Robert Magdy Morgan
Graduate School of Architecture, Planning, and Preservation Master of Science in Advanced Architectural Design 2013-2014 Portfolio
Graduate School of Architecture, Planning, and Preservation Master of Science in Advanced Architectural Design
The following three projects comprise a yearlong exploration that collectively propose a series of interventions and establish a set of speculations on the future of American cities and many of the issues that propagate through them today. Proposals are offered up through minimal interventions, sets of operations, and variable scale devices. The proposals seek to work within the constraints of the existing and set out to use them as design opportunities rather than limitations, rejecting the notion of a tabula rasa operation. The first proposal sets out to shock Philadelphia with a jolt of productive vitality by providing the framework for future change by facilitating spatial consturcts using existing fabrication shops. The second proposal seeks to conflate architecture, infrastructure, existing elements, and new devices, while simultaneously rendering underground infrastructure that is typically hidden exposed to allow for a closer examination of the built environment. The third project sets out to deliberately misuse an architecture manual of formal operations to peruse the urban tower in the park scheme, where the project is advanced through cliche of ‘the cute’ manifested through an interventions on the existing underground garage.
Contents
01 Philly Remix
Philadelphia, PA Keith Kaseman / Summer AAD Studio
02 New York, NY Marc Tsurumaki / Advanced Studio V Delancey Underground 03 New York, NY Enrique Walker / Advanced Studio VI Dictionary Of Received Ideas
P h illy Re m ix The project re-envisions the N. American corridor in Philadelphia, once a bustling industrial hub, as an agent of change for the down trotted region of Philly - once proudly proclaimed to be the “Workshop of the World.� The 3d printer fabricates spatial invitations conducive to fiddling, aggregating, configuring and reconfiguring to allow for growth and new possibilities of unplanned future urban spaces to sprout. Tapping into the existing infrastructure and abandoned factories as agents of future change, giving Philadelphia a jolt of energy, charging the city with new possibilities with spatial seeds peppered across vacant lots along the once bustling N. American street to energize the city of Philadelphia, fabricated in abandoned industrial buildings. An urban future forged in the very same streets it is meant to revitalize, a new strategy for dealing with economic calamities facing many American cities today including Philadelphia, Detroit, Providence, and Trenton.
Summer 2013 > Philly Remix | AAD Summer Studio | Prof. Keith Kaseman
Summer 2013 > Philly Remix | AAD Summer Studio | Prof. Keith K a s e m a n
T 3
Philly R e m i x Turning N. American Corridor to a 3D Printer for the City of Philadelphia The project re-formulates the North American Corridor of Philadelphia, now a remanent of it’s industrial past, as a fabrication facility manufacturing spatial seeds. Turning the entirety of the corridor into a 3D printer for the city, the proposal seeks to fabricate spatial seeds that invite the user to generate possible
future constructs for the once bustling industrial corridor. The urban projects that sprout from using Philadelphia as initial grounds for exploration will then provide the framework for similar projects in Detroit, Flint, etc. These new constructs seek to challenge the diminishing role of the architect and by extension place
The questions brought about by globalization, to the forefront. The fabrication facility is a system that allows for growth, appropriating construction as needed. A system that feeds off of the residents of Philadelphia, expanding to facilitate the needs of its residents while revitalizing its industrial past.
Philadelphia Workshop of the World
4
1
5
8
Philadelphia was an incubator consisting of thousands of workshops operating in concert with often niche specialties in manufacturing and production, earning it the title Workshop of the World.
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6
9
3
7
10
1 2 3 A 4 p 5 M 6 M 7 M 8 C 9 W 1
0
Philadelphia Industries
1- Pittsburgh Glass Factory - Grinding cut glass 2- Pittsburgh Glass Factory - glass polishers 3- Workers with sample carts, inside of the American Sheet and Tin Plate Company 4- Hershey Press Company;, with printing equipment and machinery 5- Winding silk at the Sauquoit Silk Manufacturing Company, Philadelphia, PA 6- Winding silk at the Sauquoit Silk Manufacturing Company, Philadelphia, PA 7- Winding silk at the Sauquoit Silk Manufacturing Company, Philadelphia, PA 8- American Sheet and Tin Plate Company worker trims tin plate 9- Tool forgers in a blacksmith’s shop, Westinghouse Electric Corporation 10- Westinghouse Electric Plant, Philadelphia, Pa
Fabricating
Spatial
Invitations
The urban projects that sprout from using Philadelphia as initial grounds for exploration will then provide the framework for similar projects elswhere.
Turning the entirety of the corridor into a 3D printer for the city, the proposal seeks to fabricate spatial seeds that invite the user to generate possible futures for the once bustling industrial corridor.
Institute of Spatial Perception Below
the
street
level
lies
an
Below the street level lies infrastructural sub-surface level an infrastructural level of of tunnels, sub-surface pipes, transportation tunnels, pipes, transportation networks, networks, and drain systems that andare drain systems that are kept hidden. kept hidden. Occasionally, we Occasionally, we are aware of it are made aware of itmade through ground vibrations, steam rising from through ground vibrations, steamutility rising holes, grates, from utilitysubway holes, ventilation subway ventilation and and storm drains. Spaces carved grates, storm drains. Spaces carved out that aren’t meant for the out that aren’t meant for thepublic, public, graffitied by art that wasn’t meant graffitied by art that wasn’t meant for an audience. Over the years, the for an audience. Over the years, the underground space has accumulated underground space has accumulated layers of infrastructure, some of which layers of infrastructure, some which were abandoned, unable toofkeep were abandoned, unable to keep pace pace with the changing needs above. withOn thethe changing above. Ontothe surface, needs the connection surface, the connection to the existing the existing infrastructure is implicit. Commuting is by implicit. train offers a brief infrastructure Commuting experience of the subterranean city. by train offers a brief experience of the subterranean city.
Fall 2013 > Delancey Underground | Advanced Studio V | Prof. Marc Tsurumaki
Fall 2013 >
Delancey Under| ground Advanced Studio V | Prof. Marc Tsurumaki
N YC Under g ro u n d The relationship of the surface of the city and the underground The site selected for the Institute is located Below Delancey Street, a 60,000 sq. ft. abandoned trolley station in the Lower East Side, below 3 vacant blocks. The institute is an extension of what lies below, a public interface, a manifestation of the existing, an archeological exercise rendering the history of the subterranean city and what is typically hidden exposed. The project is an exploration of the contrast between complete immersion and exchange with the public to moments of isolation and removal from the ambience of urban life where the city surface disappears. The varying degrees of engagement with the urban environment and awareness of what’s below is contrasted with the complete removal from the surface of the city and the stimuli encountered above.
The complete immersion by carving below the surface and expanding the subway as a typology to bring awareness of the existing infrastructure just beneath the surface of Delancey Street is contrasted with the observation tower, which serves as a place for solitude framing views of the city from above. The street surface acts as the façade, an extension of what’s below. The changing elevation shifts from light to dark, effectively experiencing the city from above and below. Descending below ground evokes emotions of unease, with the absence of external references light serves to delimit the excavated gallery space below, the retaining surface holds the earth back with slivers revealing what’s behind. The public gallery highlights the framework of the existing station and engages the senses and perceptual modality of the underground space.
A shift from hyper stimulation and complete immersion within the urban fabric to removal of stimuli as the project shifts from segmented public bands and extension of the existing abandoned station to private bands. The bands serve as the main organizational structure, creating a rhythm that shifts from the main public band on the north side that leads to the gallery to the administrative band that houses the offices, meeting spaces, and labs towards the south. The shear between the bands allow for light and sound to filter in below and artificial light to radiate above, acting as a signifier. The slippages between each band serve as a visual reference to above, filtering light and sound to inform the space below.
Subway Construction - 1913
1
5
9a
9b 6 2
9c 7 3
9d 8 4
Delancey Underground
Trolley Station
Underbelly Project
10a
11a 10f
a
10b 11b
b 10g
10c 11c
c
10h
10d
10i
d
10e
1- Construction of Delancey Street Subway 2- Construction of Delancey Street Subway 3- Subway Construction at Delancey and Clinton Street 4- Delancey and Essex Street after subway construction 5- dual subway construction - Brooklyn loop lines 6- View from the Williamsburg Bridge, looking west 7- Williamsburg Bridge Plaza 8- American Sheet and Tin Plate Company worker trims tin plate 9- Subway ‘cut and cover’ construction 10- Delancey Underground Station 11- Underbelly Project
Broome St.
BAR AUDITORIUM
(PUBLIC) GALLERY
1
New St.
Public
RESTAURANT AUDITORIUM CAFE (PUBLIC )GALLERY
2
Public
AUDITORIUM CAFE
PUBLIC INTERFACE (RESEARCH) LIBRARY
(PUBLIC) GALLERY
3
Shared
Undergrou CAFE
(RESEARCH) LIBRARY
4
Shared
5
Link
ADMINISTRATIVE (OFFICES)
LIGHT (LABS)
6
Private
ADMINISTRATIVE (OFFICES)
LIGHT (LABS)
Private
Descending below ground evokes emotions of unease, with the absence of external references light serves to delimit the excavated gallery space below, the retaining surface holds the earth back with slivers revealing what’s behind. The public gallery highlights the framework of the existing station and engages the senses and perceptual modality of the underground space.
Delancey St.
Broome St. (PUBLIC) GALLERY
Delancey Underground
Essex St. Station
New St.
Public
Extend Block
Y
ARY
Public
Expose Existing PUBLIC INTERFACE (PUBLIC) GALLERY
Shared
Underground Excavation
RY
Shared
Observation Tower
Cafe
Gallery
Auditorium Link Space Offices
LIGHT (LABS)
Meeting Rooms
Private
4 6
2 1
5
LIGHT (LABS)
Private
Public
Shared
Private
3
Light Labs
The institute is an extension of what lies below, a public interface, a manifestation of the existing, an archeological exercise rendering the history of the subterranean city and what is typically hidden exposed.
Delancey St. Delancey Underground
Essex St. Station
Williamsburg Bridge Trolley Station
Extend Block
Existing
Expose Existing
Proposed
cavation
Underground Excavation
Observation Tower
Cafe Gallery Research Library Reading Rooms
Auditorium
e Public
Offices
Meeting Rooms
4 6
Light Labs
Program Private
2 1
5
Public
Shared
3
Bands
The complete immersion by carving below the surface and expanding the subway as a typology to bring awareness of the existing infrastructure just beneath the surface of Delancey Street is contrasted with the observation tower, which serves as a place for solitude framing views of the city from above. The street surface acts as the façade, an extension of what’s below. The changing elevation shifts from light to dark, effectively experiencing the city from above and below.
Williamsburg Bridge Trolley Station
Existing
Proposed
Reading Rooms
Auditorium
Public
Offices
Meeting Rooms Underground Excavation
Private Light Labs
Program
Band
D i c tio n a r y o f Re c e ive d Id e a s A set of formal operations, derived from a manual that set to define cute architecture, was exploited in order to peruse modernist urban planning. Set against the backdrop of the Silver Towers, the intervention seeks to cut through the superblock by introducing underground shops peppered across the site.
The minimal intervention strategy offered here can be transcribed as a system to deal with other urban sites where the tower in the park scheme and it’s intractable urban issues propagate.
Spring 2014 > Dictionary of Received Ideas | Advanced Studio VI | Prof. Enrique Walker
Spring 2014
Dictionary of Rec e i v e d Ideas | Ad>
vanced Studio VI | Prof. Enrique Walker
The Flow e r In collaboration with Della Leapman, Claudio Llanos, and Jordan Anderson
By simply discovering what is already there the proposal seeks to build in relation to the past in pursuing new opportunities. The discovery of the extent of the garage level and the constraints of the existing towers, column grid, and plinth informed the minimal intervention strategy chosen in favor of establishing a tabula rasa. As Found - The project is defined by existing elements: the garage, the column grid, and the silver towers. These served as the starting point of the design. Taking existing devices as opportunities by using the elements already present and repurposing the existing garage into a pathway that cuts through the site, using the column grid as the organizational element of the marketplace where the paths are defined by the arrangement of the elements.
Crossing The Superblock - The project is an intervention on an existing rigid infrastructure element defined by a column grid. The system to cross the superblock is organized through the arrangement of the elements that suggest a pathway across the site. By creating public zones between small independent program units a field condition is activated based on the relationship between parts that then defines the space where the new pathways across the site is the end result of the placement of the parts. The proximity of these elements creates loose pathways that you walk through to discover that are scattered within a rigid, defined system but avoid conforming to an axial, linear system.
Double Layer - The single surface of the plinth defines two layers: the one above that unifies the space between the three towers, and the one underground that carves into the site to extend the sidewalk pathways through the existing garage level to connect different sides of the superblock. The plinth acts boundary between the two systems by separating program, pathways, and different spaces, and unifies these two conditions into a single device.
The
Cute Manual
i. Rules & Scoring ii. Principles iii. Large-Scale Operations iv. Small-Scale Operations
i.
ii. Rules & Scoring
This manual sets out to provide a comprehensive collection of the operations required in order to achieve a cute project. There are both Large-scale operations and Small-scale operations. Both types are scored from 1 (lowest) to 5 (highest) according to the principles they embody. For example, the Largescale operation: 01 - Extruded Blob has an Empathy principle score of 5 because it generates the greatest effect of empathy. (Score chart is located at the bottom of each section.) Large-scale operations all have a complete set of principles represented, while Small-scale operations only have partial sets of principles represented. For a complete cute project, one should mix operations for a combined principles score of between 50-60 points. This can be accomplished using any combination Large-scale and Small-scale operations, or simply via Small-scale operations.
Principles
01 Smallness
05 Empathy
Smallness should be embodied in all elements of the design and be understood as such: either as a free-standing object or by its context.
A cute project must establish a friendly dialogue between the inhabitants and space, as well as non aggressive relations with its immediate urban context. All formal operations, materiality, and organization should be designed by avoiding Baroque geometric forms, saturated colors, or darkened spaces in order to avoid any possible rejection from the user.
02 Ephemerality A cute project should be stable without a sense of permanence. It must give the appearance of being ephemeral through emptiness and openness. 03 Nature A cute project generates relationships between interior and exterior whereby nature and artificiality are unified in coexistence, and expressed through gradual changes in domain. 04 Ambiguity A cute project should aspire towards an blurred relationship between structure, atmosphere and services where no one element is expressed as dominant or subservient.
06 Lightness A cute project must have elements that are thinner, lighter, and more delicate than traditional building components, achieving a type of weightlessness or airyness. Avoid all brutality, dirtiness, roughness, heaviness.
Beautiful Objects Small
But to this day, in ordinary conversation, it is usual to add the endearing name of little to everything we love; the French and Italians make use of these affectionate diminutives even more than we. In the animal creation, out of our own species, it is the small we are inclined to be fond of; little birds, and some of the smaller kinds of beasts. A great beautiful thing is a manner of expression scarcely ever used; but that of a great ugly thing is very common. There is a wide difference between admiration and love. The sublime, which is the cause of the former, always dwells on great objects, and terrible; the latter on small ones, and pleasing; we submit to what we admire, but we love what submits to us; in one case we are forced, in the other we are flattered, into compliance.
- Edmund Burke
2004
2007
2010
Sou Fujimoto N House
SANAA 21st Century Museum of Contemporary Art
2011
Yoshichika Takagi House K
Suppose Design Office House in Kokubunji
2012
Studio Velocity House in Chiharada
2006
2013
2008
2008
Sequence Studio Ohno House
Sejima + Associates Okurayama Apartments
Hiroyuki Shinozaki Architects House T
Sou Fujimoto House O
01 Box Inside A Box Compartmentalize space by nesting inner volumes within a larger external envelope. Maximize vertical and horizontal visibility by puncturing walls and floors plates with oversized rectilinear frames. Deliberately locate and size each opening to frame specific scenes and set up sight lines between inner and outer rooms. Use at least 3 different sizes. Do not rely on staggered floor plates to achieve a the framing effect. Do not cut off the flow of interior space with doors or glazed openings. Leave all holes in walls and floor plates open.
Smallness
Ephemerality
Nature
Ambiguity
Empathy
Lightness
5
2
2
3
3
1
Do not suggest a hierarchical relationship between floors or inner and outer volumes. Refrain from assigning a single function to individual volumes.
Smallness
Ephemerality
1
2
Combined Score: 16
2004
Ambiguity
Empathy
Lightness
4
1
1
2
Combined Score: 11
2007
Hideyuki Nakayama Matsumoto House
Nature
2007
Suppose Design Modern Pit
2010
TATO House in Rokko
TNA Square house
2010
Go Hasegawa House in the Forest
2002
2011
2008
Aoki Jun Farm
Kimihiko Okadai Toda House
Junya Ishigami Kanagawa Institute of Technology
2008
Junya Ishigami Japan Pavilion of Venice Biennale
04 Floating Box On the necessity to enclose the space below, lower faรงades should only be done using full glass or another transparent material. The upper volume must be recognizable as a compact mass. Only one continuous material should be used in the upper volume on walls. The space below should be either larger than two times the height of the volume, or smaller than one fourth height of the volume. Structure should not be too visible on the lower space. Diagonals must be avoided, and only using them when strictly necessary on thin cables. It is not possible to add walls inside the space. If needed, only small volumes smaller than half of height of the space. Smallness
Ephemerality
1
3
Nature
Ambiguity
2
1
Empathy
Lightness
1
5
Do not use elevators, only stairs to get to the upper volume. Moreover stairs should be complex and always use more than one flight.
Smallness
Ephemerality
Nature
Ambiguity
Empathy
Lightness
1
2
2
4
1
5
Combined Score: 15
Combined Score: 13
2003
2006
2008
SANAA Zollverein School of Design
Kazuyo Sejima House in a Plum Grove
2010
Sou Fujimoto House H
Go Hasegawa & Associates Apartment in Nerima
2011
Future Studio Light Stage House
2012
2005
Takeshi Hamada House K
2006
2008
Second Plate Hiroyuki Arima
Moriyama House Ryue Nishizawa
House Before House Sou Fujimoto
07 Jumping Windows The openings should be composed only by squares and/or rectangles. When using rectangles the proportion should not exceed 2:1. The jumping windows can be used as an exterior and interior condition. They should be used in a continuous surface and as a homogeneous solution. The jumping window openings must accomplish an evident contrast between the mass and void relation. The openings should not be in relation with the building levels. Refrain from dividing or partitioning glazed panels.
Smallness
Ephemerality
Nature
Ambiguity
Empathy
Lightness
3
1
1
5
1
3
Combined Score: 14
The openings should not obey a regular grid, they should be misaligned and a variation in scale is suggested but not mandatory.
Smallness
Ephemerality
Nature
Ambiguity
Empathy
Lightness
3
2
3
5
1
2
Combined Score: 16
2009
Fuse Atelier Tateyama
2011
Stands Architects House O
2005
2013
2007
2009
SANAA Flower House
SANAA Onishi Civic Center
Tomohiro Hata House N
2010
SANAA Serpentine Pavilion
SANAA Toyota Aizuma Hall
02
Flower
Should create variations in volume through the three-dimensional subtraction of geometric shapes from a whole (i.e. as distinguished from subtracting geometry from planar surfaces)
The curvature should be composed using at least two different radii while maintaining continuity of tangency.
Voids must be occupied by planted gardens that establish a hierarchy between volumes; vision of these spaces should be accentuated by floor to ceiling windows that enable views of gardens to be utilized as an interior feature.
May be constructed as a White Wall, Glass Wall, or supported by Forest of Columns The extrusion height should not exceed the height of the floor-to-floor depth. If a new floor is needed, alter the plan curvature and stack.
‘Carved’ volumes should not be generated from the use of geometries other than curvilinear forms or quadrilateral shapes.
Do not integrate multiple programs into differentiated volumes.
2009
Smallness
Ephemerality
Nature
Ambiguity
Empathy
Lightness
1
3
3
2
5
3
Refrain from dividing or partitioning the interior spaces of the volume with closed rooms.
2005
2013
2007
SANAA Moriyama Houses
Hironaka Ogawa Forest Chapel
2008
Sou Fujimoto House N
2008
Junya Ishigami Venice Pavillion
Sou Fujimoto House before house
B
A
C
2011
SANAA Garden House
2013
Junya Ishigami House for a young couple
06
05
Garden Building
Deploy a number of columns to express multiplicity as the arrangement.
Gardens should be in the first level by enclosed by a room or separated in two isolated units.
Use the thinnest column member possible allowed by the larger number of columns.
Plants or trees must be visible in the main façade by showing them partially through windows. Trees in superior levels must appear over the top floor by cutting a circle hole on the top slab.
The density of columns must vary and be perceived as sporadic, some in sparse and some in dense manner.
All gardens must be placed against walls. If the garden is in a corner or against three walls, the remaining side must be a double curve. If the garden occupies an entire room, it must contain another room inside.
All connections made to the columns should not be exposed. Connection details to roof supporting members and floor should be embedded beyond user’s sight.
The garden cannot be placed between the interior and the exterior of the building without a partition wall.
Strict organizations such as a single grid should not dominate the organization of the columns. Equal distances in between all columns are not allowed. Color use on columns is restricted so the columns maintain the effect of being flat and white.
Smallness
Ephemerality
1
2
Nature
Ambiguity
Empathy
Lightness
5
1
4
1
2011
Residence of Disen Keisuke Kawaguchi
2012
1972
A Life With a Large Opening Ondesign
2002
Kisho Kurokawa Capsule Tower
2006
SANAA New Museum
Nobody must walk over interior gardens. The only allowed pathway is that one defined by concrete blocks or wooden plates. Exterior gardens must never have hard boundaries.
Combined Score: 14
2009
B
Combined Score: 17
Forest of Columns
Children’s center Sou Fujimoto
A
Refrain from translating segments of a circle directly or using radii that are too small or too large. Maintain a natural/organic profile.
Do not emphasize the boundaries between indoor and outdoor volumes with stairways, conspicuous walls, or other tectonic elements.
TNA Square House
A B
Roof should be thin and solid while sides appear transparent. Maintain a roof depth to total elevation depth proportion of <1:12. (ie. 1’ roof depth for a 12’ floor to floor height)
The major consequence of this technique should be the impact produced by the relationship between roof and walls, void and volume.
2009
2013
SO-IL Wulpen Community Center
03
Carved Volumes
SANAA Serpentine Gallery Pavilion
2012
Arata Isozaki & Andrea Maffei Maranello Library
2010
Sou Fujimoto Tokyo Apartments
Sou Fujimoto NA House
08
2012
Tetsuo Kondo House in Chayagasaka
09
Separated Volumes
Shifting Volumes
All volumes should be composed using geometric primitives of cubes and boxes.
In order to achieve the shifting the building has to have at least three levels.
All volumes comprising the scheme should be composed using a modular system that dictates relative scale/proportions. Avoid exceeding a 1:2 ratio on plan, section, and elevation.
All the stacked volumes have to have a similar cube-like proportion. Shift volumes in section, plan, or in both.
All volumes comprising the design should be read as a cluster of the same element repeated with no heirarchy, though variation in size is allowed.
The volumes may never be aligned in both section and plan. The stacked volumes never should be tilted in section or elevation. The volumes need to be familiar one to each other so none of them stand out of the group
Never define the site perimeter - use multiple entry and exit ways in and out of the overall scheme design and individual volumes.
The overlap between volumes should not be more than 30% in order to-once again-make them readable as singular entities
Do not compose and orient in a systematic way. All volumes should be laid out with random orientation. Do not use unique aperatures or materiality to differientiate volumes from the others.
Smallness
Ephemerality
Nature
Ambiguity
Empathy
Lightness
3
1
1
4
2
2
Combined Score: 13
2013
Jun Igarashi Taichung Cultural Center
III - 5.8 Within groups of plan have different diamete different heights.
2012
Suppose Design House in Kanawaga
2012
Takashi Hamada House K
2013
2000
SANAA Small House
Tato Architects House in Itami
01 Thin Corrugated Facade
2007
Hideyuki Nakayama O House
2013
III - 5.9 In drawing representa be distributed so that between placements o
Shingo Masuda + Katsuhisa Otsubo Ghost-like Architecture
III - 6
03 Curtain
Corrugated aluminum should be used as an interior finish for ceilings, interior walls, facades or roofs.
Curtains height should match floor to ceiling height. Curtain material should be diaphonous and no more than two shades darker than the near by white or grey wall treatment.
Corrugated Aluminum should not be characterized as the dominant material. It should be used in partnership with →white walls →curved walls or →glass walls.
III - 6.2 Curtain height must m
Curtian should hang from a minimally thin track. Smallness
Curtains should not be used exclusively to divide interior conditions.
Curtains
III - 6.1 Curtains can be imple in order to diminish t or and exterior condi serve to divide an int
III - 6.3 Curtain material shou more than 2 shades d ment.
01
Ephemerality Ambiguity
3
2
Lightness
1
3
III - 6.4 An ultra-thin track is installations.
III - 6.5 Use curtains in conju (see 3.8), although sp 02
Unique Staircase
I-7 I -7.1
2005
Akihisa Hirata Showroom H
2010
Junya Ishigami KAIT Workshop
The main function of a Unique Staircase is to insert playfulness to the vertical circulation of your building. A Unique Staircase may be a Curved, 2007 Kinked, Treehouse or Ladder form. 2008 Refer to Small Shifts in Section (Article III.03.07) Hideyuki Nakayama Atelier Bowfor Wowadditional O Houseuses of Unique Staircase Bokutei
2010
Go Hasegawa Architects Nerima Apartment
2012
13
Kazuyo Sejima Shibaura House
7.2 TheStair most common material for a Unique Staircase 04I - Curved
02 Polished Concrete Surface
is .5 in. Steel (Article III.03.07) plate finished in white. Unfinished Wood may be used only 22 curvedwhen The stair should follow an irregular curvature that P OL IS HED CONCR the E T E number of steps is 5 or less or in any uses two different radaii, a typical spiral stair. Treehouse or rather Ladderthan form.
PCF should be used sparingly a floor finish or exterior facade finish.
28
III - Embellishments A B
When PCF is exposed it should show the traces of its process such as the marks from form boards. It should otherwise be untextured.
The curved stair should be constructed out of .5 inch plate steel finished with white paint. I - 7.3 If a railing is required by law then it should be done as thin as possible in order to preserve the The curved stair should be paired with a →floating railing. lightness of the composition. Nature
14
The curved stair should not use more than one full turn to I - 7.4 The width of a Unique Staircase should be get from one level to another. between 2 ft. and 3.5 ft. and may vary within same staircase. The width of the Ladder type may be reduced to 1.5 ft. if additional fragility is needed. The gray lustre of a well-finished concrete wall or floor
Empathy
Lightness
3
2
slab is a material quality both honest and beautiful. It
taps into the designer’s eye for both structural purity as well as build quality. These are the strongest elements of a cute building, but when done well, allow the other
2
elements in a space to sing.
I - 7.5
The Curved Staircase should follow an irregular curvature that uses two different radii (Figure 14) rather than the typical spiral. Avoid using more than one full turn to get from one level to the other; if necessary, use a Small Shift in Section (Article III.03.07) instead of the typical landing.
15
I -7.6
2008
SANAA Bordeaux Tables
2011
Mono Goen Engi Green Furniture
The Kinked Staircase should be composed by no more than two kinks, one of which must be an acute angle. The inner and outer lines that define be perfect offsets 2008 the Kinked Staircase should not2010 of each other, but rather allow forHosaka varying widths Sou Fujimoto Takeshi House NA Room and angles (See Figures 15, 16). Room
2013
Tato Architects House in Itami
2010
Ryue Nishizawa House A 16
09 Idiosyncratic Tables
11 Potted Plants 11
I - Tectonics
Idiosyncratic tables, if curved, should have an irregular curvature. All idiosyncratic tables should also have thin supporting legs.
07
TA B L ES
Idiosyncratic tables can be constructed of →unfinished
Potted plants should be positioned adjacent to walls and →families of chairs, or underneath kinked stairs or curved stairs. Planters may stand alone, in couple or in triplets. 08
Small potted plants should be placed on the top most surface of furniture, and if desired, may grow through a skylight.
wood or →stainless steel.
INDI V IDUA L PL A N T ERS
Tables must have organic, curvilinear forms. There should be a variety of sizes and shapes; there’s no limit
Idiosyncratic tables may be combined with other elements to provide a wide range of idiosyncracies such as the →floating railing or →potted plants.
Ground planters should be restricted to shades of brown, grey, or white and should all be sized with a slight variation. Ground planters should not exceed 24” in height and the trees within those planters should not reach more than a heigh of 8’.
to the dimensions, but a series of smaller tables is preferred over a single large table. These may be painted white or left as unfinished wood.
Empathy
Make sure to accompany table with corresponding family of chairs (see 06)
4
Planters are used to create curated
interior gardens. Each plant is spac
throughout the structure and used t precious-ness of a space. Used in
glazed walls, this technique gives th
the structure is a terrarium. Planters
ceramic or even plastic, although oc
Planters should contain green leafy plants with few flower buds. Plants should exhibit a predominantly vertical growth pattern. Location of indoor and outdoor plants should maximize visibility of plants from interior and exterior.
2004
Hideyuki Nakayama Nagano House
2007
Takeshi Hosaka Inside Out
also be found as simple glazed pots
remain small and sparsely populate
species of flora include: Clethra bar jamusakura, Benthamidia japonica, macropoda, and Magnolia W.
Smallness
Nature
Empathy
1
5
2
2009
Takeshi Hosaka Garden House
10 Fixed Ladder 2011
Ladders should be rigid and inclined against a vertical surface. Ladders should be no wider than 2 feet and should be constructed of →untreated wood or →steel painted white.
Sou Fujimoto House H
Ladders should connect interior rooms and can be paired with →skylights. Ladders should have flat rungs.
2012
Sou Fujimoto Tokyo Apartment
2012
Hideyuki Nakayama Y House
20
12 Unfinished Wood Accent Ephemerality
3
Lightness
3
Unfinished wood can be used as flooring, ceiling, or wall finish. It can also provide a nice accent to →white walls and be used as trim for glazine and thresholds.
U NFINIS HED WOOD
Nature
There is a variety of uses for unfinished wood, but it should be carefully used to make certain elements stand out amongst the more prominent white finishes. Common uses of unfinished wood include furniture, cabinets, selected walls and floors, door and window frames and tree-house stairs (see No.16)
4
II - 2.3 The curved wall may be paired with →potted plants or →familes of chairs to create a hidden nook.
2012
Future Studio Light Stage House
2012
II - 3 Families of Chairs empathy II - 3.1 Families of chairs should consist of atleast three different chair types and these types must present a variety. The variety should consist of small, medium and large, or skinny, fat, and wiggley. II - 3.2 Familes of chair should be built in bent plywood, molded 2012 plastic or aluminum. 2012 Nishizawa Tetsuo Kondo II - 3.3 Ryue Familes with →potted Garden House of chairs can be coupledHouse plants to acheive a nook in corners of rooms. II - 3.4 Chairs should not be apholstered.
2012
Kimihiko Okada Toda House
Suppose Design House in Kanawaga
05 Curved Wall
2012
Suppose Design House in Kanawaga
III - Embellish
07 Floating Railing
II - 15 4 IL INE Floating Railing fragility CU RV A R railings WA L L Floating should be consturcted of one continuous I - 4.1round Floating railings should be consturcted of one steel or aluminum rod 2” in diameter that is painted continuous round steel or aluminum rod 2” in white. diameter that is painted white. railings should should be used with a →curved or a I - 4.2Floating Floating railings be used with a stair →curved →kinked stair. stair or a →kinked stair. I - 4.2Floating Floating railings railings should should not use anot baseuse rail.a base rail. I - 4.3 Floating railings
The curved wall should be constructed of glass or plaster on lathe and is an interior condition. The curved wall should follow an irregular curvature that uses two different radaii to form its curvature. The curved wall may be paired with →potted plants or →families of chairs to create a hidden nook.
III - 1
III - 1.1 Insert vert height glaz free-stand enclosed. 01
04
Curvilinear walls may be free standing, open partitions to loosely define fluid spaces or closed to create a
Micro Climate (See 12). Height varies depending on the
Ambiguity
Lightness
3
1
space, but you may choose between a floor to ceiling wall or an open top wall.
These may be in any material, but curved glass or a
Railing
Smallness
Lightness
2
2
white finish are preferred.
II - 4 Glass Wall ambiguity II - 4.1 Glass Walls should seemlessly into other building assemblies with minimal or no framing. II - 4.2 Glass should not be fretted or otherwise adorned. II - 4.3 The use of multiple layered glass walls should create ambigous reflections and dissolve the overall boundary of a space.
III - 1.2 If railing i of one con paintedwh
III - 1.3 Attach rail intervenin angle-clips preferable columns o
02
III - 1.4 If this is n required p
III - 1.5 Avoid usin 2005
Atelier Bow Wow Dog Chairs
2012
2012
Junya Ishigami Contemporary Furniture Design
2006
Kazuyo Sejima Shibaura House
SANAA Glass Pavilion Toledo Art Museum
06 Families of Chairs
08 Glass Wall
Families of chairs should consist of atleast three different chair types and these types must present a variety. The variety should consist of small, medium and large, or skinny, fat, and wiggley.
Glazing06 should be single-pane clear glass that is CHinterior A IRS framedPERSONIFIED flush with the and exterior wall.
Smallness
Empathy
Windows should not use shutters, awnings, roll blinds, sun screens, louvers, fretting or colored glass.
III - 1.8 The handr marginally for suppor
Nature
Ambiguity
Lightness
2
2
3
In our age of mass production, the idea that a piece
of furniture can have personality is alluring. There is a
level of aesthetic between Ikea and artisan that we can
1
situate ourselves in. Is it a rabbit or a whale? A cloud or
5
a sponge? Whatever it is, it is a signature of ourselves and what we held dear to us - our place in the industrial world.
I - 4.3
Nagano House
N House
one wall. II - 7 Skylight ephemerality Lightwell II - 7.113 Skylights should be used as a framing devices for →potted plants, →families of furniture, or I-5 Skylight Skylights should be used as a framing devices for →potted →integrated nature. plants, →families of furniture, or →integrated nature. Exterior should an be extenstion glazed withofsingle I - II 5.1- 7.2Skylights canskylights be considered the pane glass.Pocket Exterior skylights shouldWall be glazed with single pane glass. more typical (I - 4). Similar to the II - 7.3Pocket Interior should not be glazed and Wall,skylights skylights can be both an exterior and Interior skylights should be glazed andwith should→curved be used in should be used innot combination interior condition. combination with →curved stair, →kinked stair, →treestair, →kinked stair, or →treehouse stair. house stair or →ladder.
I - 5.2 Exterior skylights allow light to flow into rooms II - 8 Skylights Stainless Steel size can rangeephemerality from small and person sized to a up to and should be used as framing devices for Embelsize of aSteel givenshould floor plate. II - 1.1.¾ the Stainless be exposed in the case of lishments (III). Exterior skylights should be glazed slender columns or reflective ceilings. with single pane glass. II - 1.2 Stainless Steel should otherwise be painted white and used for light structural systems. I - 5.3 Interior skylight can be used to create a Room within a Room (XX) in the vertical dimension. II - 8 Paired Treehouse Stair empahty with a treehouse ladder or curvy stair II - 8.1they The treehouse stair should have a rise between create a continuous flow from one room 8 inches and 12 inches and a run between 4 inches and 8 inches. II - 8.2 Treehouse stairs should be constructed out of light wood 2009or .5” plate steel painted white. 2012 SANAA Serpentine Pavilion
Kazuyo Sejima Shibaura House
II - 9 Unfinished Wood nature II - 9.1 Unfinished wood can be used as flooring, ceiling, 14 Reflective Metallic Surface or wall finish.
22
2011
2011
Sou Fujimoto III - Embellishments
Sou Fujimoto House H
08
House H
III - 1
2012
Sou Fujimoto Tokyo Apartment
III - 1.6 The posts or anchore
III - 1.7 Railings an aluminum are also ac
Windows should use a →curtain, →potted plant, or →integrated nature for shading devices.
Pocket openings are rectangular square. Familes ofwall chairs can be coupled with →pottedor plants to acheive a nook in corners rooms. If rectangular, side-xofmay not exceed double side-y so that the overall opening remains a pocket rather than a slit.
Pocket wall openings are either over-scaled or under-scaled. Under-scaled pockets range 10”x10” to 24”x24” where as over scaled pockets range or 4’ white should all be sized with a slight from x 4’ and to 6’x6’. variation. Planters shouldshall contain leafy plants I - II 4.4- 6.4Interior pockets notgreen be glazed and with few flower should spaces exhibit a present views intobuds. otherPlants occupiable predominantly horizontal growth pattern. within the building. II - 6.5 Location of indoor and outdoor plants should maximize plants from interior and 2004 2010 I - 4.5 Pockets shall visibility not obeyofa regular grid and are best Hideyuki Nakayama Sou Fujimoto exterior. realized with at least two different pocket sizes on
2013
Tetsou Kondo Cloudscapes
Framing for glazing should be aluminum and minimal.
Familes of chair should be built in bent plywood, molded plastic or aluminum & not be upholstered..
I - 4.2
2009
Takeshi Hosaka Inside Out
II - Elements
III - 1.9 To minimi of each ste stair, and c railings alt (within 3-5
III - Embellishments
2012
Hideyuki Nakayama Y House
Railing 15 Treehouse Stair
III - 1.1 Insert vertical stair circulation between walls8or full-and 12 The treehouse should have a rise between inches inchesglazing. and a runThis between 4 inchesthe and necessity 8 inches. Theofdegree height removes a of steepness falls somehwere between a standard stair and a ladder free-standing railing as both sides of the stair are for the treehouse stair. enclosed. Treehouse stairs should be constructed out of light wood or .5”
09 09
01
Ambiguity
Lightness
2
3
III - 1.3 Attach railing to existing structure without intervening posts. Use custom steel tie-backs or angle-clips hidden with in support walls. Also preferable if railing welded directly onto structural columns or beams.
10
02
I - Tectonics 2012
Sou Fujimoto Japanese Public Restroom
Stainless Steel should be exposed in the case of slender columns, framing or reflective ceilings. When reflective, the steel can be used to multiply the space and bring exterior elements into the building.
II - Elements
Stainless Steel should otherwise be painted white and used for light structural systems.
steelispainted white.or necessary it should consist III - 1.2 If plate railing desirable of one continious round steel or aluminum rod, paintedwhite.
9
Ambiguity
Lightness
2
3
III - 1.4 If this is not achievable, the minimum amount of required posts should be used. III - 1.5 Avoid using a base rail. 2004
Kazuyo Sejima and Associates
2012
Sou Fujimoto
in Plum Grove Tokyo Apartment III - 1.6 TheHouse posts can either be suspened from the ceiling or anchored to the floor or run of the steps. 16 Unadorned White Walls III - 1.7 Railings and posts should be thin-steel plate or White walls should be the default assembly for construction 21aluminum, preferably <1” thick. Hollow-sections ST EELwalls and partitions. are also acceptable if they are <2” in diameter.
III - 1.8
2012
Hideyuki Nakayama Y House
18
W HI T E WA L L S
White walls should be used in combination with →potted plants and →families of the tables and →families of chairs The handrail should be same diameter or only to emphasize the collection of objects.
marginally larger than any vertical posts required forWhite support. walls should not be adorned with paintings, Steel construction is the preferred construction method
Nature
Lightness
for cute buildings. Typically rolled steel is used for
photographs or ornaments and should have a matte finish. stable roof construction in combination with slender
structural steel columns. Typically treated with white
Ambiguity
Lightness
This is the J
the Western
Style. The w wallpaper.
intumescent paint or left with a naturally industrial
finish, steel is preferred for its ability to be strong in both
a backdrop
tension and compression.
upon. The w
own. It is ne
2
2
III - 1.9 To minimize railing size, increase the rise/run ratio of each step. This decreases the overall length of stair, and can sometimes result in the negation of railings altogether if floor plates are close enough
It is as a bla
3
3
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The Physical constraints of the existing underground garage and intractable spatial organization of the plinth above were taken as the starting point of the proposal. The excavation of the site provides access to the garage level where the pathways that cut through the site are introduced.
The independent program units are arrayed through the marketplace where the relationship between the units suggests a loosely defined pathway that cuts through the site. The gardens essentially act as light wells that filter light below to the garage level by creating a system of apertures through the plinth and waffle slabs.
The superblock is modified through the organization of small elements. The small elements control space by avoiding hierarchical, axial, rigidly defined system. The shops are arrayed to create a field condition where the proximity of the pockets peppered across the underground garage begin to control the superblock where walking through the marketplace these scattered elements are discovered.
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The project sets out to deliberately misuse the manual to peruse the urban tower in the park scheme, where the project is advanced through cliche of â&#x20AC;&#x2DC;the cuteâ&#x20AC;&#x2122; manifested through the interventions on the existing underground garage and superblock.
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