THE FIRST STUDIO
A FOLIO BY RUBY MAZZOCCO
2 CYCLE I
CYCLE I THE COOK, THE CABBAGE & THE KNIFE THE FRIDGE: SITE ANALYSIS
CYCLE I
3
CUT UP: THE SECTION
MOCKUP SPREAD, PAGES 2 & 3
MOCKUP SPREAD, PAGES 6 & 7
PAGE 16 OF THE SECTION ISSUU
4 CYCLE I
RECIPE RECIPE. THE DIAGRAM
MOCKUP SPREAD, PAGES 12 & 13
MOCKUP SPREAD, PAGES 18 & 19
5
INVITE US IN. THE PLAN, THE MODEL.
615
885
2480
20 0
CYCLE I
5200
26 0
76 0
26 0
135 Ø 38
Ø 60
180
Ø 166
Ø 20 0
390
6 15
430
370
90
755
330
350
440
95 55
835
30 55
545
50 0
155
585 81 5
4 61 5 81 0
Ø 52mm
120 0 30
585 1 995 65 920
900
255 297 520
150
545
26 0
220
Ø 210
320
1430
390
Ø 20 0 Ø 275
Ø 270 Ø 220
130
61 5
265
Ø 150 25 0 Ø 10 0
120
250
210
1300
730
720
6 15
270
375
10 35
375
26 0
56 80
S CALE 1 : 1 0 @ A1
0
0.25
0. 5
KITCHEN PLAN
KITCHEN MODEL
KITCHEN MODEL
6 CYCLE I
THE TABLE OF CONTENTS
S CA L E 1 :1 0
FLOW OF MOVEMENT THROUGH THE KITCHEN
MAZZOCCO KITCHEN MOVEMENTS
THE M EA L
THE FAMILY KITCHEN
CYCLE I
7
THE TABLE OF CONTENTS
THE TABLE PLAN
THE TABLE SECTION SECTIO N A
10 0 0 410 C OC O— TH E S OU S
100
H EA D: Gr i lli n g veget able s .
80
S H OU LDER S : Nar rowe r t h an t h e c h e f ’s . R U BY— TO N I G HT ’ S C HE F
250
HE AD : G ia n t .
Ø 15 6 0
S HO U L D E R S : W id e r t h a n s h e t h ou gh t.
20 0
M A Z — TH E PATR I A R C H
50
H EA D: Bald. SHO ULDERS: T i red f ro m c ar r yi n g t h e m all.
250
SECTION AA JA R R O D — T HE TO L E R AN T HE AD : L a rge e n o u g h to sto re h is an d th e c h ef’s brain . S HO UL D E R S : C a p a b l y b ro a d .
50
750
Ø 250
400 Ø 80
Ø 1000
Ø 15 6 0
Ø 150 KE R R I — T HE C R E ATO R
80
HE AD : Powe r f u l l y p et ite . S HO U L D E R S : Re l ieve d to b e t a k in g a b re a k f ro m c o o k in g .
40 0
S CAL E 1:10
M A ZZOC C O LA SAGN E TA BLE: P LAN
ALL MEAS U REMENTS IN MM
760
40 0
1560
SCALE 1:10
SCALE 1:10 @ A3
80
160
MAZZOCCO LASAGNE TABLE: SECTION A
SCALE 1:10 @ A3
AL L M E AS
8 CYCLE II
CYCLE II THE FIVE OBSTRUCTIONS THE PRECEDENT: SLOW HOUSE, DILLER & SCOFIDIO
9
OBSTRUCTION ONE: THE COLLECTION
24
38
INDIVIDUAL ARTWORKS ARE 34X38MM (NEGATIVE IMAGE SIZE 24X35MM) ARTWORKS ARE VIEWED FROM RIGHT TO LEFT, STARTING AT 000 SECONDS AND ENDING AT 1140 SECONDS.
CYCLE II
THE SNAIL’S JOURNEY―A SERIES OF NEGATIVES 35
34
540
480
420
360
300
240
180
120
060
000
1140
1080
1020
960
900
840
780
720
660
600
LEVEL 1 (PUBLIC SPACE) COLLECTION EXHIBITION INTERNAL ELEVATION
0 SCALE 1:100 @ A2
2.5
5m
10
OBSTRUCTION TWO: WEDGE ME IN PARTI DRAWINGS
CYCLE II
3D CONCEPT DRAWINGS
FIRST FLOOR PLAN 1:200 @ A3
THE SECTION (AA) 1:100 @ A3
6648
6000
275 0
300
20 0
A 31 3 80 0
1 4696
5100
38 7
300 10
4000
3 19
A
300
SINGLE LINE DIAGRAMS CONCEPTUALISING THE TRANSITION PROCESS
CYCLE II
THE IMPORTANCE OF THE SLOW HOUSE
11
OBSTRUCTION THREE: THE DESECRATION
SLOW HOUSE DESECRATION RENDER
CONCEPT DIAGRAMS - WE SEE MORE THAN ONE VIEW NOW
CYCLE II
12
OBSTRUCTION FOUR: THE MASTERPIECE
CONCEPT DIAGRAMS - PERFECTION AND MEASURE
PROPOSED GROUND FLOOR PLAN
SCALE 1:200
0
5
10M
CYCLE II
13
OBSTRUCTION FOUR: THE MASTERPIECE
INTERNAL, LOOKING EAST
INTERNAL, LOOKING WEST
EXTERNAL, FROM SOUTH WEST CORNER
14 CYCLE III
CYCLE III LIFE IN BETWEEN SLOW HOUSE REDUX
FIELD TACTICS GROUND FLOOR
SECTION A
A
MASSAGE PARLOUR PROGRAM
LEVEL ONE
MEZZANINE
SCALE 1:100
0
10
20 M
15
IN GOOD FORM ELEVATION 02
CYCLE III
EMPATHY FLOOR PLAN
RESIDENTIAL
RESIDENTIAL
C O N V E R S AT I O N S PA C E
0 SCALE 1:40 @ A0
8
16M
16
IN GOOD FORM
CYCLE III
SECTION
SECTION A
SCALE 1:200
0
5
20M
OR PLAN
SITE PLAN 1:500 @ 1920 x 1080PX
CYCLE III
TO BE EMPATHETIC WE MUST UNDERSTAND THE EMOTIONS OF OTHERS. EMPATHY IS NOT A UNIQUELY HUMAN CONSTRUCT AND HUMAN EMPATHY IS NOT UNIQUELY FELT FOR OTHER HUMANS. OUR EMPATHY IS POWERFUL ENOUGH TO EXTEND TO OBJECTS AND SPACES.
EMPATHY SECOND FLOOR PLAN
SCALE 1:100
0
17
NEIGHBOURHOOD: LIFE IN BETWEEN
2.5
5M
18 CYCLE III
NEIGHBOURHOOD: LIFE IN BETWEEN
RENDERS
INTERIOR OF EMPATHY BUILDING
GIF STORYBOARD
COURAGE BUILDING ENTRANCE
EAST ENTRANCE OF COMPLEX
CYCLE III
19
NEIGHBOURHOOD: LIFE IN BETWEEN
MAIN CIRCULATION LEVEL
EAST ENTRANCE OF COMPLEX
WHERE THE SLOW HOUSE WAS BOLD BUT ELEGANT, THIS HOUSE WILL BE QUIET BUT UNYIELDING. ITS WALLS WILL BE STRAIGHT AND ITS EYES WILL LOOK DOWN AND WHEN NOBODY’S LOOKING IT MIGHT JUST DISAPPEAR. THE SLOW HOUSE WAS NOTABLE IN ITS CONCEPTUAL AUDACITY BUT WE WILL NEVER KNOW ITS PHYSICAL EXPERIENCE. IT IS A FOREVER THOUGHT, CONSTANTLY OPPOSING OUR INNATE SENSE OF CURIOSITY. PERHAPS THAT IS WHAT MAKES IT SO INTRIGUING. NEITHER IS BETTER NOR IS IT WORSE BUT IT IS ONE THING TO BE THOUGHT OF AND QUITE ANOTHER TO BE KNOWN.
A FOLIO BY RUBY MAZZOCCO