitalize the site within the historic and multilayered context of the area and add to its existing transportation network. The building is oriented to the landmark Zakim Bridge, Charles River Bridge and the Wharf. It is composed of a bike parking level, terminal hall and the office level for the staff.
Lovejoy Wharf Terminal 31
32 Isolated Monumentality
Texture of North End
Lovejoy Wharf Terminal 33
et re St
ov
er
St
re
et
S a l em
nn
Ha
Retail
Hotels
Bars and Eateries
Monuments and Green Spaces
Tourist Traffic
Activity Distribution
[A] Site studies. Paths and spaces
34 Isolated Monumentality
Charlestown Bridge
Itinerary of Exploration
Documentation through Monuments
Zakim Bridge
TD Garden
Federal Bld
Courthouse Government Centre Garage
Portland St. View of the Federal Building
Friend St. View of Government Centre Garage
[B] Site Studies. Surrounding texture
Lovejoy Wharf Terminal 35
[C] Site Studies. Surface articulation
36 Isolated Monumentality
Vehicle paths
Recreation paths and view
Site
[E] Site. Contextual response
[D] Site and design schemes
Lovejoy Wharf Terminal 37
38 Isolated Monumentality
Process models
Lovejoy Wharf Terminal 39
8
5 Open to Below
5
DN
2
6
DN
3 UP
3
1
9
4 7
UP
8
Level 01
Level 02
Level 03
1 2 3 4 5 6 7 8 9
Entry & Bike Parking Pier for Ferries Toilets Ticket Counters Dining Hall Kitchens/ Vendors Waiting Lounge Offices Conference Room
[F] Plans
40 Isolated Monumentality
Collages. Waiting lounge [above] and exterior rendering
41
Studio B2 SB7202 Semester Spring 2013 Instructor Kerry & Tracy Shriver Duration 7 weeks
The architectural pursuit implies a responsibility to find and draw out a site’s formal characteristics... Without sentimentality, I aspire to transform place through architecture to the level of abstract and universal. -Tadao Ando
[A] Concept diagrams
Arnold Arboretum Visitor Centre
Apparatus on a Slope
43
44 Arnold Arboretum
Parish Museum/ Herzog & de Meuron
[B] Concept development
[A] Site plan
In designing the Visitor Pavilion for the Arnold Arboretum of Harvard, I intended to create a structure that would embrace the site’s characteristics and a space that would be immersed in the landscape. The underlying idea in this relationship between the architecture and the ground was abstracted through my studies of a roof bracing in Herzog & de Meuron’s Parish Museum. Composed of two rectangular boxes connected by a long passageway, the building pierces into the slope and creates a space where the programs interlock. Moving through the space, the visitor connects with the Earth and landscape at a platform for scenic outlook, as well as from the path underground.
Visitor Centre 45
46 Arnold Arboretum
Study models
Visitor Centre 47
Sketches
48 Arnold Arboretum
Collages
Visitor Centre 49
1
2
Level 1
3
Level 3 A
6
5
4
A’
7
Level 2
8
9 1 2 3 4 5 6 7 8 9
50 Arnold Arboretum
Entry Admission/lobby Offices Scenic outlook Glass pathway Concrete pathway [underground] Gallery, lower level Gallery, upper level Stairs to rooftop terrace
[C] Plans
Site models
Visitor Centre 51
52 Arnold Arboretum
[D] Side elevation
[E] Facade
Visitor Centre 53
[F] Cross sections
54 Arnold Arboretum Visitor Centre
[G] Section AA`
55
Studio B2 SB7202 Semester Spring 2013 Instructor Kerry & Tracy Shriver Duration 5 weeks
Urban Anchor
Mission Hill Greenhouse & Market
57
58 Urban Anchor
This project involved intervention in and complement to the urban fabric of Mission Hill, Boston. Adjacent to many world-renowned academic and medical institutions, and home to a large student population, the neighbourhood offers vibrant activities of social interaction, learning and shopping and drew a diverse range of crowd throughout the year. My proposed design adds to this mix of social programs by offering green foods in the market to the health conscious population of the area, and a greenhouse where these products are grown, and horticulture workshops are held on weekends.
Site model
The design reflects the complex site conditions - such as a steep slope, low lying commercial edge, transition to the residential area - and takes into consideration the sun orientation, exposure to the commuters, and traffic patterns. While the entry allows easy access from the Brigham Circle, the greenhouse is oriented to the south sun at the other elevation. The central courtyard is where the programs and activities converge and diverge.
Mission Hill Greenhouse 59
Public: open space/ urban hall/greenhouse Commercial: vendors and marketplace Staff: offices and storage
[A] Concept development
60 Urban Anchor
Process models
Mission Hill Greenhouse 61
y)
Ba
nd
(C o
ple
ya
Hu n
tin
ck
gt
Ba
on
Av e
Francis S
(to Longwoo t d & Fenway) Medical
Huntington Ave (To Brookline Village)
Tremont St
Site
(To Roxbury and South End)
5 min
Eateries and bars Retail Academic and medical institutions Commercial Arts and entertainment Non-profit
10 min
Source: Google Maps
[B] Site analysis. What’s around within a walking radius: places of traffic
62 Urban Anchor
12 pm
9 am
3 pm
R2 R1 6 am
6 pm
Site
3 am
9 pm
12 am R1 R2 R3 R4 Share of generated traffic per day
Peak
Highway traffic: cars and commuters of MBTA Stop&Shop Academic and medical institutions Eateries & bars
Fluctuations in generated traffic within the day
Sources: GIS Stop&Shop store management Bars and eateries staff
[C] Generated traffic by biggest categories and its change throughout the day
Mission Hill Greenhouse 63
Brick Concrete Glass Wood Greenery
[D] The site. Surrounding materiality
64 Urban Anchor
3
4
3
[E] Exposure of site. How much of the proposed design can be seen at 30 ft between two adjacent units
Mission Hill Greenhouse 65
[F] Calumet st. elevation
66 Urban Anchor
[G] Section AA`
Mission Hill Greenhouse 67
[H] Operable glazing detail
1
9
3
8
2 Programs
5 4 10
6
7
6 AA`
Level 1
68 Urban Anchor
Level 2
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Entry Courtyard Dining Hall Marketplace & Vendors Kitchens Toilets Greenhouse Offices Staff Lounge Terrace
[I] Floor plans
Exterior rendering
69
70
Other Works
71
Competition Entry Beyond the Grid Semester Summer 2013 Instructor David Eccleston Role Design Team Member Collaborated with Miguel Castro et al
Nexus House Living Beyond the Grid
73
[A] Concept diagrams (by Ge Wang)
74 Sustainable Design
nex路us noun the central and most important point or place
This collaborative project was prepared as a competition entry to design a sustainable home in a theoretical desert climate. My role in the team mainly involved research and application of traditional sustainable practices from the similar climates, particularly Iran and my home country Uzbekistan. One of the main features of the Nexus House is a set of wind towers, re-interpreted version of the Persian badgir (windscoop), that directs cooling breezes into the interior space and circulates fresh air through the laws of thermodynamics.
[B] Sustainability diagrams Background: Exterior night rendering. North view [by Luis Rodriguez]
Another traditional element of vernacular architecture is a courtyard, incorporated as an interior garden enclosed in glass with sliding walls and operable windows. Besides bringing the nature within, it also pre-conditions the heater air to cool the surrounding spaces and becomes a greenhouse, a heat storage in winter. The rammed earth walls of the Nexus House insulate against the hot outer temperatures, and have minimal affect on the environment.
The Nexus House 75
Living Areas 1
2
5
Feet
[C] Roof joint
Entry
Interior Courtyard
Bath.
3
1
5
Feet
[D] Wind tower and roof joint
Bedroom
Mech.
[B] Plan
1
Details UV coated polycarbonate roof with silicone sealed aluminium framing 4x4” wooden girder Reflective metal roof with membrane Aluminium wind tower with louvre opening Double pane glazing Photovoltaic cell system Low density concrete slab roof with asphalt membrane, 12’’ thick Roof joists, 2x4” beams 2x6’’ wood members with grooved edge Sliding window Rammed earth wall with rigid insulation Concrete foundation footing
76 Sustainable Design
2
5
Feet
[E] Bathroom glazing
[F] Wall detail
Cooling breezes directed into interior through wind towers and inversed roof Warm air rises Exhaust warm air released through operable windows
Winter sun penetrates into living area Warm air collected in greenhouse Convective heating
Sunken courtyard preconditions warm air
[G] Summer. Cross section through wind towers
[H] Winter. Cross section
[I] Elevations. From left: North, East and South views
The Nexus House 77
Exterior day rendering. Southeast view
78 Sustainable Design
Exterior day rendering. Southwest view
79
Structures I TM7120 Semester Fall 2013 Instructor Nathan Roy Duration Full Semester
Bandon Dunes Residences
Structural Analsysis of Pedestrian Bridge
81
A1 367.5
A2 262.5
A3 276.5
A4 279
A1 367.5
A2 262.5
A3 276.5
A4 279
Design Intent The pedestrian bridge was designed as a part of the competition entry for the AIAS and its structural analysis was prepared for the BAC’s Structures I course. The design called for a sixty-unit long term care facility, with programs for patient units, activities and staff areas. The site, located on the Pacific coastline of Bandon Dunes, Oregon offered scenic views of the ocean and surrounding woods. To utilize this scenery for healing and wellbeing of the patients, we proposed to create and outdoor platform suspended over a natural gulley on arches. Connecting the entrance and staff building with the main building, the bridge diverges on one end, creating an opening to allow dramatic views of the water and foliage below, as well as relieving some of the load on the deck by reducing the area.
A5 225
A5 225
A5 225
A5 225
A6 338
A5 225
A5 225
A5 225
A5 225
A6 338
50’
31.25’
CALCULATED TRIBUTARY AREAS
150’ [A] Tributary area calculation
LOADS, in kips: Total Deck Area, A: Distributed Load, Ptotal/A:
300 PLive PDead 1000 PTotal 1300
LOADING DIAGRAM
76 kips
77 kips
62 kips
The bridge is suspended on a set of two tubular steel arches, one of the most efficient and direct ways to translate the loads to the ground. The deck is made of lightweight, low density concrete, which rests on two steel joists parallel to the sides. Nine steel beams support the joists, and cantilever out to the sides where steel cables connect them to the arches for load transfer.
82 Analysis: Suspension Bridge
101 kips
30’
62 kips
62 kips 62 kips
72 kips
Structure
4857 sq.f. 0.27 kips/sq.f.
93 kips
150.25’
0
10
20
40 SCALE IN FEET
[B] Calculation of load on arch
A1 367.5
A2 262.5
A3 276.5
A4 367.5
A1 367.5
A2 262.5
A3 276.5
A4 367.5
A5 367.5
A5 367.5
A5 367.5
A5 367.5
A5 367.5
A6 367.5
50 ft
31.25 ft
[C] Axonometric view
A5 367.5
A5 367.5
A5 367.5
A5 367.5
A5 367.5
A6 367.5
150 ft
A
9 in. thick
Section A
10
20
40 ft
[D] Top view
Deck tributary areas and loads
[E] Section
[F] Longitudinal elevation
Wconcrete deck -145.15 lb/c.ft A deck area - 4850 sq.ft Pconcrete deck -108.9 lb/sq.ft (=W*3/4 c.ft) Ptotal - 429.30 lb/sq.ft [=5%+(Pdead+Plive)]
Ptrib load = Ptrib areax Ptotal (429.3 lb) PA1 -157.7 kips PA2 -112.7 kips PA3 -118.7 kips PA4 -119.8 kips PA5 -96.6 kips PA6 -145 kips
[G] Calculation of deck loads
Bandon Dunes Residences 83
157.7
112.7
118.7
120
96.6
96.6
96.6
96.6
145 kips
Ph = 679 kips
Steel Arch
Pmax arch = 868.5
FS (factor of safety) - 2 fsteel (yield strength) = 50 ksi Esteel (modulus of elast) = 29 000 ksi h(actual height of arch for given loads) = 30.5 ft
Outer Ø 24 in Inner Ø 21 in
30’
h = 30.5 ft
Thickness 1.5 in
Cross section of arch
Horizontal Buckling Force H=(C1∙E·I)/L² ; H=679 kips; L =150ft =1803.5in h/L (30.5ft/150ft) = 0.20 C1 = 28.8
150.25’
679 kips = (28.8·29,000ksi·I) / (1803.5in)² I1 =2,644.3 in^4 0
10
20
40
Uniform Load Causing Buckling q=(C2∙E·I)/L^3 ; q=0.72 kips/in; L =150ft =1803.5in; C2 = 46.1 0.72 kips/in = (46.1·29,000ksi·I) / (1803.5in)^3 I2 =3140.8 in^4
FBD Ph (Horizontal compressive force on arch) = 679 kips Pmax arch (biggest load on arch) = 868.5 kips P (uniform load) = 0.72 kips/ft h(actual height of arch for given loads) = 30.5 ft
10
20
40 feet
120
240
480 kip
Force Polygon
[H] Finding the arch height through funicular polygon
84 Analysis: Suspension Bridge
I =(π∙d^3)/64; I =I1-I2 =496.5; d^3 =10,114.6; d ≈21.5in Steel Cables Pmax cable (biggest load on cables) = 157.7 kips =78.85 ton FS (factor of safety) - 2 162 ton fsteel (yield strength) = 50 ksi Esteel (modulus of elast) = 29 000 ksi f =P/A; A =P/f =3.154 in² A =πr²; d =1 5/8 in
[I] Finding the size of the steel arch and cable stays
Ptotal -429.30 lb/sq.ft [=5%+(Pdead+Plive)] Alive load -145.15 lb/c.ft Alive load -145.15 lb/c.ft PA1 -145.15 lb/c.ft
[K] Final bridge design. Longitudinal elevation
Summary
MATERIALS:
Bridge basic behavior
Deck Low density concrete Arches steel tube Girders and beams steel I-beams Cables steel
Suspended bridge on arches DIMENSIONS
2
4
8 ft
10
20
40 ft
Length 150 ft Smallest width 31.25 ft Largest width (between arches) 50 ft Highest elev, arch 30.5 ft Depth of ground at lowest point 30 ft
LOADS Live loads 300 kips Dead loads 1000 kips Distributed load 0.27 kips/sq.ft
[J] Axonometric section and joint details. Transfer of deck loads to arch through cables
85
History of Architecture B HT7120 Semester Fall 2013 Instructor Diana Ramirez-Jasso Duration Full Semester
History of Architecture
Post-Baroque to Modernism
The timeline project for this history and theory course explored organization of architectural buildings and theories around a set of important events, themes and ideologies that influenced the works of the period encompassing the seventeenth century to the 1970s. While the first period up to the early 20th century was expressed in a wealth of such themes in the light of the Enlightenment ideas in my 1st diagram, the second phase mainly covering the Modernist architecture reflected crystallization of these ideas into few main ones.
87
Key Buildings:
Domestic & Residential
Keddleston Hall
Syon House
Monticello
Strawberry Hill
Regents Park
Government
Winslow House
Robie House
Hotel Tasse
Red House
Monticello
Casa Mila
Virginia Statehouse
Parliament Houses
Commercial
Public
Place de la Concorde
St.Genevieve Library
Oxford Msm of Science Glasgow School of Art
Royal Saltworks
St.Genevieve
Coalbrookdale Iron Bdge Werkbund Theater
Marshall Fields WH
Reliance Bldg
Guaranty Bldg
Goldman & Salatsch
Fagus Shoe Factory
Larkin Bldg
AEG Turbine Factory
Houses of Parliament - 1835
by Charles Barry & W. Pugin| Gothic revival/ on a classical plan
Mass Statehouse - 1794-98
by Charles Bulfinch | Overlooking the city as “omnipresent” government
Crystal Palace - 1851
by Joseph Paxton - new material of glass/ perceptual change in experience of space/ structural advances/ in Romanesque style arcades
Regents Park & Street - 1818
by John Nash | picturesque garden within urban env
Oxford Museum of Natural History
by Thomas Deane & Benjamin Woodward - Gothic in iron and glass
Virginia Statehouse - 1785-89
Bibliotheque St. Genevieve - 1843
House of Pleasure - 1804
by Thomas Jefferson | Doric/ government as guardian of the democracy
by Henri Labrouste - classical facade/ airy interior with iron collonnades
Eastern State Penitentiary - 1821-36
by Claude Nicholas Ledoux | architecture parlante
by John Haviland| architecture parlante
Haussman style Apartment House - 1855 by Haussman - class distinction
Iron Bridge at Coalbrookdale - 1779
by A. Darby Thomas Pritchard | new material of iron/ structural rationale
Trinity Church, Boston - 1872-77
by H.H. Richardson | Romanesque with polychromatic arch
Red House at Bexley Heath, Kent - 1859
Comedie Francaise - 1776
by Charles de Wally & Marie Joseph Paire | rise of public/ new typologie/ urban lifestyle
by Philip Webb - arts & crafts/ domestic style/ natural materials
“Contrasts” - 1836
Published by Pugin - style on nationalist background/ critique of “rational” Panopticon/ Gothic rev
Royal Saltworks - 1774 -79
1st Leiter Bld - 1879
by Ledoux, Arc et Senans | “architecture parlante”, utilitarian, symmetric layout
by William le Baron Jenney, Chicago - wrought iron with expansive windows
“In welchem Style sollen wir bauen” - 1828
Published by Henri Huebsch - style on nationalist & local background/ Romanesque rev
School of Surgery- 1769-75
Plan for Washington DC - 1791
by Jacques Gondon | semi-dome, triumphal arch entry. Utilitarian location. Profession of surgery elevated
Proposed by Charles l’Enfant | Radial layout for a new capital
Haussmann’s Street Map for Paris - 1853-1871
Napoleon’s baron Haussman/ rationalized plan/ uniform apartments/ wide avenues/ easy to quench protests
Reliance Building -1890-1894
Keddleston Hall - 1768
by Robert Adam | neo-Palladian villa in a picturesque garden
Proposed by Etienne Boullee/ sublime and grandness
Monticello House - 1768-1809
by Thomas Jefferson | neo-Palladian style/utilitarian/new tech incorporated
by John Wellborn Root & Daniel Burnham, Chicago | 1st skyscraper to incorporate glass expanse on facades
Das Kapital - 1867
Cenotaph for Newton - 1784
published by Karl Marx | Relationship between the classes/ class conscience
Panopticon - 1791
Marshall Fields Warehouse - 1885-87
by H.H. Richardson, Chicago | Romanesque Palazzo style/wrought iron structure/expansive windows afforded by arches
Proposed by Bentham | Functional rationale in layout and form
Hotel Tassel - 1892-93
Great Chicago Fire - 1871
Syon House - 1760
by Victor Horta, Brussels | Linear decoration/ art nouveau/ total work of design
Catalyst for rebuilding metropolis/ skyscrapers/steel constr.
by Robert Adam | Middlesex. 1st example of Adam style inter. Mannerist, Gothic and picturesque
Wainwright Bld - 1890-91
1st French Revolution - 1789
Map of Paris Monuments 1765
Place de la Concorde of Louis XV 1754-75 Strawberry Hill 1750
Horace Walpole, London - Gothic rev., picturesque
by Charles Rennie Mackintosh, Glasgow| arts & crafts/ interior and exterior designed by Mack.
Search for symbolism for a new state
Winslow House- 1893-84
by Pierre Patte. Early urban planning attempt
by A. J Gabrielle, Paris. Public monuments & “beneficent” king image.
by F.L. Wright, River Forest, Il. | Redefined traditional home type/ hip roof/ horizontal emphasis/ arts&crafts/ beginning of Prairie style
“Antiquities of Ancient Greece” 1762 by J.Stuart & N.Revett
1810
“Ruines des + beaux monuments de la Greece” 1758
Laugier’s “Essay on Arch” 1753 Systematization of knowledge
1820
1830
Hill House - 1902-03
Expedition to Ottoman Greece - 1751
by F.L. Wright, Buffalo | air-cond/ stained glass/built-in furn/ non-direct entry/ brick
“A Home in a Prarie Town” - 1901
Published in Ladies Home Journal by Wright/ hearth as center of home
Robie House - 1908-10
Paris Metro Stations - 1900-01
1880
1770
by James Stuart and & Nicolas Revett - Interest in Greek Arch
Stourhead Garden - 1741-65
1860
by F.L Wright in Chicago | Narrow lot/ Wright-designed interior
by Hector Guimard| Imperial Advertising/ Ornament/ Art Noveau
Interest in Roman domestic arch intensified
H. Hoare II & H. Wiltshire. England - Picturesque
Larkin Bld - 1902-1906
1870
1780
by Edmund Burke | esthetics redefined
by Charles Rennie Mackintosh, Helensburgh | sober, heavy walls / picturesque garden/ masc exterior+femi interior/ Pugin’s influence
1850
1790 “Philosophical Inquiry”, 1757
Art Nouveau Pavilion - 1900
by S.Bing, Universal Exhibition | Lifestyle of Shopping
1840
1800
Julien David Le Roy
Primitive hut and structural rationale
Diderot’s “Encyclopedie” 1751 Diderot’s “Letters on the Blind” 1749
by Joseph Olbrich, Vienna| Pure forms/ restrained, linear ornament
Glasgow School of Art - 1897-1909
US Declaration of Independence
St. Genevieve 1757-97
by Soufflot, Paris | Corinthian columns, triple dome, structural metal ties - Roman revival
Secession Bld - 1898
by Sullivan & Dankmar Adler, St. Louis | Palazzo style/ humanist expressive tall office bld
Fall of monarchy in France
Doric temple at Hagley - 1758
by James Stuart | Worcestershire. Greek revival
Paris Exposition Universelle - 1900
French “Art Nouveau” | Linearity/ exotic influences/ advertising/excess
AEG Turbine Factory - 1908-09
Casa Mila - 1905-10
by P.Behrens, Berlin| “Parthenon of Industry”, glass & steel/
by Antony Gaudi, Barcelona | handcarved stone/ fluid forms
Pompeii rediscovered - 1748
Interest in Roman domestic arch intensified
1890
1760
by Hermann Muthesius, Munich | state-spon’d arts-trade collab.
by W.Gropius & Adolf Meyer | rejection of historic refer./ entire facade glazing/corners w/out support/ interior=exterior/ critic of AEG Turbine Factory
Werkbund Theater - 1914
by Van de Velde, Cologne | homogenous concrete mass/ emph on orn.
1910
New Styles [Art Deco/ American Prairie/ German Werkbund/ Viennese Secession/ non-Historic Total Work of Design/ “Hands of the Builder” Social Lifestyle/ Class/ Capital
Domestic Architecture [Spatial layout & forms/ decorations Political Aspirations/ Nationalism [Imperial, economic and trade powers/ rise of gov] Industrial Advances/ New Materials & Methods [Glass/Iron/Steel/Skyscraper/Structural Frame Bld] New Typologies [Buildings for academic/lifestyle/functional needs] Urban Planning/ Landscape Rationalism/ Functionality/ Architecture Parlante Spatial Experience/ Design Esthetics [Sublime/ Picturesque/ Solid-Transparent] Stylistic Revivals/ Historic Symbolism [Classic/Gothic/Romanesque/Renaissance]
Goldman & Salatsch Store - 1909-11
by Adolf Loos, Vienna| infl. by Sullivan’s facade/no ornmt
Fagus Shoe Factory - 1911-12
1900
1750
1740
Establishment of German Werkbund - 1907
1920
1730
CHRONOLOGY OF ARCHITECTURE Projects, Theories & Events in the XVIII-XX Centuries Rashid Muydinov/ M.Arch
Built projects Unbuilt projects/ publications/ theories Main events
[A] Chronology of Architecture - post-Baroque to early 20th century
88 History of Architecture B
Villa Savoye
Corbu’s 5 points of New Arch/ promenade architecturale/ Division of class
Bauhaus at Dessau
Gropius/ New style of apprenticeship based edu/ technological elem
Falling Water
FLW/ Bear Run, PA/ horizontal planes/ human scale/ natural materials/ nature/ human scale
Jacobs H
FLW/ Madison/ Usonian: natrl matrls/ ample surr. space/ nature/ functional
Weissenhof Siedlung
Monument to 3rd Int’l
Vladimir Tatlin/ steel/ aspiring monumentality
MOMA
Mies et al/ Stuttgart/ Social housing project
Edward Durrell Stone/ Distinctive glass facade in elaborate street
Viipuri Library
Aalto/ human scale/ functional/ materiality
Barcelona Pavilion
Lenin Platform
Paimio Sanatorium
Mies/ Materiality/ Monumentality/ De Stijl
Villa Contemporaine
3 mln inh/ Corbu/ lack of human scale/ cars glorified/ freedom surrendered arch
Aalto/ functional layout/ healing/ thru nature/ light/ human scale/ functional design elements/ furniture/ color
Frankfurt Kitchen
El Lissitsky&Chashnik Stud/ Aspiring monumentality/ technl./ suprematistic
Cite de Refuge
Margarete Shuette-Lihotzky/ Social aspect/ functional sanitary home
The New Frankfurt AEG Turbine Factory Peter Behrens, Berlin “temple to industry”, arch parlante/ classic symbolism
Maison Citrohan
Corbu/ Prototype for public housing
League of Nations
Cubism & Abstract Art Diagram
Compet. Entry/ Geneve/ Hannes Mayer
Alfred Barr/ Classification of art and modern arch
Arch.Gota
Konst. Melnikov/ Int’l Exhib of Deco Arts, Paris/ rhomboid plan made of wood/ arch parlante: russian peasants chopping wood/ Lenin’s sarcophagus
Tugendhat H
Sainatsalo Hall
Mies/ Brno/ De Stijl/ intersecting planes
Paris/ contrasting ideologies/ fascism vs. comm
Notre Dame du Haut
Concrete/picturesque/light/monum/ roof plane
Gropius H
Russian Revolutions
communist Soviet Union estab.
Lenin in power
Aalto/ built 1952/ light/ brick/ nature
Exposition Internationale
Disastrous effects on Germany’s and Europe’s economy Changes in social make-up of the countries
constructivist arch in new country
Aalto/ MIT dorm/ undulating facade/ view/ respond to context/ brick
Hitchcock & Johnson/ 5 elem of style
Malevich/ plaster upwd thrusting sculpture/ 3d geo shapes inspired NYC’s skyscr/ Empire St Bld
World War I
Baker Hall
Int’l Style
Ernst May/ Urban Planning
USSR Pavilion
Villa Mairea
Aalto/ nature/ wood/ materiality Corbu/ Paris Salvation army/ urban poor housing/ curtain glazing/ overheating/ brise de soleil/
Corbu/ city as human/ segreg of vehicle/ nature/ ample space bwn superblocks
‘Suprematism’
34 drawings of Malevic publ.
Project for Brick Villa
De Stijl/ winding path/ picturesque
Unite d’Habitacion
Lincoln, MA/ NE local wood/stone+prefabs/claddings in diff use/ responsive arch/ efficient/ human scale
Villa Radieuse
Marceilles/Corbu/ apt as a city/ hallways=str/ social h/ varied layouts
Guggenheim
FWL/ Ziggurat of Samara Mosq/ ramp/ space as an exhibited piece/
Project for Glass Skyscr
express of structure/ aspiring/ esthetic
Farnsworth H
Mies/ IL/ monum. entr/ glass/ esthetics
Crown Hall
IIT/ Mies/ Monumental/ ceiling hung on i-beams/ delayed due to cost/ fire
Seagram Bld
Mies/ glass/ setback for plaza that extends thru the bld/ monumental presence/ bronze coated i-beams/ facade articul./ consistency in exter
1920
Winslow House
Sullivan/ River Forest, IL/ Hearth at the center of home
1930
1940
1910
1900
Wainwright House
St.Louis/ Sullivan & D.Adler/ Classic capital tripartite
1889
1950 Decades Years
1960
1890
Experience
art/ esthetics/ light/ view/ materiality/ arch parlante/ human scale
Rashid Muydinov M.Arch / History B Fall 2013 Proferssor Diana Jasso-Ramirez Section Instructor Joe Stromer
CHRONOLOGY OF EARLY XX CENTURY ARCHITECTURE Buildings, important events and social implications
Building Technology
materials/ methods/ machine/ structure
Social Agenda
mass housing/ domestic arch/ urban planning/ living standards
Politics
economic power/ fame/ nationalist & political ambitions
Key buildings Theories, publications and concepts Important events
[B] Chronology of Architecture - Modernism
89
Freehand Drawing AS151 Semester Fall 2012 Instructor Michael Daniels Duration Full Semester
Drawings & Sketches
Bathing girl [reproduction of Leonardo da Vinci’s sketch]
91
Christian Science Plaza
92 Visual Studies
Boston Harbor
Drawings and Sketches 93
Self portrait
94 Visual Studies
Light
95
THANK YOU
Rashid Muydinov Master of Architecture Applicant 16 Greenley Pl/ Jamaica Plain/ MA 02130 rashidbek.muydinov@outlook.com 970 393 3012