Portfolio 2013-2015 by Rishab Jain

PORTFOLIO

-Rishab Jain

Architecture is...

Architecture is not only a collaboration of logic and imagination, but also is an experience. The experience of architecture is different from the experience of literature and arts, but similar to them, it leaves an impact on both individuals and the society. Architecture is a tool that allows us to solve problems and asks questions. It has the power to change the way people experience things and has the capability to reimagine what a community wants to be.

C ON TE NT

Design Studio 1A: Material & Behavioral Strategies for the Physical World A Small Space

1B: Conceptual Strategies for the Physical World Los Angeles Center for Architecture (LACA)

2A: Frameworks, Sites and Contexts Boys and Girls Club, Holloywood

2B: Formworks, Program Fermentation Lab, Los Angeles

3A: Field Operations Hudson Yards, New York

Visual Studies

120

Fabrications And Delinetions 1 52 Technologies Of Description 1 58 Technologies Of Description 2 66

Cultural Studies History Of Architecture 1

History Of Architecture 2 49

3A STUDIO: Field Operations 3A Studio introduces students to the design and development of a High Rise Building, from conception to detailed architectural resolution. The studio focuses on the Refinement of such architectural proposal with particular emphasis on Surface Articulation and Tectonics. Students in 3A will work in teams of two on a semester-long project: a High Rise directly adjacent to the HighLine in the Hudson Yards of New York City. The research, design and development of the project in question will be roughly divided into three clear stages: (1) Precedent Analysis; (2) Warm-up formal exercise; (3) Project Design. The first studio of the third year core studio sequence locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their

work, while the main investigation examines the particular impact of the building envelope and its material and geometrical determinations on site and a Tall Building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. By studying the specificities of the Tall Building envelope students will be exposed to the tight depedency existing between serial determinations â&#x20AC;&#x201C;of both geometric and material order- of the outermost surface, and the spaces it encloses, its surroundings and its iconographic performance in Throughout the semester we will thus attempt to situate processes of expression alongside the magnitudes that control the economies of towers in order to articulate design proposals, that while fulfilling the different performative criteria of the contemporary High-rise, they contest its presumed identity. Stu-

dents will hence be expected to put forward a critical position â&#x20AC;&#x201C;one that is supported by a sophisticated repertoire of formally and materially resolved techniquescalibrated against the problems and constraints of the contemporary Tall Building. Moving from the conceptual and the abstract to the physical realities of building, the work of the studio aims to productively embrace novelties and differences in the production of vertical organizations.

Instructors: Alexis Rochas, David Freeland, Margret Griffin, Maxi Spina.

3A STUDIO: Field Operations

One storey/one facade elevation and plan cut

One module

Exploded module

One inter-column module

Interior axonometric

Exterior axonometric

Two facades part axonometric

3A STUDIO: Field Operations

3A STUDIO: Field Operations A

15 F

C (L 49)

B (L 35)

A (L 14)

Canopy (L 6)

Section elevation at 30/60 angle 1’-0” = 1/16th”

Plan A (267’) 1’-0” = 1/16th”

Plan B (550’) 1’-0” = 1/16th”

Plan C (741’) 1’-0” = 1/16th”

C (L 49)

3A STUDIO: Field Operations

2A STUDIO: Frameworks, Sites and Contexts This studio was a continuation and expansion of the fundamental issues of architecture first introduced in the first and second studios (1A & 1B) of the first year core sequence. The emphasis of the studio was on the development of disciplinarily informed frameworks and sophisticated techniques for design processes, outcomes and discourse. After studying overarching and/or contingent organizational strategies in significant architectural precedents, students designed a small institution on an urban site with intelligible organizational interrelationships of form, geometry, site

conditions, context, and program. There was a strong emphasis on the understanding of solid/ void relationships, delineation, and choreographing movement through space. The design project was for a Boys And Girls Club that was located on Holloywood Blvd, Los Angeles. The urban site required for a rethinking of what the institute should be. My Proporsal- â&#x20AC;&#x153;A boys and girls club is a place for inner city kids and teens to come and interact with each other. The project aims at creating 6 different inner worlds each with its own

theme. I also focused at decreasing the divisons between the spaces, so that the kids have access to everything without restriction. The project also proposes creates an allay through the heart of the site thereby creating a new flow of pedestrian traffic accross Holloywood Blvd. and Vine Street. It also addresses the lack of parks and community spaces near the site, hence helping the community grow.â&#x20AC;? Instructors: Sandy Yum, Erick Carcamo, Benjamin Smith, John Southern

2A STUDIO: Frameworks, Sites and Contexts

EXCERSICE

GYM

CAREER CENTER

EXPLORE

GAMES ROOM

WOOD SHOP ARTS CENTERT

ARTS

ENTRY

WEIGHTS ROOM CAREER CENTER

LEARN

DANCE ROOM

WEIGHTS ROOM

LIBERARY

ARTS CENTER KITCHEN

COURTYARD

GYM

WOOD SHOP

ENTER

CLASSROOMS

DANCE STUDIO

GAMES ROOM

PERFORMANCE

STAFF APTARTMENT

STAFF APT

CLASSROOM

TEEN CENTER LIBERARY

MULTI-PURPOSE ROOM LOCKER ROOM BATHROOM OFFICES KITCHEN STORAGE ENTRANCE CLASSROOMS

MULTIPURPOSE ROOM

STORAGE

TEEN CENTER

LEARNING CENTER

OFFICE

CLASSROOM BATHROOM LOCKER ROOM

SWIMMING POOL

COURTYARD GATHERING SPACE

FIELDS

CLASSROOM

FIELDS

SWIMMING POOL

COUNCLER AND TEACHERS GARDEN

CLASSROOM

CLASSROOM PARKING SPACES

PARKING SPACES

WORKSHOP

GATHERING SPACE

Analysis of the brief. Converting the brief into program. WEIGHTS ROOM

PARKING

GARDEN

GYM

BATHROOM

CLASSROOM CLASSROOM

DANCE STUDIO

CAREER CENTER

EXCERSICE

PARKING

CAREER CENTER LOCKER ROOM

PERFORMANCE

STORAGE

CLASSROOM MULTIPURPOSE ROOM OFFICE

COURTYARD

WOOD SHOP

STAFF APT

WORKSHOP

COURTYARDSTORAGE

WORKSHOP

ARTS CENTER

ARTS

TEEN CENTER

LEARN

ENTRY

KITCHEN

CLASSROOM

GAMES ROOM

GATHERING SPACE

GARDEN

LIBERARY

ENTER

Diagramatic arrangement of program.

= +

CLASSROOM

2A STUDIO: Frameworks, Sites and Contexts

PENTAGES THATER

FLORIC ROOM

W HOTEL

LA FITNESS GOOD TIMES AT DAVEY WAYNE'S HOLLOWOOD LE BORN

Site Analysis

TOWN HOUSES

FONDA THATER

2A STUDIO: Frameworks, Sites and Contexts

PATH THROUGH SITE

CIRCLUATION

INTERLOCKING

FIELDS

2A STUDIO: Frameworks, Sites and Contexts

PUSHING IN

EXTRUSTION

PUSHING UP

2A STUDIO: Frameworks, Sites and Contexts A

TEEN CENTER

ARTS

PERFORMANCE

EXCERSICE

PLAN @ 8 FT C

UNROLL SECTION

2A STUDIO: Frameworks, Sites and Contexts C

TEEN CENTER

ARTS

LEARN

PERFORMANCE

EXPLORE

EXCERSICE

PLAN @ 20 FT C

2A STUDIO: Frameworks, Sites and Contexts

WEST ELEVATION

SOUTH ELEVATION

SECTION A

SECTION B

2A STUDIO: Frameworks, Sites and Contexts

SECTION C

SECTION D

2A STUDIO: Frameworks, Sites and Contexts

1B STUDIO: Conceptual Strategies for the Physical World This studio serves to develop analytical and conceptual strategies that direct notions of spatial ordering systems and architectural form. A series of evolutionary and interrelated projects involving various media (both digital and physical) will serve to guide the students toward an understanding of sophisticated notions of spatial compositions and material considerations. The exercises begin with a research based formal analysis of a significant building which subsequent projects build on during the semester. The individual assignments can only be understood together as constituting a whole; they are a series of

investigations interrelated with one another. Students will construct, disassemble, and later reassemble space to closely understand the complex relationships that lie within. Project 1, Plan: Formal Analysis of a Historical Precedent, to construct the assigned plan through a series of carefully calibrated drawings that align its programmatic, structural, and formal ordering systems. Emphasis will be placed on conceptualizing the precedentâ&#x20AC;&#x2122;s formal organization through clearly measured and annotated regulating grids and lines. In Project 2, Figure: Transformation of Formal Analysis,

students will focus on a particular point of complexity, discontinuity, or instability in their formal analysis and elaborate on the geometric systems that generated this condition in a new figural building fragment. Extending the planometric studies from the first exercise into three dimensions, the formal concept will be constructed through section and physical model. Project 3: Los Angeles Center for Architecture (LACA) will culminate the studio with the design of an architecture archive and exhibition space. Instructors: Mira Henry, Anna Neimark, Bryony Roberts, David Freeland.

1B STUDIO: Conceptual Strategies for the Physical World Project 1: Precedent Analysis Decoding the precedent plan by finding geomeatric relationships and forming a narrative about its construction. From top to bottomConstruction using 4 squares. The irregular grid. Circular spaces. Circulation.

1B STUDIO: Conceptual Strategies for the Physical World Project 1: Precedent Analysis All of these are a collection of different layers, each one analyzing a certain aspect of the precedent. The final plan is the de/ re-constructed precedent. From top to bottomColumn grid. Wall hrid. Combination of previous layers. Final precedent plan.

1B STUDIO: Conceptual Strategies for the Physical World

1B STUDIO: Conceptual Strategies for the Physical World Project 2: Creating a figure by taking a small portion of the precent and using its geometry as construction lines. Left- Precedent Drawings Right- Figure Diagram.

42 Left- Diagramatic represenation of the figure and its construction geometry. Right- Axonometic of the figure.

1B STUDIO: Conceptual Strategies for the Physical World

43 Left- Massing for building proposal from the original figure. Right bottom- Ground level plan for LACA. Showing entry, liberary, office programs. Cut @ 4ft from ground. Right Top- Second level plan for LACA. Inclues cafe, restroom, storage. Cut @ 30ft.

1B STUDIO: Conceptual Strategies for the Physical World

1B STUDIO: Conceptual Strategies for the Physical World Left top- Third level plan for LACA. Showing exibition spaces, Cafe below and book store.

Left bottom- Short Section. Showing entry and liberary space. Right- Section Model at 1/8th scale. Materials- Museum Board, Wood, Acrylic. Left- Cross Section cutting through the middle. Showing entry , liberary, exibition, book store and a small lecture space. Right top- Section model. Right bottom- Massing model.

1B STUDIO: Conceptual Strategies for the Physical World

CS 2012: History Of Architecture 1 This course introduces students to the history of world architecture by examining the origins and elaboration of human settlements and architecture from prehistory to the baroque era. Particular attention is given to the evolving status and role of the architect in the ancient world as

well as to the development of architecture as an autonomous category of cultural artifact. Research Paper: Students choose a time period and/or geographic location from a list and find examples of their architectural type manifested in structures around Los Angeles. The purpose

of the assignment is to explore how a particular stylistic period in architectural history has been conceptualized and reinterpreted in buildings found in contemporary Los Angeles.

CS 2024: History Of Architecture 2 Modern to Contemporary. This course tracks the development of architecture and urban culture from the rise of modern institutions and practices, through

the era of industrialization, to the current day. This course pays particular interest to the influence of modern materials, methods and tectonics, as well as concom-

itant cultural changes in theory and discourse. The essay is an emaligamtion of important ideas learn in the course.

CS 2012: History Of Architecture 1

The Use and Abuse of Historic Precedent Richard Neutra’s career takes place in during an important moment in the history of architecture. It takes place during the modernist movement in which he places a critical role. The effect of the industrial era is evident in the use of material and manufacturing techniques of the time. Eric Mendelsohn once described this generation as only unclothing themselves to nakedness but rather being born naked. The main aim of the movement was to strip away and take away anything ornamental that might have been seen during the Renaissance. Palladio’s work, the other point of comparison in this essay works prominently during the Renaissance. The villas he designed like the Villa Rotonda are recognized import through the history of architecture and these techniques have been studied and repeated throughout time. Thus, this initial contrast between the minimal trying to strip away this mask of the Renaissance sets this essay up into comparing the differences in organization, form and material strategies. Looking at Neutra’s VDL House II and Lovell House, both set in Los Angeles are some on this most recognizable work. Through these houses Neutra sets up his own argument about the principles that go into making a house or a villa. He questions the assumptions that come from the renaissance and tries to redefine the definitions of what an ideal villa should look like. One of the main differences in the villas from the Renaissance and houses now is in the way they are organized. The importance of flow, following a central datum (axis) all comes into question. The Lovell House by Neutra that was built in 1928 is a good example of the philosophy that Neutra follows. His main aim is to create harmony and beauty through the least amount of material. He is interested in science and mainly biology, in which he researches about a man’s response

to “multitude of functions.” (McCoy 8) The Lovell house is one of Neutra’s biggest works, nested on the side of a hill it is divided into three floors. There is one main entry to the house and the multiple steps help the flow through the house. The floor plan is quite open, in the true modernist way; there is no physical division between the dinning, living and the library. The entry was from the top at street level but the main flow is in the downward direction following the slope of the hill. Hence, the staircase becomes an important aspect of the building. Palladio’s Villa Capra- Rotonda set in Vicenza during the 1550 is one of his best known works. The villa in plan is a perfect square in section and has two main axis of movement. It has identical entry ways on all four sides. There is main central space that is enclosed by a dome on top. The spaces are divided into quadrants of equal size that creates symmetry in the plan. Unlike in Neutra’s work, there is no great emphasis on creating harmony between spaces, here it is more about having different spaces for different functions. Thus, this is one of the main differences, the arrange-

Lovell House, Elevation, Richard Neutra ,Los Angeles, California, 1966, Printed in 1960.

CS 2012: History Of Architecture 1

ment of special characters. While Neutra works more on harmony (coherence of parts), Palladio is considered with unity through symmetry. This shows how the preferred organization strategies have changed over the years. Not to choice one over the other, the argument is about time and how architecture is not static and any notions of a singular rule or set of rules that have to be followed in order to get a perfect villa is wrong. As values of a culture and their beliefs change over time so do their ‘rules’. Palladio’s heavy emphasis on symmetry comes out of the notion of that ear, and the belief like the golden ration, which is found in nature. It was though that most things in nature were symmetric and hence that was the root of their beauty, symmetry was esthetically pleasing. But during the modernist ear this idea starting changing. It now shifted to being more about spatial experience, how the human body feels when it is in that space. This idea has further developed and due to advances in science new theories have come up about symmetry in nature. A new research conducted talks about how symmetry is a default function that nature follows for any new mutations that occur due to missing gen code in the DNA. In recent years, Greg Lynn and other architects have taken this as their inspiration for many of their works and have question the rule of symmetry. Hence, Neutra had started to

Lovell House, Interior, Richard Neutra, Los Angeles, California, 1966, Printed in 1960.

ask these questions and critique the importance of symmetry, he was more interested how it all come together. The villa is a massive box that has been ornamented and subdivided on the inside, whereas the Lovell house is a collection of small rectangular boxes arranged on the side of a hill. Neutra’s VDL house II works in a different way. Set in the heart of Los Angeles (silver lake) facing the lake, the main feature of the house is its stair. The floor plan is quite open as the ground floor has an open central courtyard that divides the structure into two. Long glass does create a great atmosphere between the inside and the outside combing the trees and other exterior elements to give shade and other practical functions. The scale of this project is much smaller than the Lovell House. We see how there has been a shift from the sturdy, strict distribution of spaces in the Villa Rotonda to a more open floor plan both in the Lovell house and VDL house. We understand how Neutra moved away from the more calculative approach that focused of symmetry and geometry onto has combined spaces and less material wall between the spaces. Another important point of difference comes about in the elevation of the buildings. Especially in the Renaissance and the modern era, because both had a clear set of principles that they followed. The difference in these principles is one of the greatest differences between the two. The faces during the Renaissance were meant to look grand and were highly decorated. The columns not only acted as a structural support but also were decorated and were more like ornaments. The statues in the corners of the Villa Rotonda are for the same reason. The grand staircase and all the other things were a part of a larger system that was used to emphasis grandeur. The minimalist on the other hand stripped away anything unnecessary from the facades. They banked more on simplicity, everything had a function and even the small thin pillar that can be seen in the VDL house II is for structural support. The

material also played a great role in this. The minimalist came out of the machine age, the industrial revolutions. They used prefabricated material, steel and glass was the main material of their liking. This gave the building a modern look, a simpler and lighter look than that of the villas of the Renaissance. Those villas were made of stone, concrete; they had statues on them and were tiled in many cases. Thus, in Neutra’s interpretation of an ideal villa would be much simpler than that imagined by Palladio. This leads back to the eras these architects were working in. Nature work was about simplicity and making the most out of minimum, on the other hand Palladio was about showing of grandness and material wealth.

Lovell House, Plan, Richard Neutra, Los Angeles, California, 1966.

CS 2012: History Of Architecture 1

Continuing of the facade discussion, the other contrast that comes up between their works is between the horizontal and vertical members. The placement of the windows and door are an integral part of the building. In the Renaissance, this was done highly calculative and in systematic way. The symmetry of the structure was often the resultant of repeating such elements. In the Villa Rotonda, the numbers of pillars was even and were equally the windows are equal distance from the central axis and so on. On the other hand, Neutra did not follow any such rules; his structures would most often be asymmetric. He has given long windows spanning floor to ceiling and side to side in both Lovell house and the VDL house II. The roof condition is another main aspect in all these structures. While the Villa Rotonda has a grand dome and a sloping roof both of Neutra’s buildings have a flat roof, which is in many ways much simpler than the Villa Rotonda’s roof. In conclusion, Neutra has tried to reinvent the villa using a minimalist way driving this inspiration from the industrial age and the new materials. He has moves away from the plastic vile ornamentation and stripped the villas of the renaissance to their core. He questions the role of symmetry and methodical divisions of spaces but rather focuses on a unified whole. Also leading into the discussion about using a grid or creating a field. Thus, we see how the differences in Palladio and Neutra’s work and discovering the change in ideas of an ideal villa form and symmetry to minimalist concepts.

CS 2024: History Of Architecture 2

Themes of Tradition and Progress The themes of tradition and progress was and is still is one of the most important debates in architecture. All through the enlightenment and romantic era architects were questioning what style they should build in. They were at a point in time where they had a wide palette to choose from and due to advancement in technology they could build in any style. One side of the debate looked back at the greeks, people like Soufflot through that the greeks perfected on nature and they were the model people should follow. Hegel too agreed with this idea and referred to them (greeks) as the just right porridge, it wasn’t too bland as the ancient egyptians nor was it to harsh like the gothics. It was the perfect synthesis between the two and wanted architects to follow such precedents. On the other hand, there was another chain of thought that wanted to use the new materials and technology of the time and believed in using these technological advancements to come up with new methods of construction and hence affecting the design. They wanted to move away from the idea of genius and on to the idea that systems can be learnt, it was not about of great creator of the work but rather a carefully executed process. They also wanted to move away from the old materials and into using the new materials of the industrial age, like irons and steel. Building of the time started to lose weight. They wanted to show off this material quality and not just use it as a tool to create something that was not from its time. For example, the Crystal palace by joseph paxton supported such arguments, using prefabrication of large glass panels and iron construction, the building showed progress and effects of the industrial era. In a similar way, Emmanuel Viollet-le-Duc’s proposal for a Project of a 3000seat Theater shows of the iron columns on the

Joseph Paxton, Crystal Palace, London, 1851, under construction

inside, which was different from any other work being produced at the time. Le-Duc says “In architecture, there are two necessary ways of being true. It must be true according to the methods of construction. To be true according to the programme is to fulfil and simply the conditions imposed by need. To be true according to the materials according to their qualities and properties.” (Le-Duc, 1863, Modern Architecture A critical history) Whereas, on the other hand in Ste. Genevieve Parthenon by Soufflot used iron and steel construction but was hiding it by putting a greek temple facade on it. All the structure make with iron and steel construction is hidden away and making it look like classical. This lead to a debate about whether one has to show the material they are using to construct or hide them. This debate about about being true and showing the material one used to build the building or hiding and making it seem like an older precedent came out of a bigger debate,

CS 2024: History Of Architecture 2

the debate of ancient vs. modern. The debate that Blondel and Perrault greatly contributed too. The modern side of the debate though that architecture should be systematic and rational. They did not believe in any optical correction. They believed in honesty, of the building and the structure and material it used. The believed that it was a method and can be learnt Such ideas that later on lead to influence the thinking of Le Corbusier and Mies Van Der Rohe. Building like the Bibliotheque Ste. Genevieve follow such rules, as the thin metal

the facade reads, as an ABAB system but at closer look one realises the small subtle changes the architect has made,like changing the size of the windows in the end and how the entry is shifted to the left. These kind of small nuances put this building in the ancient category. like changing the size of the windows in the end and how the entry is shifted to the left. These kind of small nuances put this building in the ancient category.

columns of the side celebrate its structure and use of iron rather than hiding it. And the effect of such things of the facade where the arch ends. Another example of this is in Friedrich Werder Kirche by Schinkel, where the architect deliberately takes off the key stones in the vaulted arches to tell us that those are just put on and are not structural. Thus being honest in telling us how the building is constructed. Blondel on the other hand believed in going back to the ancient times, looking back at the greeks who had improved of nature and now he believed that we must improve on the greeks. They believed in the idea of one master architect and to intuit the answer through genius. They believed in natural beauty more than arberateraly beauty. An example of this would be the Pantheon, where small optical corrections are made to make it seem more symmetric and look better from certain angles. This is taken up by Mackintosh in his design for the glasgow school of art. At first glance

Mackintosh, The Glasgow School Of Art

During the Enlightenment, all through England architects started looking back at the renaissance for inspiration and precedents like Palladioâ&#x20AC;&#x2122;s Villa Rotonda, and in many ways started copying them. The Chriswish House in London was instance where this happened. The architect used the plan and facade and changed it ever so slightly. The idea that one could just choose an ancient building and just reconstruct it 1000â&#x20AC;&#x2122;s of miles away came into being. This happened more often when the buildings with new program started popping up. The architects did not have any precedents to look back upon and hence started looking at greek and roman architecture. One such example for this would be the Penn Station in New York, as before that there were not many railway stations they could look back upon hence, they started looking at other precedents and changed the original program, as the penn station takes inspiration Roman baths.

CS 2024: History Of Architecture 2

Friedrichswerder Church. The vaulting system

The ideas about Le-duc and Labrouste affected the works of modern architects like Le Corbusier and Mies. The idea of pure expression of material is a clear theme in many of Miesâ&#x20AC;&#x2122;s projects and this comes from the debates going on during Le-Ducâ&#x20AC;&#x2122;s time. In projects like Friedrichstrasse Skyscraper (glass skyscraper), he studies the material and uses intensifies the effect of the material. Same as in the Barcelona Pavilion using stone and the his steel tower. He takes the idea of showing and expressing the material beyond just for the sake of honesty, he makes them the centerpiece of this projects. This also contributes to the debate about beauty. Leading into the Kernform and Kunstform debates. During the time Le-Duc and others are discussing the question of beauty whether it is about the essence of the building or its appearance. Whether it is about natural beauty or arbitrary beauty. Mies turns the argument of its head and forms a synthesis between the two sides. He finds arbitrary beauty while still preserving and showing off the structure.

Joseph Paxton, Crystal Palace, London, 1851, under construction

In conclusion, structure and material form have had a huge role in the tradition and progress themes such as the ancient and modern debate and debates about beauty and what is the true essence of the building. According to me, all of these questions are trying to address an even bigger question about the origins architecture, are the origins in nature or did it start with the primitive hut, a collection of wooden sticks building a frame.

VS 4020 01: Technologies of Description 1 This course forms the continuation of the Visual Studies core sequence, beginning with VS 4011: Fabrications and Delineations, offered in the spring semester of the first year of the BArch program. It expands on the use of representational tools to emphasize formal clarity in the construction of curves, curving surfaces and their intersections through systems of regulation, annotation, and rendering. The assignments focus on building precision and intentionality in architectural drawing and digital modeling and developing a critical sensibility to the inherent bias in each medium of representation. In this section of the course, the spiral stair will be used as a lens to develop formal and representational techniques. The geometry of the spiral stair contains both corners that articulate steps and smooth surfaces that define a continuous space. Students will analyze historical examples of spiral stair stereoto-

my (the cutting and assembly of stone blocks) and develop drawing techniques for constructing complex curvature. These analytical drawings will be the basis of a designed formal translation that creates a new stair figure. Managing a balance between stair parts and figural whole will extend to student generated rendering techniques. The system of geometry most closely associated with stereotomy is projective geometry, or the study of geometric properties that are invariant under transformation. When calculating the size of a particular block to be cut, masons developed means by which to transform three-dimensional volumes and complex curvature into two dimensional developable surfaces. In lieu of computational tools to aid unrolling, masons invented drawing techniques to break down and flatten these three dimensional forms. In the first assignment of the semester students will be

given a precedent stair to model and translate into two dimensions. The student developed their own system for constructing the stair and projecting it into a two-dimensional drawing. The assignment was extended by reinscribing the stair figure into a new bounding box. Adapting to the new volume will create gaps between steps, awkward intersections, and torqued surfaces. The drawing system used to construct the stair precedent will be animated by these predicaments, forcing unique geometric mediation. Handrails are composed of many parts, which follow the rhythm and structure of the stair. Articulation of these elements will extend the organizational logic of the transformation while engaging the awkward geometric predicaments. Lastly, rendering and hatching will studied as means of describing the interior space of the stair. Instructors: David Freeland.

VS 4020: Technologies of Description 1 Left- Precedent stair plan and section drawing. Right- Plan and section of the tranformed stair.

VS 4020: Technologies of Description 1

VS 4020: Technologies of Description 1 Left- Axonematric drawing of precedent stair. Right- Axonematric drawing of transformed stair. Next page- Rendering of the volumumetric figure by a section of the tranfored stair.

VS 4020: Technologies of Description 1

VS 4021: Technologies of Description 2 The seminar will develop and investigate the notion of proficient geometric variations, using time and motion capture, in digital design at a high level of complexity, so that questions towards geometrical articulation, accuracy and performance can begin to be understood in a contemporary setting. Animation tools inherently introduce time, not only as a simulated ‘physics engine’ with its attributes, but also as a generator of geometry; these can easily trace and capture individual pieces of time tracing successive phases of motion.

During this digital era, there is an obsession of reproducing a highly defined, hyper real Computer Generated Images with the use of new digital tools, i.e. smooth surfaces, seamless transitions of tectonics; technology has allowed for a finer grain resolution and these tools give designers a much higher range of control between representing reality and digital world. Conversely, in popular video game culture, design and CG Animated cinema, the emergence of voxels and pixels has introduced another level of geometrical characterizations, based on a low-tech look by using a high-tech tool.

Different degrees of Form Articulation give a wide range of architectural resolution. Similarly how ‘Chronophotography’ records a set of photos of a moving object, we will develop, using digital animation tools, an architectural mass, tracing motion articulated in multiple degrees, ranging from smooth, to tessellated, to voxelated surfaces; those surfaces also have different thicknesses and architectural performance. Through this assumption we can categorize highly geometrical articulation and visual effects of low resolution. Instructors: Erick Carcomo, Matthew Au.

VS 4021: Technologies of Description 2 Left- Collage created using still frames, tracking movement of the human body from three different points. Right Top- Creating a line using three cameras, that show the movement of points being tracked. Going from physical to digital space. Right Bottom- An array of the lines created with trasformation. Next page- Renders of objects created in maya using the lines by anamating particales and creating a mass. We further differencated the objects into systems of structure, massing and surface.

VS 4021: Technologies of Description 2

Left- 3D printed studies of the massing models. The model looks at different levels of pixelizaion and the interation of those differences with each other. Right - Tranforming the massing into another pixaled mass where all the voxcels are formed from vertex. Anamating that object while rendering it to blur or superflatten the pixels. Next page- 3D printed model, with projected color and line patterns.

VS 4021: Technologies of Description 2

www.FermentationLab.org “Re-Name” With a heavy focus on science, techonology and innovation, the culinary school is dedicated to reinventing the oldest drink in the world(Beer).

“About Us” Fermentation Lab is the center for exploration and innovation of food & drink. This one of a kind culinary school aims at reinventing the way people look at and consume beer. With a strong focus on innovation, the institute is in the forefront of culinary research. The institute offers a wide verity of courses that study the impact of beer on society. Located in downtown Los Angeles the school is engulfed by the urban fabric and aims to help the society develop and improve production and comsumpution of beer from the ground up.

“The Place” The institute has a wide verity of ground breaking labs, like the Brew Chamber, Fermintation Room, Drink Tanks that help faculty and students innovate and push boundries in the field. The institute also plays host to a bar specializing in experimental cusine managed by the students and has year after year featured in LA Times top bar rankings.

“Programs Offered” / “Curriculum” Fermentation Lab offeres various full time and part time courses. These courses are: Culinary Arts Program. Urban Farming Research. Emerging Culinery Techonology. Brewing Arts. Culinary Science. History of Drinking

“Re-Group” Bottom Of House- (Resturant, Market) Production- (Test Kitchen, Drink Tanks, Brew Chambers) Exploration- (Fermentation Lab, Library Education- (Seminar rooms, Drink tank, Adminstration, Computer Labs) Outdoor- (Auditorium, Test Garden) Storage

2B STUDIO: FRAMERWORKS: PROGRAM Studio will work as a research laboratory for exploring programming as a means of generating organizational models and conceptual narratives for architecture. This demands on an understanding of how what we do see and determine as architects affects what we don’t see or don’t determine as architects and vice versa. Simply put, the formal choices an architect makes impact the range of behavioral outcomes a building affords. Primary to this study is an investigation into the relationship between architectural form and cultural action. Cultural action should be understood as the flows of people and the distribution of functional uses. By focusing on methods of organization, students will engage in processes that can affect traditional systems of order and transform them into

renewed models of spatial interaction. In exploring the role of programming in architecture, students will propose an organization for a culinary institute in downtown Los Angeles and its corresponding material form. The institute is focused on culinary production where students are taught the skills of the discipline in kitchens, labs and other specific spaces. The parallels between architecture and cuisine are both physical and conceptual. On a material level, both disciplines depend on the combination of physical substance into results that enable a sensory experience. The ingredients in both disciplines are tangible and have empirical properties; they can be weighed, measured, dissected. The experience of eating or inhabiting space,

on the other hand, is subjective, and in the best instances transcends description. In addition to their associated materials and methods, cuisine, like architecture, is explicitly related to ecology, economy, politics and culture. Through research on culinary practices new and old, high and low, gourmet and folk, students will reflect on and develop a personal position on the “Archiculinary” that will provide a starting point for the development of the culinary institute program. On the left, is the theme created by the student that will be the focus of the istitute. The fermenataion lab is located in Downtown Los Angeles and is a highly specialized culinary school. Instructors: Emily White, Mira Henry, Mary-Ann Ray, John Southern.

2B STUDIO: Frameworks: Program

scale: 1’=1/32”

L Shape Boolien Rotate

scale: 1’=1/32”

ALL Align Rotate

2B STUDIO: Frameworks: Program

scale: 1’=1/32”

Donut Rotate Bend

2B STUDIO: Frameworks: Program

78 Previous Page-Formal exploration inside a 90ft*90ft*90ft cube. Using bars, frames, todums and L shapes. Forms generated using moves like rotate, bend, bollen, etc. Left- Brief to program. Regrouping and rething program adjacencies. Right- Program + form, understanding the redistrutation in relationship to the form.

Market (15,000 CFT) Library (15,000 CFT) Front-of-House

Resturant (36,000 CFT) Exhibition space (6000 CFT) Circulation (7,000 CFT) Test Kitchens (30,000 CFT)(3)

Test Kitchens (96,000 CFT)

Production

Labs and Fabrication (18,000 CFT) Seminar rooms (15,000 CFT)

Exploration Back-of-House Storage

Auditorium (40,000 CFT) Library (15,000 CFT) Student lounge & lockers (12,000 CFT) Administration (10,000 CFT) Lobby (4500 CFT)

Media

Agrarian

Television production studio (12,000 CFT) Exhibition space (6000 CFT) Computer lab (4000 CFT) Food storage (10,000 CFT) Restrooms (8000 CFT) Building facilities storage (3000 CFT) Circulation (30,000 CFT) Total buiding interior (335,500 CFT)

Given Program

Brew Chambers (36,000 CFT) Fermentation Lab (36,000 CFT) Mixology (10,000 CFT) Foaming Lab (10,000 CFT)

Food storage (40,000 CFT) (Hops Barn, Kegg-room, Cold/Dry storage Television production studio (12,000 CFT) Circulation (7,000 CFT)

Auditorium (Outdoor) (20,000 CFT) Test Garden (Outdoor) (20,000 CFT)

Market (15,000 CFT) Dining hall / Cafe (36,000 CFT)

Drink Tanks (10,000 CFT)

Education

Lobby (4500 CFT) Science Lab (10,000 CFT) Circulation (7,000 CFT) Seminar rooms (15,000 CFT) Drink Tank (12,000 CFT) Administration (10,000 CFT) Computer lab (4000 CFT) Restrooms (8000 CFT) Building facilities storage (3000 CFT) Circulation (7,000 CFT) Total buiding interior (345,500 CFT)

Program Distribution by Type and Volume

2B STUDIO: Frameworks: Program

Administration

Computer lab

Seminar rooms

Building storage

Exploration

Lobby

Science Lab

Auditorium (Outdoor) Production

Market

Storage

Exhibition space

Media

Circulation

Program Distribution by Micromorphology

Resturant+Library

Diagrammatic axonometric

2B STUDIO: Frameworks: Program

Left- Circulation. The circulation wraps around the two cubes. It acts as a metaphorical insulation and refers back to the beer making process. Right - Plans- from the bottom of the page. Level 1- Ground level showing entry. (Consumption) Level 2- Test kitchens and brew chambers. (Producation core) Level 3- Indoor / Outdoor space. Used for agro sample farming. And for students to hang out. Level 4 (not shown)- Reaserch.

2B STUDIO: Frameworks: Program

TEST KITCHENS BREW CHAMBER STORAGE DRINK TANK

MARKET

BAR

2B STUDIO: Frameworks: Program

Previous Left- Sections. Previous Right- Render from street corner. Left - Section showing bar and test kitchen. Right- Interior render. Next- Unfolded Fasade Elevation.

2B STUDIO: Frameworks: Program

MAIN ST. ELEVATION

2B STUDIO: Frameworks: Program

PARKING ELEVATION

2B STUDIO: Frameworks: Program

ALLEY ELEVATION

OLYMPIC BLVD. ELEVATION

1A STUDIO: Material & Behavioral Strategies for the Physical World This course serves as an introduction to the fundamental means and manners of working spatially and abstractly. The territory of architecture is as broad as the world around us, it can be thought of at a global environmental scale, or at the size of cities and planning, transportation and infrastructure, buildings and structures, and even down to the smallest objects that surround us. Whatever the size of architectural intervention, there are fundamental aspects of space, form and experience that traverse all scales. A robust ability to manipulate form towards desired intent will be the focus of this studio. A series of exercises in various media (both digital and physical) will serve to introduce

students to the relationships between form, space, geometry, light, and effect. The exercises are organized as a catalog of formal and spatial geometric investigations that will be built upon each previous project during the semester. While the exercises are succinct, the entire semesterâ&#x20AC;&#x2122;s body of work will be thought of as one continuous project. The studio will require that you learn to communicate ideas both verbally and graphically. Critique of student work will focus on the intent of the investigation vis-Ă -vis the quality, breadth, and precision of the specific projects modes of representation (models, drawings, verbal & written description, etc.)

The studio is divided by two projects. Project 1: Tranformation and discription of Archimedean solid. It comprises of three tranformation of the solid , while exploring different modeling methods both physical and digital and exploring concepts of composition, space and apatures. Project 2: A small space Design project for a space with lounge, sleep, work and activity spaces. The project starts with an analysis of movement of ones own body, with forms the base deminsion for the different spaces. Instructors: Betty Kassis, Jackilin Bloom, Bryony Roberts, Emily White.

1A STUDIO: Material & Behavioural Stratergies for the Physical World

1A STUDIO: Material & Behavioural Stratergies for the Physical World Left- Elevations of truncated icosahedron. Right- Tranformation 1, an exploration of extrusions, from single face to multiple faces.

1A STUDIO: Material & Behavioural Stratergies for the Physical World Left- Elevations of tranformed truncated icosahedron. Right- Diagramatic alaysis of tranfored surfaces.

1A STUDIO: Material & Behavioural Stratergies for the Physical World

B C

1A STUDIO: Material & Behavioural Stratergies for the Physical World

Left top- Axonometric drawing of tranformation two of truncated icosahedron. A study of apatures. Rest- Plan/section cuts through the tranformation showing the apatures.

1A STUDIO: Material & Behavioural Stratergies for the Physical World Left- Rendering of the second tranformation. Right- Projected axonometric drawing of inner apature figure (system).

1A STUDIO: Material & Behavioural Stratergies for the Physical World

Tranformation three- Softning of the form. Left- Elevation of the tranfored figure. Right top- Axonometric drawing. Right Botton- Render.

100

1A STUDIO: Material & Behavioural Stratergies for the Physical World

101

102

1A STUDIO: Material & Behavioural Stratergies for the Physical World

A SMALL SPACE

103

1A STUDIO: Material & Behavioural Stratergies for the Physical World

104

Left top- Program division diagram. Right and Left bottom- Circulation through diagram.

Lounging

Private

Right top- Tranformation of the form.

Public Laying Down Work Space

Activity

1A STUDIO: Material & Behavioural Stratergies for the Physical World

105

106

1A STUDIO: Material & Behavioural Stratergies for the Physical World

1A STUDIO: Material & Behavioural Stratergies for the Physical World Left- Elevation render of the final form. Right Bottom- Circulation Diagrams in plan and section cuts. Right- Sliced sections.

Circluation Plan

107

108

Cross Section A

C ro ss S e c tio n B

1A STUDIO: Material & Behavioural Stratergies for the Physical World

Long Section C

Long Section D

1A STUDIO: Material & Behavioural Stratergies for the Physical World B

109

D LOUNGIN G LYING DOWN

B . P la n L e v e l a t 1 0 ft.

A ENT RY

D DESK

ACTIVITY

ENT RY

A . P la n L e v e l a t 5 ft.

110

1A STUDIO: Material & Behavioural Stratergies for the Physical World

111

112

1A STUDIO: Material & Behavioural Stratergies for the Physical World