Portfolio - 2014 - 2017 Long Form 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 TENT

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

129

3A: Field Operations Hudson Yards, New York

3B: Articulation And Tectonics SCI-Arc 4.0, Los Angeles

109

4A: Positions AirBnb, Plam Springs

143

4B: Vertical Studio - What is an Apparatus? Future Energy Farm

Cultural Studies

167

History Of Architecture 1 73 History Of Architecture 2 75 Crowds And Power 80

Visual Studies

Technologies Of Description 1 87 Technologies Of Description 2 95

Applied Studies

Environmental System 2 123 Tectonics + Materiality 113 Design Development 103

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 articu-

late design proposals, that while fulfilling the different performative criteria of the contemporary Highrise, they contest its presumed identity. Students 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. In collebration with: Alexis Rosenthal Instructors: Alexis Rochas, David Freeland, Margret Griffin, Maxi Spina.

Massing Studies

3A STUDIO: Field Operations

One Floor Facade Study

One module

Exploded module

Part To Whole

Typical Plan - Above Canapy

One inter-column module

Interior axonometric

Exterior axonometric

Two facades part axonometric

3A STUDIO: Field Operations

3A STUDIO: Field Operations A

17 F

C (L 49)

B (L 35)

A (L 14)

Canopy (L 6)

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

GY M

CAREER CENTER MULTIPURPOSE ROOM

EXPLORE

GAMES ROOM

STORAG E

TEEN CENTER

LEARNING CENTER WOOD SHO P ARTS CENTERT

ARTS

ST AFF APT

CLASSROOM

TEEN CENTER LIBERA RY

ENTR Y

WEIGHTS ROOM CAREER CENTER

LEARN

DANCE STUDI O

GAMES ROOM

DANCE ROOM MULTI-PURPOSE ROOM LOCKER ROOM BATHROOM OFFICE S KITCHE N STORAG E ENTRANCE CLASSROOM S

WEIGHTS ROOM

LIBERA RY

PERFORMANCE

CLASSROOM S

GY M

WOOD SHO P

ENTER

ST AFF AP TARTMENT

ARTS CENTER KITCHE N

OFFICE

CLASSROOM BATHROOM

COURTY AR D

LOCKER ROOM

SWIMMING POOL

COURTY ARD GATHERIN G S PACE

FIELD S

FIELDS

CLASSROOM

FIELD S SWIMMING POOL COUNCLER AND TEACHERS GARDE

COUNCLER AND TEACHERS GARDE

CLASSROOM

CLASSROOM PARKING SP ACE S

PARKING SP ACES

WORKSHO P

GATHE R ING S PAC E

GATHER ING S PAC E

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

PARKING

GARDEN

GYM

BATHROOM

CLASSROOM

PARKING

CLASSROOM

DANCE STUDI O

CAREER CENTER

EXCERSICE

CAREER CENTER LOCKER ROOM

PERFORMANCE

STORAG E

CLASSROOM MULTIPURPOSE ROOM OFFICE

COURTY ARD WORKSHO P

WOOD SHO P

COURTY ARDSTORAG E

ST AFF APT

WORKSHOP

ARTS CENTER

ARTS TEEN CENTER CLASSROOM

LEARN

ENT RY

KITCHEN

GAMES ROOM

CLASSROOM

GATHERING SP AC E

GARDEN

GARDEN LIBERAR Y

ENTER

Diagramatic arrangement of program.

= +

2A STUDIO: Frameworks, Sites and Contexts

PEN TAGES 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

FIELD S

2A STUDIO: Frameworks, Sites and Contexts

PUSHING IN

EXTRUSTION

PUSHING UP

2A STUDIO: Frameworks, Sites and Contexts C

TEEN CENTER

ARTS

PERFORMANCE

EXCERSICE

PLAN @ 8 FT C

UNROLL SECTION

2A STUDIO: Frameworks, Sites and Contexts C

27 A

TEEN CENTER

ARTS

LEARN

PERFORMANCE

EXPLORE

EXCERSICE

PLAN @ 20 FT C

2A STUDIO: Frameworks, Sites and Contexts

WEST ELE VATION

SOUTH ELE VATION

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.

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

1B STUDIO: Conceptual Strategies for the Physical World

41 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

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

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 Botton- Render.

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

A SMALL SPACE 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

1A STUDIO: Material & Behavioural Stratergies for the Physical World Left top- Program division diagram. Right and Left bottom- Circulation through diagram. Lounging

Right top- Tranformation of the form.

Private

Public Laying Down Work Space

Activity

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

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

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.

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

VS 4011: Fabrications And Delinetions

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.

Instructors: Christoph Korner

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 concomitant cultural changes in theory and discourse. The essay is an

emaligamtion of important ideas learn in the course.

Instructors: Todd Gannon

GS 7052: Crowds And Power ‘The crowd’ describes an increasingly central question for architecture and urbanism. Variously figured as the population, the masses, or the multitude, this almost metaphysical category of social life has been “an inexhaustible source of inspiration and guilt,” as Rem Koolhaas put it. Indeed, the crowd has been a persistent preoccupation for a

host of intellectual fields such as literature, sociology, human geography, public health, and political philosophy. Taking Elias Canetti’s Crowds and Power as a starting point, this course will provide a critical introduction to the notion of the crowd, working towards an interdisciplinary literacy in its many theoretical, scientific and aesthetic iterations. Special emphasis will

be placed on the typologies of the modern crowd as theorised in psychology and media theory, as well as the urban crowd, ‘biopower’ and its contemporary expressions in computational analysis and complexity.

Instructors: Tim Ivison

CS 2012: History Of Architecture 1

The Use and Abuse of Historic Precedent

ichard 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,

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

CS 2012: History Of Architecture 1

this is one of the main differences, the arrangement 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.

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

“most things in nature were symmetric and hence that was the root of their beauty, symmetry was esthetically pleasing.” Hence, Neutra had started to 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

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

CS 2012: History Of Architecture 1

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. 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 2012: History Of Architecture 2

Themes of Tradition and Progress

he 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 gothic. 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

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

“...to move away from the idea of genius and on to the idea that systems can be learnt.” 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 ViolletleDuc’s proposal for a Project of a 3000 seat Theater shows of the iron columns on the inside, which was different from any other work being produced at the time. LeDuc 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 program is to fulfill and simply the conditions imposed by need. To be true according to the materials according to their qualities and properties.” (LeDuc, 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, 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 columns

CS 2012: History Of Architecture 2

“...At first glance the facade reads, as an ABAB system but at closer look one realizes the small subtle changes” 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

Mackintosh School Of Art

greeks. They believed in the idea of one master architect and to intuit the answer through genius. 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 the facade reads, as an ABAB system but at closer look one realizes 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.

During the Enlightenment, all through England architects started looking back at the renaissance for inspiration and precedents like Palladio’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 1000’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

CS 2012: History Of Architecture 2

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. The ideas about Leduc 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 LeDucâ&#x20AC;&#x2122;s time. In projects like Friedrichstrasse Skyscraper (glass skyscraper), he studies the material and uses

iedrichswerder Church. The vaulting system

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

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 LeDuc 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. 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.

GS 7052: Crowds and Power

The branded Landscape, the relationship between architectural design, urban development and marketing.

verything that we come across now is designed. Our lives are high scripted and choreographed, and most of the time we are unaware of it. Whether it be the shoes one wears or the unknowing tree which is perfectly framed from one’s window. We are all merely uses of this vast designed and engineered landscape. In order to feel attractive to the human psyche, things have to go beyond being designed. They need to stand out, have

an identity. That is what this essay talks about. The relationship of the architectural object, space and the brand with its implication on human society. Looking at how this identity is added to a product, how architecture frames reflects the identity of the brand it is trying to showcase. How brands might affect people’s lives and those making decisions about such things. In the contemporary society, the brand is as important as the product. The architect’s

Prada Epicenter, New York, OMA, Website . (http://oma.eu/projects/pradaepicenternewyork)

GS 7052: Crowds and Power

role has become to frame and showcase the product using architectural means. This is done to help create an identity for the product. The renowned Dutch architect, Rem Koolhaas often talks about marking being the last real cultural practice that our society has. He hints towards the changes that the society has gone through due to the advent of marketing, since the time of Edward Bernays. The advent of public relations in the 20’s has lead to the type of marking we know today, which is brand centric. The idea of a product from a particular brand reflects on ‘whom’ the brand was created for. Commercials, product endorsement by celebrities and other forms of marketing became important. And these ideas now are being applied to the creation of spaces in architecture. The building, the store, the mall now need to have there own brand, there own identity, in the surrounding urban condition, it needs to stand out. Hence the role of the architect now is not only to create a comfortable urban experience but also about framing products and creating expe-

“The building, the store, the mall now need to have there own brand, there own identity, in the surrounding urban condition, it needs to stand out.” the store acts like a boutique, a gallery, but mainly a public space, where people see the products where at the same time, you are on display and others can see you walking up the stair and being on the same level as the exhibit. This relationship of seeing and being seen makes one conscious about how they act, what they wear, and what they do. These architectural products that are highly designed and occustrated. Koolhaas has spoken about how good architecture in the contemporary era has changed from being about something about value to rather being about popularity. Architecture turns more into a commodity. In Harvard’s guide to shopping, the center point is that shopping is the defining activity of public

Vancouver house, Visual House, Image 4, CGi ( http://www.visualhouse.co/vancouverhouse)

riences for the user in relation is the brand. The store needs to go further than just being a store, like in OMA’s Prada Epicenter in New York,

life. We have turned into such a consumerist society that everything even lifestyle are bought and sold. And hence branding or image

created of the building “the product” becomes important. Hence Brand identity is ever pres-

GS 7052: Crowds and Power

story of how that someone could be you, the viewer, and later might be the consumer. Other images, like the one above, showcasing

Vancouver house, Visual House, Image 2, CGi ( http://www.visualhouse.co/vancouverhouse)

ent in the design of such spaces and objects and products. This phenomena can be seen, in practices of firms like Visual House, that focus of creating such brand stories for their clients projects. There about us pages reads “... a creative design house focused on creating compelling brand stories for architecture, design, and the built environment.” (Visual House, website) The emphasis of compelling branded stories links back to core ideas of marketing, and such creation produces desires for that product for the viewer. We see a change from a needs based society to a desire based society has reflected in the architecture of these multi-million dollar projects as well. In 2014, the firm was commissioned to create images for a project in Vancouver. The project was let by the architecture firm BIG. They creates a set of sublime images, that reflected what the project could be. The kitchen overlooking city, with the placement of the glass of wine and a magazine, as if someone was just here. Creation of this

a dinner arrangement, while overlooking the harbor and a grand piano on the inside. All of these things scream luxury and the pouch lifestyle one might have if they choose, to buy into it. There is an interesting disjunction between the way these new products are being marketed. On the one hand, there is a sense of ultra luxury and alienation to the regular masses. There is an idea that it is for an elite class but at the same time they need to communicate to a global audience of investors. Hence creating these scenes with iconic images of luxury that transcending cultures is important. It needs to balance being, a perfect dream, a desire, something hard to reach, something to work for, for the general masses while also create a sense of safe haven, and sound investment for the rest. The way it is marketed and the way architects talk about the project, also showcases this divide created by the idea of a brand. This brand identity is often attached after the

GS 7052: Crowds and Power

project is done, during the time of marketing and sales, for obvious reason for the client, as a constructed image. The way BIG talks about it, “Vancouver House will be part of a new phase in city’s very short but extremely successful history of urban policy. It will announce the entry point into downtown Vancouver from Granville Bridge, forming a gateway to the city. The tower and base are a new interpretation of the local typology deemed ‘Vancouverism’ of a new urbanist podium coupled with a slender tower, which seeks to preserve view cones through the city while activating the pedestrian street. The residential tower, in its height and proximity to the creek, is uniquely situated with views to both the water and the mountains, granting visual access to the breadth of Vancouver’s natural surroundings.” (Project descript, Vancouver House, BIG, website) The description shows the afterthought of this its brand identity, even though linked closely with the project it was not what the architect talks about at least, but might be what they were thinking about. These multi-billion dollar development projects also change the look of neighbourhoods and the people living within them. It is

Candy & Candy, Website. ( http://www.candyandcandy.com/home )

redundant to say that these projects change the look of neighbourhoods because that’s what they are meant to do, get rid of the old and bring in the new. But more often than not this ‘new’ is not the product of the area of locality that it is coming into. It is a designed object that is set to change the area and make it look more or less desirable to certain sectors of society that the developer intends to target. We see this happening all over the globe, in places like Art’s District Los Angeles, Soho in Manhattan, and Thames Gates in London. The new wealth and investments coming in create a rift in the socio-economic strata. The brands that are created for those projects, often time a void is created with them. There is a disjunction between the people for whom the place is being build for and the people that the place belongs to, or belonged to. There is a rift created that alienates long term residencies from their own neighbourhoods, when such projects come in. Like in the Thames Gateway project in london, a multimillion dollar investment that is set to change the face of the city. This void is quite evident. This investment causes a change in the within geopolitical situation of the area. Causes mass migration into the

place and also alienation of the people already there, for whom now, the place becomes too expensive. It acts like a catalyst for movement and displacement of people. This happens at a much larger scale as well, with the Cuban embargo lifted, Havana is set to change in a similar fashion, with influx of american companies and tourist, that place loses its old world charm and changes. Causing a massive shift in lifestyle. This kind of development investment schemes, can also be dangerous for the society. By alienating the people that stay and marketing to the wider global audience, they sometimes become target for investment from shell companies. These properties then become just plots for investments and no one living within them, which further affects the economic sphere of the place as a whole. Hence, creation of these images of luxury and wealth in showcasing the project or what might come in that area often is disconnected from the reality of the place and causes

GS 7052: Crowds and Power

an identity crises. Brands and images are often used in such cases get foreign investors, or others that might not be local to the area, as they see only the manufactured image rather than the actual reality of the place at that time. But who is in charge of this kind of change. The issue of control comes up. The people producing the products and brands are inchange. The new mass of people are mere consumers, unknowing of the shift, as the shift often times is well hidden. Little do they know the places, that are designed are high orchestrated, people in some sense are conforming. Following invisible rules of social strata, that comes with buying into such lifestyles. It builds on the consumerist society. The masses are marketed such images as individuals, which comes pretty close to what real marketing does. Instances like Candy and Candy, creating personal jets and lifestyle choices that open to everyone but conform you into a something different. Hence, even personal identity like a branded

Candy & Candy, Website. ( http://www.candyandcandy.com/projects )

GS 7052: Crowds and Power

product that one can buy. Candy & Candy specializes in creating ultra luxury products. From designs of mediterranean villas to Penthouses one can find the right fit, the right type of luxury that they can relate to there. It goes beyond just catering to necessity but being ultra lavish and showing off everything one owns. This intern shapes one’s position in society and images created for such things act as a powerful tool for that. The role of the architects in such cases becomes just to create this object. The brand is an added value secondary to this created objected. The architects are not often in charge of this brand, it’s others, that have employed them that are really in control. But at a larger scale, architecture can change the look of whole cities, like in many Middle Eastern Cities, such as Dubai. The influx of investment, with a variety of projects by star architects has changed the look of the city. In such instances it has helped, unlike the displacement of people that was written about earlier, in such cases, a new city was created with the sole purpose of getting

“Following invisible rules of social strata, that comes with buying into such lifestyles.” new migrants in. In the case of Dubai and other such metropolises it is essential to create such brands and to stick with them, they help and are not always bad for the society, if used in a meaningful fashion. In conclusion, in the contemporary society is full of objects created by architects, but for the regular public these objects are not often the center of attention. However, they are given added value and are brought into attention with the use of marketing and imagine creation techniques like branding. Nowadays, the architectural built space is only as important as the brand value that comes with it. It is a product that makes other products. It can be used as

a framing device for other products or to create and give a cultural identity. The product and the brand have a great impact on people’s lives, they have an ability to cause people to move and relocate. While they can also change the way people live their lives completely, whether it be consciously or subconsciously. It is the identity that the product forces on you that in many cases becomes more of a psychological factor than its real physical impact.

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 repro-

ducing 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. In Colllebration With: Yi-Chai Wu, Audry Mariel 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

100

VS 4021: Technologies of Description 2

101

AS 3040: Design Development The seminar joint areas of investigation are Design Development –understood as architecture’s material anatomy and its effects- and Performance –largely consisting of technical, technological and cultural environmental dimensions. The class focuses predominantly on the building envelope –particularly on its forms of articulation and means of producing apertures. The articulation of architecture’s outermost surface will be understood through the logics of panelization, material and pattern. Apertures will be understood through the logics of openings or fenestration, glazing, and enclosure. These combined constitute

the economies and aesthetics of how architecture produces interior/exterior relations and affective qualities; embodies a crucial environmental role; etc. Working in groups throughout the entire semester, students will use precedents as a vehicle to document the anatomy and tectonics of each followed by a speculative exercise on how to modify one element or sub-system towardsshifting its effects or producing new ones altogether. In order to effectively modify the precedent, students will be required to have a thorough understanding of the economies and principles underlying it, so as to produce both technical knowl-

edge and critical awareness of embedded cultural habits. The class will thus seek out an alternative understanding of the Tectonic –one that not only mirrors the realm of construction –materials, methods, sequences, tolerances, etc.- but also embraces architectural processes of expression, encompassing issues of geometry and technique; posture and character; etc. Methodologically, the class frames its object of study through the possibilities of a sectional approach. The primary mode of design and representationis the cut-away axonometric drawing. Instructors: Scott , Pavel

104

AS 3040: Design Development 1

3rd Street

Ground Plan A ( at 4’) 1/16” = 1’

STAIR 1 WIDTH 4’6” CAPACITY .3

STAIR 2 WIDTH 4’6” CAPACITY .3

STAIR 3 WIDTH 4’6” CAPACITY .3

FLOOR 5 FLOOR 4

FLOOR 3

FLOOR 2

FLOOR 1

TO PUBLIC WAY

FLOOR OCCUPANCY GROUPS PROGRAM OCCUPIABLE FLOOR AREA (SQ.FT) OCCUPIABLE LOAD (SQ.FT) FLOOR 5 B STUDIO, GALLERY 10,953 110 FLOOR 4 B STUDIO, CLASSROOM 20,776 207 FLOOR 3 B STUDIO, CLASSROOM 22,665 226 FLOOR 2 A,B STUDIO, AUDATORIUM 10,289 102 FLOOR 1 A,B OFFICE, GALLERY 36,940 300

TO PUBLIC WAY

AS 3040: Design Development

105

Level 2 Plan

Level 1 Plan

25’

18’

30’

STUDIO 6.1

12’

G STUDIO 6.2

F 10.5’

16’

STUDIO 6.3

GALLERY 5.1

10.5’

6’

D 12’

14’

LOBBY 2.1

AUDITORIUM 1.1

C 6’

19’

14’

PARKING 0.1

PARKING 0.2

12’

106

AS 3040: Design Development

107

Cores

W18*72

Column S18*72

24*24 Concerete Walls Parking Strcuture

Primary Gravitational Strcuture

Concerete Slab

Tube 18”*6” Tube 18”*18”

Combined Primary and Secondary structure

108

A 17 A 25

AS 3040: Design Development

Aluminum Louvers Primary Gravity Structure

Waterproof Membrane

A 25

Secondary Lateral Support Strutcure

W 18x32 Primary Interior Beam W 14x28 Secondary Interior Beam A 5.4

Rectangular HVAC Duct Reinforcement Bar Aluminum Stud Finished Concrete Floor

AS 3040: Design Development

109

Typical Facade Panel Assembly (Interior View)

Glazing

Standoffs

W 18x32 Secondary

W 18x32 Primary Interior Beam

Photovoltaic Panel Typical Facade Panel Assembly (Exterior View) P.V. Panel Frame

GFRC Panel

GFRC Panel Frame Waterproof Membrane

110

AS 3040: Design Development

Aluminum Louver (exterior) Glazing Mullion Glazing

Primary Beam

Concrete Slab

Reinforcment Bar Metal Decking Down Lights HVAC Duct

HVAC Vent

Glazing Waterproofing PV Panel

Panel Brace Frame

Facade Structure Window Box Frame GFRC Panel

Panel Frame

Exterior Beam Glazing

Louver System Insulation Primary Beam Metal Decking

GFRC Panel Frame

AS 3040: Design Development

111

Panel Frame Clips Motor Connector Screws Rotation Rod

Aluminum Louver

Louver Frame

Louver Facade System

AS 3033: Tectonics + Materiality The seminar joint areas of investigation are Tectonics –understood as architecture’s material anatomy and its effects- and Performance –largely consisting of technical, technological and cultural environmental dimensions. The class focuses predominantly on the building envelope –particularly on its forms of articulation and means of producing apertures. The articulation of architecture’s outermost surface will be understood through the logics of panelization, material and pattern. Apertures will be understood through the logics of openings or fenestration, glazing, and enclosure. These combined constitute the economies and aesthetics of how architecture produces

interior/exterior relations and affective qualities; embodies a crucial environmental role; etc. Working in groups throughout the entire semester, students will use precedents as a vehicle to document the anatomy and tectonics of each followed by a speculative exercise on how to modify one element or sub-system towardsshifting its effects or producing new ones altogether. In order to effectively modify the precedent, students will be required to have a thorough understanding of the economies and principles underlying it, so as to produce both technical knowledge and critical awareness of embedded cultural habits. The class will thus seek out an alterna-

tive understanding of the Tectonic –one that not only mirrors the realm of construction –materials, methods, sequences, tolerances, etc.- but also embraces architectural processes of expression, encompassing issues of geometry and technique; posture and character; etc. Methodologically, the class frames its object of study through the possibilities of a sectional approach. The primary mode of design and representationis the cut-away axonometric drawing. In collebration with: Alexis Rosenthal, Andeina Pepe, Sara Sagura Instructors: Maxi Spina, Ramiro Diaz-Granados

114

AS 3033: Tectonics + Materiality

14. Ceiling Beam 12”x24” (Structural Steel) Prefabricated assembled with classic cross joinery Pierced/hallowed at regular intervla for wight gain

14. Ceiling Beam 6”x12” (Structural Steel) Prefabricated assembled with classic cross joinery

15. Corrugated galvanised Iron Panel- CGI (hot dip galvanised mild steel, cold rolled to produce linear corrugated pattern).

6. Spray Polyurethane insulation (SPF), R value = 6.9/in spray-applied plastic that can form a continuous insulation and air sealing barrier on walls, roofs, around corners, and on all contoured surfaces Two-component closed-cell foam Two-component closed-cell foam

False drop ceilling, suspended surface with applied plaster coating, painted white. Weather Barrier: Self-adhesive ice and water shield layer on 3/4” plywood (4’x8’) 1. Steel Beams Structural Steel) Prefabricated assembled factory engineered custom “joint box” GLAZING: Argon filled triple low-iron glazing on steel support Toggle fixings at intermediate/internal to IGU. Black silicon filled joints between IGU’s on vertical glazing and inward sloping surfaces, pressure caps at outward sloping glass Glass: 6+8, 6, 6mm glass, 12mm air space between layers, ca 52mm/2” overall depth. Laminated glazing at all surfaces with 1.52mm PVB foil, Low E coating.

5. Insulation steel sup. steel studs

11.Stainless Steel 316 Grade 2mm thick, “Angelhair” ﬁnish back-cut and folded (no 1. Steel Beams Structural Steel) Prefabricated assembled factory engineered custom “joint box”

By: A Zahner Co (Kansas city,MO) 7. Aluminum Mullions Prefabricated metal extrusions mullions paused on site.

11.Stainless Steel 316 Grade 2mm thick, “Angelhair” ﬁnish back-cut and folded (no By: A Zahner Co (Kansas city,MO)

10’

5’ 10’

10’

5’ 1’ 1’

AS 3033: Tectonics + Materiality

115

Detail 1 15. Corrugated galvanised Iron Panel- CGI (hot dip galvanised mild steel, cold rolled to produce linear corrugated pattern).

11.Stainless Steel 316 Grade 2mm thick, “Angelhair” ﬁnish back-cut and folded (no By: A Zahner Co (Kansas city,MO)

False drop ceilling, suspended surface with applied plaster coating, painted white.

Stainless Steel cladded steel bar support (also structural support).

Weather Barrier: Self-adhesive ice and water shield layer on 3/4” plywood (4’x8’)

Super-Structure 1. Steel Beams 2. Structural Studs 3. Concrete Wall 4. Weather Barrier Self-adhesive ice and water shield layer on ¾” plywood substrate 5. Insulation steel support 6. Polyurethane spray insulation foam, R value = 6.9/in 7. Aluminum Mullions 8. Triple low-iron glazing on steel support 9. 6mm Glass 10. Inverted roof on metal membrane deck ith ﬁ er ce ent 11. Stainless Steel Portals 12. Stainless Steel 316 Grade 2mm thick. “Angel Hair Finish” 13. Interior FInish 14. Ceiling Beam 12”x24” 15. Corrugated Aluminum Panel 16. Hand Rail 17. Concrete Floor Plates

Tinted in the mass single sheet glass panels; brown, taupe color 10’

1. Steel Beams Structural Steel) Prefabricated assembled factory engineered custom “joint box” GLAZING: Argon filled triple low-iron glazing on steel support Toggle fixings at inter edi ate/internal to IGU. Black silicon filled joints between IGU’s on vertical glazing and inward sloping surfaces, pressure caps at outward sloping glass Glass: 6+8, 6, 6mm glass, 12mm air space between layers, ca 52mm/2” overall depth. Laminated glazing at all surfaces with 1.52mm PVB foil, Low E coating.

10’

5’

1’ 1’

Stainless Steel cladded steel bar support (also structural support).

5’

10’

11.Stainless Steel 316 Grade 2mm thick, “Angelhair” ﬁnish back-cut and folded (no By: A Zahner Co (Kansas city,MO)

10’ 5’ 1’ 10’

5’

1’ 10’

GLAZING: Argon filled triple low-iron glazing on steel support Toggle fixings at inter edi ate/internal to IGU. Black silicon filled joints between IGU’s on vertical glazing and inward sloping surfaces, pressure caps at outward sloping glass Glass: 6+8, 6, 6mm glass, 12mm air space between layers, ca 52mm/2” overall depth. Laminated glazing at all surfaces with 1.52mm PVB foil, Low E coating.

116

AS 3033: Tectonics + Materiality

tainless teel cladded steel ar s pport also str ct ral s pport

tr ct ral t ds tainless teel rade 2mm thick, ngelhair” ﬁnish ack c t

teel Bea s tr ct ral teel ” thich Pre a ricated asse led actor engineered c sto oint ox”

oist re resistant eatherprooﬁng

Weather Barrier ice and water shield la er on ” pl ood s strate rgon filled triple low-iron gla ing on steel s pport Toggle fixings at inter -ediate in ternal to U. Black silicon filled oints et een s on vertical glazing and inward sloping s r aces, press re caps at o tward sloping glass lass , 6, glass, 12mm air space et een la ers, ca ” overall depth Laminated glazing at all s r aces ith B foil, Low E coating tainless teel thick t pical.

INSULATION: Pol rethane spra foa ins lation, R val e inch

rade 2mm

Corrugated Aluminum Panel eiling ﬁnish oard would hang on channels ith sh access panels 6”x12” Ceiling Beam (Steel) 12”x24” Ceiling Beam tr ct ral Steel) Pre a ricated asse led ith classic cross oiner Pierced hallowed at regular interval for eight gain

tainless teel rade thick.

llions

AS 3033: Tectonics + Materiality

117

Corrugated Aluminum Panel eiling ﬁnish oard o ld hang on channels ith sh access panels Ceiling Beam 12”x24” (Structural Steel) Pre a ricated asse led ith classic cross oiner Pierced hallowed at regular interval for eight gain Structural aluminuim t ds inch thick tainless teel cladded steel ar s pport Self adhesive ice and water shield la er on ” pl ood s strate pra Pol rethane ins lation , R val e in spra applied plastic that can form a contin o s ins lation and air sealing arrier on walls, roo s, around corners, and on all contoured s r aces tainless teel Portals tainless teel Grade thick “ ngelhair” ﬁnish ack-cut and folded (no

xploded etail

Structural t ds x eiling ea Corrugated Panel teel Bea s

lass

, , glass air space et een la ers, ca 52mm/2” overal depth teel s pport for glazing tainless teel cladded steel ar s pport also str ct ral s pport

and ail steel Concrete loor lates Triple low-iron glazing lass

, , glass air space et een la ers, ca 52mm/2” overa depth Laminated glazing at a s r aces ith B foil, Lo coating

tainless teel rade 2mm thick, “ ngelhair” ﬁnish ack-cut B

ahner o

ansas cit ,MO)

Section

118

Tranforma-

Tranformation 2

3 Tranformation

AS 3033: Tectonics + Materiality

119

Tranforma-

Tranformation 5

Tranforma-

120

AS 3033: Tectonics + Materiality

Within one facade subdivision, two pleat grains transition into one pleat grain. This blurs the legibility of the facade structure from the exterior.

Two grains overlap and invert dominance.

Apertures are punctured into the structure. Starting from two faces in the cell, they break through the waterprooďŹ ng and insulation layers to reach the interior wall. Glazing is incorporated into the aperture system to imitate the original window condition.

Two grains overlap and invert dominance. The original window condition is maintained, revealing glass behind the louvers to introduce daylight into the building.

Two stainless steel grains overlap, but the original grain remains dominant.

AS 3033: Tectonics + Materiality

121

STRUCTURAL DETAIL 2: Two pleat grains are shown intersecting. The dominant grain remains complete while the subordinate grain is split. The attachment stems are shown behind.

STRUCTURAL DETAIL 3: Two faces are removed from the stainless steel cell. The new apertures open to the same direction as the window louvers. The aperture has a 0.75” stainless steel frame, attached to the 2”x4” aluminum studs. Glazing is embedded within the aperture, attached via a silicon joint and a welded aluminum frame.

AS 3031: Environmental Systems II Environmental systems for buildings, both active and passive, remain a rather unloved research pursuit within architecture, even some 40 years after the architectural historian and critic Reyner Banham lamented the fact in his book, The Architecture of the Well-tempered Environment. At times called building science, building physics, architectural engineering, environmental services, or, lately, traveling under the guise of “sustainability,” the consideration of light, air, and sound, and their corollaries of water, energy, and materials, are critical to the creation of architecture that is

both sensitive to the contemporary challenges of resource scarcity and climate change, as well as successful in providing humane and comfortable environments for people. “…architectural history as it has been written up till the present time has seen no reason to apologize or explain away a division that makes no sense in terms of the way buildings are used and paid for by the human race, a division into structure, which is held to be valuable and discussable, and mechanical servicing, which has been almost entirely excluded from historical discussion to date.”

(Kibert, Charles) “…free-flowing interior spaces and open plans, as well as the visual interpenetration of indoor and outer space by way of vast areas of glass, all pre-suppose considerable expense of thermal power and/or air control, at the very least.” (Daniels, Klaus)

In collebration with: Yueh Jung Lu, Andrew Smith, Isabella de Sousa Instructors: Ilaria Mazzoleni and Russell Fortmeyer

124

AS 3031: Environmental Systems II

4 PM: It is now evening and we are beginning to to enter from the east as it bounces off the nearb and walking bridge between the butterfly netting

Dark Geo Domes

Skylight:

mesh volumes suspended from the ceiling xperienced from lower lever from the exterior only m catwalk provides an entry for people to enter and interact

olumes are well lit and kept warm

Butterfly Houses

Dark G

A large portion of the ceiling L3:inBlacklight is replaced with a large skylight to let natural are on throughout the light into the Butterfly canopies day and night within these dark geodomes The light is directed by a series of tomovable illuminate thelouvres arthropods through out the day

L1: spotlights illuminate space in close proximity

Large Skylight with Louvres

Provide insectsaL a dark am to environm s People

Large Skylight with Louvres

Dark Geo Domes

Range of Lighting:

Dark and Damp

Butterfly Houses

Medium Dark

Medium Light

Light and Arid

Vary by In

AS 3031: Environmental Systems II

125

o turn some of the pendant lights on. Direct sunlight now enters only through the western clerestory windows and strikes the beetle boxes. Some dif by apartments. The lovers finally begin to block light and darken the butterflies above. Some dramatic lighting is now turned on above ther staircase gs.

Beetle Boxes

Geo Domes:

nsect

Stairs to Canopy Stairs to Canopy:

Beetle Boxes:

deep cavernous dark spaces for L4: thatStriplights burrow and are used to are placed beneath the mazanine floor slab and damp unde rground o subtely illuminate the mentbeneath space can be tightly enclosed by the domes

fused light continues

Stair are dramatically lit from above for human experiece as they progress to the upper level From belo w, the shelving turns into more insect housing that gets a medium range of light. Fixtures also change per species

These insect boxes vary in size according to the insect and his habitat needs They also each a di fferent light fixture L4: have Customized Pendants lights are placed throughout the space that is relatedHanging to the amount of light These lights vary in height from the task plane, color, and shape. they get exposed to in nature

They are in direct relation to whichever environment the beatle it is lighting is used to.

B eetl e B ox es

Stai r s to Canopy

126

The Southern California Insectarium And Recreation Center encourages you to use all 5 senses, as you explore the most comprehensive and immersive insectarium and butterfly house in southern California. You’ll discover why insects are the building blocks of all life. Open 24 hours a day, guests can visit our collection any time of day or night. An adaptive lighting and acoustic environment means that your experience will always change through the day, while keeping each and every insect happy and healthy. Visit in the early morning and see our beetles glisten in the sunrise light. Stay through the afternoon and ascend the staircase to fly high above the ground to be captivated by, and fly with thousands of butterflies, and when

AS 3031: Environmental Systems II the sun goes down, do not fear, our exhibits are all lit from above and beneath so you don’t miss a thing. If it’s fear you’re looking for, don’t forget to take a peek in our dark light rooms to see the largest collection of Fluorescent arthropods in the country. Even bring your kids for some late night, educational fun! All of the exhibits in our Insectarium have been professionally designed to keep each and every member of our insect family at home and happy, with climate specific lighting, heating, flora, and fauna.

AS 3031: Environmental Systems II

127

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.

130

scale: 1’=1/32”

2B STUDIO: Frameworks: Program

scale: 1’=1/32”

2B STUDIO: Frameworks: Program

scale: 1’=1/32”

131

132

2B STUDIO: Frameworks: Program

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 r ooms (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) Restrooms (8000 CFT) Building facilities storage (3000 CFT) Circulation (30,000 CFT) Total buiding interior (335,500 CFT)

Given Pr ogram

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 Ba rn, Kegg-r oom, 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

133

Administration Computer lab Seminar r ooms

Building storage

Exploration

Science Lab Lobby

Auditorium (Outdoor) Production

Market

Storage

Exhibition space

Media

Circulation

Program Distribution by Micromorphology

Resturant+Library

Diagrammatic axonometric

134

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

135

TEST KITCHENS

BREW CHAMBER

TEST KITCHENS STORAGE BREW CHAMBER

STORAGE

DRINK TANK STORAGE

DRINK TANK

MARKET

BAR

136

2B STUDIO: Frameworks: Program

137

138

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

139

140

MAIN S T. ELE VATION

2B STUDIO: Frameworks: Program

PARKING ELE VATION

2B STUDIO: Frameworks: Program

ALLEY ELE VATION

141

OLYMPIC BL VD. ELE VATION

4A STUDIO: Positions The final studio in the core sequence introduces students to independent thinking and integrative design through an open yet defined framework. With one foot in core and one pointed towards thesis, the pedagogy is based on culminating all previous core studios by charging the students with constructing a disciplinary position and formal agenda as it relates to advanced notions of Precedent, Tectonics, and Representation. The thread that runs through these will be an attitude towards technology gleaned from selected texts. The studio, as a whole, works on the same project and site with different trajectories according to the guidance of each instructor. This provides an experimental platform for students to test ideas and their execution, with the crafting of a position having as much currency as the crafting of the project and its images. If, in the broadest sense, a thesis is about addressing the question â&#x20AC;&#x2DC;what is architecture?â&#x20AC;&#x2122; then this studio is paring it down a bit by providing a loose constellation of topics that includes precedent, tectonics, and representation,

topics which have been thoroughly covered in the first three years of your core education. The thread of technology is intended to compel a philosophical perspective towards all three into a coherent project. So the question might now be rephrased as: what are precedent, tectonics, and representation, in architecture, as understood through the philosophical lens of technology? (precedent + technology) x (tectonics + technology) x (representation + technology) = ? It is not expected that each student comes prepared with a readymade answer or position, or one selected from a menu. Rather, a disciplinary position is one that is crafted, constructed, or formulated over time based on critical research and design in a heuristic manner. More often than not, a position begins in murky waters as a vague hunch, interest, or intuition about something that gets directed towards architecture. In this sense, process is about crystallizing a vague hunch into a coherent and powerful image (concept plus form). It might be initiated by reading a critical

text or novel, visiting a building, studying a plan or rendering, seeing a lecture, listening to a piece of music, watching a film, contemplating nature, a culinary experience, etc. Whatever the inspiring moment is, it is imperative that one observes closely and deeply, make something in the form of a representation, frame a set of questions, critically analyze the representational artifact against the question framed, and repeat the process until a project has crystallized. While the curriculum parses our discipline into design, history/theory, liberal arts, visual, and applied course types, the ideal is that every project is the irreversible fusion of all of them, with faculty representatives from each category always demanding more from their field of expertise. In this sense, a strong position is one that asserts a value structure and hierarchy of these disciplinary components through verbal and visual rhetoric. In other words, a strong position has political effects/consequences.

Instructors: Ramiro DiazGranados, Dwayne Oyler, David Ruy, Tom Wiscombe.

144

Maison bordeaux Maison Bordeaux

4A STUDIO: Positions

Transformation Transformation

Pinball Machine

4A STUDIO: Positions

145

Precedent Plan Elevation Oblique

Transformat

The project to usually represented exploded to emphasize the vertical circulation elements, but when shared and put alongside each other, we see that the vertical circulation elements act as unifying elements between the three plans.

The transfor flattening of the previous oblique, and while combin elements.

Precedent Plan Elevation Oblique

Transformation Plan Oblique

The transformation looks at flattening of the project. It takes the previous Plan- Elevation oblique, and turns it into a plan, while combining it with unfamiliar elements.

146

4A STUDIO: Positions

Arial Render

147

148

4A STUDIO: Positions

149

Site vs. Site vs.Mass Mass Thisdiagram diagramoutlines outlinesthe theexisting existingcondition conditionofofthe thebuildbuildThis ingmass massininrelation relationtotoits itssite siteboundry. boundry.Most Mostofofthe thebuildbuilding ingsare areinnered innered and andso sonot notcapture captureororvitalize vitalizethe thewhole whole ings site.The Thepartiâ&#x20AC;&#x2122;s partiâ&#x20AC;&#x2122;sare areset setup uptotoquestion questioninternaized internaizedcondition. condition. site.

Figure Ground Figure Ground ThisDiagram Diagramisisset setup uptotoshow showthe theshift shiftinindensity densityaround around This thesite, site,with withaagreater greaterdesnity desnityon onthe thesouth southand andeast eastsides sides the whereasthe thedensity densitydeceases deceaseson onthe the north northand andwest westside side whereas threeblock blockradius. radius. ininaathree

Site Analysis Site Analysis

Site Site

Pools Pools

Built Mass Built Mass

Property Line Property Line

Oasis Space Oasis Space

150

Boundry Between And Boundry Between OasisOasis And Desert

4A STUDIO: Positions

Desert

Palm Springs Springs is is an an oasis oasis in in the the desert. desert. There There is is aa strong strong boundry boundry between between where where the the desert desert ends ends and and the the city city begins. begins. Palm This sets up the condition that the oasis is self contained and within itself. This sets up the condition that the oasis is self contained and within itself.

Sun Path Diagram With a site oriented North-South, the longest faces on site face east and west sides.

4A STUDIO: Positions

151

2.5mi

2 mi

0.5mi

1.25mi 1mi

View Cones To The Mountains View Cones To The Mountains The The site site is is on on the the north-western north-western end end of of Palm Palm Spring, Spring, with with most most the the city city to to the the south south and and east, east, the the main main view view cone cone to to iconic iconic the the mountain is highlighted highlighted above. above.

Natural View

Constructed View

Natural Views vs Constructed Views The picturesque images of Palm Spings have a lot to do with its procimaty to the desert and the ever present mountains in the b diagram explores the avaliablity of views vs. the oppurtinity to constuct views on the side facing the city.

152

4A STUDIO: Positions

24’

20’

7,500 Sq. Ft

Open Circulation

290’

Oasis

10’

15’

Earth / Dirt

Living

10’

150’

Parti Option 1 The Separation This scheme explores the complete separation of Living space to the oasis Space. The open circulation occupies left over space to the left and turns into the means of connection. The grouping of spaces means that the three houses occupy the same mass.

10’

150’

Parti Option 2 The GroupingThis scheme explores the similatinous separation and grouping, of the living and oasis spaces. Divided into two groups of spaces, the circulation cuts through the site in a stepping fashion.

4A STUDIO: Positions

153

24’

10’

290’ 15’

15’

290’

20’

24’

20’

24’

10’

150’

10’

150’

Parti Option 3

Parti Option 4

The Movement-

The Distributed-

This scheme explores the distribution of program elements dispersed all over the site. The circulation acts as an agent to order and a binding element.

This scheme explores builds on the elements set up in Option 3. It does so with more intensity and by subdividing the houses even further, and integrating them more with the surrounding oasis elements. The circulation, winds around all the dispused elements.

154

4A STUDIO: Positions

Float Area

House 1

Showers

Light Wells

Bar

House 2

House 3

Maintainance

Pool

Bar Kitchen

Pool Overflow Area

Entry

4A STUDIO: Positions

12 Steps to Reset the House Crew- Person A, Person B and Person C Mechanical, exterior, and interior. Time: 3 Hrs

Person A arrives on site. Step 1*1: Hit the release valve for overflow water. Step 2: Check for any clogs or foreign contaminants in the Pool and shower area. Proceed to removing foreign contaminants. Step 3*2: Proceed to house 1. Step 4: Remove FPC, check pressure of water, boiler and HVAC unit. Reset to default temperature and pressure. Replace dust collectors. Close and lock FPC. Step 5: Replace any broken windows, appliances or fixtures. Step 6: Final house 1 check for all appliances, maintain as required. Step 7*3: Proceed to house 2. Step 8: Replace any broken windows, appliances or fixtures. Step 9: Final house 2 check for all appliances, maintain as required. Step 10*4: Proceed to house 3. Step 11: Replace any broken windows, appliances or fixtures. Step 12: Final house 3 check for all appliances, maintain as required.

Person B arrives on site. . Step 1*2: Hit the release valve for trash shoots. Step 2: Reset all floats to designated float storage area. Step 3: Check outdoor showers, remove any clothing left behind. Step 4*3: Hose down exterior walls in zone 1. Step 5: Reset exterior furnitures, into designated noch. Step 6: Stock check for bar 1. Refill supplies as required. Replace old kegs with new kegs. Step 7*4: Hose down exterior walls in zone 2. Step 8: Stock check for bar 2. Refill supplies as required. Replace old kegs with new kegs. Step 9*5: Hose down exterior walls in zone 3. Step 10: Stock check for bar 3. Refill supplies as required. Replace old kegs with new kegs. Step 11*6: Remove any foreign contaminants from the driveway. Step 12: Clean light pipes for house 3.

Person C arrives on site. Step 1*2: Pick up sheets and other replaceable objects from house 1,2 and 3. Step 2: Clean up kitchen, replace dishes. Stock check. Step 3: Hose down kitchen walls. Step 4*4: Wash sheets, dishes and other replaceable objects. Step 5: Reset furniture in house 1 to marked spots. Step 6: Place new sheets, followed by overall house 1 check. Step 7*6: Move to house 2, reset furniture to marked spots. Step 8: Place new sheets, followed by overall house 2 check. Step 9: Move to house 3, reset furniture to marked spots. Step 10*6: Place new sheets, followed by overall house 3 check. Step 11: Reset pool table and stock check in kitchen fridge. Step 12*8: Final all systems check.

**Timecheck - 1-11:00, 2-11:15, 3-11:45, 4-12:15, 5-12:45, 6-13:10, 7-13:40, 8-14:00

155

156

4A STUDIO: Positions

157

158

4A STUDIO: Positions

159

160

4A STUDIO: Positions

161

162

4A STUDIO: Positions

163

164

4A STUDIO: Positions

165

VERTICAL STUDIO: What is an Apparatus? In this studio, I would like to deviate from this traditional obligation of architecture and think about the apparatus itself and consider what it might mean to have an apparatus hidden in plain sight. The hard part here is figuring out how this analogy actually translates relative to the specific disciplinary categories of architecture. Is that curtain merely the facade? Maybe it’s the context. Maybe it’s the program. Maybe it’s the style. I don’t want to assume that the translation of this analogy is obvious. But once we decide what the curtain implies, figuring out what the apparatus is becomes easy—it’s everything else.

This “everything else” of architecture might be what we call the generic, the featureless, the everyday, the basic, or the necessary. I would like to see if we can rethink the generic. I want to be clear though, this is not a problem of making the boring stuff interesting. This is a problem of how we might become self-conscious of all the things we don’t notice or see. My suspicion is that, if successful, we may define more indirect, perhaps sneakier, ways to get at what interests us about the curtain in the first place. If you care about the meaning of what you are writing, you might think that the letters, the punctuation, and the grammar might

be annoying constraints to get past—a hard, necessary, and boring work. The apparatus of writing might be understood to be nothing more than a stupid vehicle for meaning and content. This is normal. We generally think content is independent from media. We freely produce forms and wait to fill it with meaning later. In this studio, I will ask you to temporarily stop caring about meaning and only care about the letters, the punctuation, and the grammar. That is, all the stuff that you might think of as being generic. I want you to ask yourself, “What is an apparatus?” Instructors: David Ruy

168

VERTICAL STUDIO: What is an Apparatus?

169

170

VERTICAL STUDIO: What is an Apparatus?

171

172

VERTICAL STUDIO: What is an Apparatus?

173

174

VERTICAL STUDIO: What is an Apparatus?

175

176

VERTICAL STUDIO: What is an Apparatus?

177

178

VERTICAL STUDIO: What is an Apparatus?

179

3B STUDIO: AMIGAA: Articulation and Tectonics II Issues of site, program, structure, environmental systems and materiality are present in every architectural problem, but they serve more as constraints and requirements than architectural issues unto themselves. Instead, qualities of A-M-I-G-A-A constitute enduring, evolving issues that the discipline of architecture continues to actively interrogate. While these issues recur over time, staking a contemporary position about how they are expressed and ultimately constructed provides the opportunity to pursue new territories. One could argue that it is the constant reexamination of these issues that engenders change in architecture, moving it forward as a speculative project. Students are expected to articulate, explore and defend a position about A-M-I-G-A-A (much the same way one would do in thesis). In order to be persuasive they must possess a sophisticated and developed building repertoire to effectively communicate that position as architecture. While we might be interested in conceptual or abstract work, the efficacy of architecture is best expressed as a physical act of building.

The work of the studio will work against constraints and problems, taking an unabashed pride in the development of innovative and powerful architectural designs. The vast majority of architecture as an assemblage of discreet building elements is both fundamental and unavoidable. Beyond the inescapable, physical fact of how architecture is constructed, a disciplinary preoccupation with the nature of part to whole relationships (as first articulated by Alberti in De re aedificatoria, 1452) has been pervasive, confounding and enduring. From the compositional rules dictated by classical doctrine to the taciturn elementarism of modernism, from the collage techniques of the ‘post’ to the pervasive fluidity of the parametric, the nature of part to whole relationships continues to drive new understandings of the assembled architectural object. Operating as a kind of productive oxymoron or alchemy, we seek to understand and exploit the tension between part and whole, or between various wholes in non-hierarchical and strange relationships (think of the flat ontology of Speculative Realism). As

if combining terms once deemed antagonistic to one another, we seek to speculate about the nature of unorthodox singularities, to establish a resistance to easy referentiality or pedigree, to explore new relations between mass and image, and meditate on the nature of withdrawn objects. We will explore the insistent and unapologetic “object-ness” of these forms of architecture as a challenge to some compositional clichés in the aesthetics of today’s institutional avant-garde. At the same time, we will resist and move beyond the nostalgia for solidity, stability and organic unity in relation to context. In this studio we wish to examine the design of these buildings in their most radical aspect. While each section will explore more specific points of view and techniques, the larger, shared agenda of the studio will examine the contemporary state of part to whole relationships and the notion of an awkward or less coherent whole.

Instructors: Maxi Spina, Russell Thomsen, Casey Rehm, Maxi Spina.

182

3B STUDIO: AMIGAA Arch&Tect II

Deformation of Three-dimensional Solid . Version 1 Nine square grid deformation

Part Reconfiguration Types Translation joint - uncut

Translation joint to void - Void A

Translation joint to void - Void B

Translation joint to void - Void C

Reconfigration of solid - Void D

3B STUDIO: AMIGAA Arch&Tect II

183

Part To Part Relationship

Bounding box within composition Rotation: 40 degrees

Part to part relationship

Two parts

Three parts

Seven parts

Composition within bounding box Rotation: 30, 40 degrees

Part to whole relationship

3 â&#x20AC;&#x2122;

B. Rotation @ 40

Aggregation

Cutting planes in relation to site

B. Primary Axiel Relatio

184

3B STUDIO: AMIGAA Arch&Tect II

185

186

3B STUDIO: AMIGAA Arch&Tect II

GROUND FLOOR LEVEL PLAN

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

RESTURANT / BAR KITCHEN AND STORAGE BAR STORAGE PRINT CENTER SCI-ARC STORE 3D PRINTING 3

ROBOT HOUSE FILM STUDIO SOUND STUDIO PHOTO STUDIO ADMINISTRATIVE OFFICE SIDE ENTRANCE / STUDENT ENTRANCE

AUDITORIUM

5’

10’

20’

1’

1 A1

11 1

3 SIDE ENTRANCE / STUDIO ENTRANCE

9 4

MAIN ENTRANCE / 3rd STREET ENTRANCE

3B STUDIO: AMIGAA Arch&Tect II

187

EAST

Air Movement Diagram

FOURTH FLOOR

THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

Fresh Air

(Mechanicaly Supplied)

Warm Air (Naturally Ventilated)

Thermal Confort Zones

FOURTH FLOOR

THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

Unconditioned Space Conditioned Space Soft Condition Space

188

3B STUDIO: AMIGAA Arch&Tect II SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

THIRD FLOOR LEVEL PLAN

SMALL CLASS LARGE CLASS STUDIO - M.ARCH STUDIO - B.ARCH CNC FABRICATION WOOD SHOP + VACUME FORMING CNC FABRICATION DRONE ROOM 3

PAINT ROOM 15

STUDENT LOUNGE TEACHER LOUNGE 3D PRINTING LAB PLASTIC 3D PRINTING LAB POWDER 3D PRINTING LAB RESIN PIN-UP SPACE 1’

5’

10’

20’

1 A1

12 11

13 6

3B STUDIO: AMIGAA Arch&Tect II

189

Air Condition Zones

FOURTH FLOOR

THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

Air Conditioned Space Non Air Conditioned Space

Zoning

FOURTH FLOOR

THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

Inside Space Inside Outside Space (Open Air) Outside Space Facade

Occupancy Study Studio

Library

Library Studio

Fabrication

Studio

Fabrication

Studio

Mill Room

Student Rest Area

Amount of time used during the day.

Less Use

More Use

190

3B STUDIO: AMIGAA Arch&Tect II

191

FOURTH FLOOR M. ARCH STUDIO & LIBRARY

THIRD FLOOR M. ARCH - B. ARCH STUDIO

SECOND FLOOR M. ARCH - B.ARCH STUDIO & FABRICATION

FIRST FLOOR B.ARCH STUDIO & OFFICES

192

3B STUDIO: AMIGAA Arch&Tect II Cooling

Sun Path

50 45 40 35 30 25 20 15 10 5 0

N 30

Optimized Increased air Glazing, temp to 25 °C lighting and ventilation

Initial Condition (10cm insulation)

ESE

W WS

WN W

30 25 20 15 10 5

N W

W WS

30 25 20 15 10 5

W WS

N W

WN W

N W

250

30 25 20 15 10 5

110

WN W

MAY WIND DIRECTION

JANUARY WIND DIRECTION

ANNUAL WIND DIRECTION

0 0

0 160

SSW

170

190

180

200

Double- glazed unit 4 metre long channel panels

Setting block and glass stop Moisture Barrier

1. RAINWATER COLLECTOR

2.Underfloor Heating

Oxyegen Barrier Pipe

3. RAINWATER COLLECTOR

Total Area of PV: 6800 Sq.m Watts Produced in a year: 1.6MKW

SKYLIGHT ALLOWS & PASSIVE EXHAUST

2 1

Optimized Condition (Laptop Use)

Wind Rose

100

260

SSW

270

280

290

Increased air Initial Condition Optimized Optimized (10cm Glazing, lighting temp to 25 °C Condition insulation) (Laptop Use) and ventilation

Initial Optimized Optimized Increased air Glazing, temp to 25 °C Condition Condition (10cm (Laptop Use) lighting and insulation) ventilation

Heating

A/C Cool + Dehum

Cooling

Heating 120 100 80 60 40 20 0

SSW

17 17 17 17 17 17 17 17 17 17 17

340

350

A/C Cool + Dehum

3B STUDIO: AMIGAA Arch&Tect II

193

PROGRAM ORGANIZATION

B. ARCH & M. ARCH STUDIO COMPUTER LAB WOOD SHOP & PAINT ROOM ADMINISTRATIVE OFFICE STUDENT LOUNGE LIBRARY AUDITORIUM

194

3B STUDIO: AMIGAA Arch&Tect II

ROOFING SYSTEM

3B STUDIO: AMIGAA Arch&Tect II

195

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

AXONOMETRIC TECTONIC ASSEMBLY DEATIL 1 : ROOFING SYSTEM

Fiberglass

Steel Substrate

Secondry Structure

Interior Roofing

DEATIL 2 : EAST FACADE

Interior Metal Stud Wall Gypsum Wall Board 3/8” Paint

Interior Support + Insulation Steel Substrate Secondry Structure Framing System

Fiberglass Reinforced Panel

Support + Insulation Spray Polyurethane insulation (SPF). R value = 6.9 / in spray-applied plastic than can form a continuous insulation and air sealing barrier on walls, roofs, corners, and on all contoured surfaces. Prefabricated Steel Substrate Manufactured modularly out of site. Individual modules are custom made based on location. Primary grid is 10’ by 10’. Secondary Structure Stainless Steel cladded steel bar support. (also structural ) Framing System Stainless steel portais Fiberglass Reinforced Panel FRP Panel with gloss enamel. 10’x10’. Inside the panel include fiberglass, fireproofing, silicone weather-proofing.

196

3B STUDIO: AMIGAA Arch&Tect II

197

198

3B STUDIO: AMIGAA Arch&Tect II

199

200

3B STUDIO: AMIGAA Arch&Tect II

201

202

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