SARAH ETAAT SELECTED WORKS 2017
2
CONTENTS
Cover Letter
1
100 Courtyard Houses
4
Piazza Brunelleschi
18
Silver Lake Live-Work Housing Ei-ffel and Got Up
30
42
3
4
5
100 Courtyard Houses (CSH 2.0) Cal Poly Pomona, Winter/ Spring 2016, Prof. Alexander Pang Awarded the Cal Poly Pomona Outstanding Senior Project Award Location: Palms, Los Angeles Program: 100 housing units
A boundary is not that from which something stops...the boundary is that from which something begins its presencing... Space is in essence that from which room has been made, that which is let into its bounds. – Kenneth Frampton, Studies in Tectonic Culture Modernist pioneers Rudolf Schindler and Richard Neutra, friends and rivals, and fellow Austrian transplants, pointedly responded to Southern California’s moderate climate and relaxed attitude in their residential work. In a series of early seminal projects - Kings Road House (1922); Lovell Beach House (1926); Lovell Health House (1929) - they established outdoor living space as the main focal point by dematerializing the building envelope. In 1945, John Entenza, editor of Arts & Architecture, initiated the landmark Case Study House program (CSH). Riding post-war prosperity, the program aims to firmly establish a Modern residential idiom, continuing the legacy of Schindler, Neutra and their Second Generation followers. This project uses the Dingbat 2.0 site in the Westside Palms neighborhood to ponder an alternative post-CSH Los Angeles. Instead of reinventing Rayner Banham’s beloved dingbats, this project will re-imagine the courtyardcentric house in the grand Southern California tradition. -----------When I discovered his [Mies’s] work, it was an astonishing revelation to me. His elegant use and expression of structure, his floor plans, his details, his plays of planes and spaces were perfection. He was the architect I wanted to be, and his work would highly influence mine. – Craig Ellwood, Life is a Bottomless Barrel Craig Ellwood, author of CSH #16/17/18, fashioned his architecture in the style of Mies van der Rohe. His pavilion-like designs exhibit strict regulating lines in the x and y dimensions, which are then expressed through only a few free standing walls in the Z dimension, meeting at one major datum line - the roof. With these planes running between the interior and exterior, these houses render interior/exterior divisions non-existent. Mies further exemplifies the same regard toward negative space – Brick Country House (1923); Barcelona Pavilion (1929); 3 Court Houses (1945). In this tradition, planes are layered and juxtaposed against one another challenging the perceived sense of boundary. -----------The plan looks extensive. The section looks compressed. The building gives the impression of neither. – Robin Evans, Mies van der Rohe’s Paradoxical Symmetries The work of Mies van der Rohe can be studied as 2-dimensional extrusions: an art piece of sorts. Corbusier, in a similar fashion, extruded volumes out of a plan, only to then stack each level onto one another. In this language, the wall is the most powerful element in each project, as it bounds both the floor and the roof. As opposed to Corbusier’s cubist collage, Mies composed his projects with Dadaist influenced photomontage, working in the Z dimension and juxtaposing vertical planes against horizontal ones – Barcelona Pavilion (1929). Consequently, his work is described as flowing, 3-dimensional space, although the spatial experience is in fact arranged by 2-dimensional frames.
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CASE STUDY
Cubist Collage & 2-Dimensional Extrusions
Pablo Picasso, Girl With a Mandolin, 1910 (left) and Le Corbusier, Still Life, 1920 (right). Two examples of cubist collages with a focus on parts of a whole, layering, and transparency.
Le Corbusier, Plan of Villa Savoye, 1931. A cubist collage translated into a 2-dimensional plan, using cubist techniques to create a spatial layout.
Le Corbusier, Section of Villa Savoye, 1931. A 2-dimensional collage extruded and stacked into 3-dimensional spaces.
CASE STUDY
Dadaist Montage & Layering of Planes in 3-Dimensions
Mies van der Rohe, Montage of Freidrichstrasse Skyscraper, 1921 (left) and Mies van der Rohe, Montage Perspective of Barcelona Pavilion, 1929 (right). Two Dadaist-influenced montages, focusing on planes, layering, depth and transparency.
Mies van der Rohe, Plan of Barcelona Pavilion, 1929. A photo montage translated into a 2-dimensional map; a flat assembly of textures, points and lines.
Mies van der Rohe, Barcelona Pavilion, 1929. A disconect of plan to perspective; a photo montage influenced assembly of planes, juxtaposed against one another in 3-dimensions.
7
8
PROCESS
01. Collage
02. 2-Dimensional Extrusion
03. Planes
PROCESS
04. Juxtaposition
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0
25
50
100
MENTONE AVE
KEYSTONE AVE
10 SITE PLAN
INTERIOR PERSPECTIVES
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PLAN, 16-UNIT CROP
12
0
7.5
15
30
FRAMING, 8-UNIT CROP
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14
0
SECTION ARRAY
7.5
15
30
MODEL
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16
8-UNIT COLLAGE
8-UNIT MODEL
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SITE PLAN
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(E) UNIVERSITY LIBRARY
PIAZZA BRUNELLESCHI (E) ROTONDA DEGLI ANGELI
(E) ROTONDA DEGLI ANGELI
(N) UNIVERSITY ADDITION
(N) UNIVERSITY PAVILION
VI
A
0
25
50
100
DE
LC
AS
TE
LL
AC
CI
O
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Piazza Brunelleschi Cal State Florence, Fall 2014 (6 week charette), Prof. Giaconia, Brizzi & Michelizzi Location: Florence, Italy Program: New entry condition to the existing school library, including a Cafe, Gallery, Large Cinema, Small Cinema, Reading area and study rooms
The circle is imprinted in several notable locations throughout Florence, Italy. In Arnolfo di Cambio and Brunelleschi’s Santa Maria del Fiore (1296 – 1436), the circle is inserted, in plan, into the otherwise traditional Latin Cross parti. Where the transept and nave would typically come together at a crossing, a circle, underscored by a dome, now creates a spectacle out of the central space, and a seamless transition between two perpendicular axis. Across Piazza del Duomo, in which the cathedral is set, lies another significant circle: Battistero di San Giovanni (1059 – 1128). Here, the entirety of the plan is a single circle, with the doors being the only elements defining a starting and ending point; however, every other feature leads to it being centrally focused, with no evident hierarchy. In Brunelleschi and Michelangelo’s Basilica di San Lorenzo (1470), the circle acts as a final destination; set at the end of a long nave, it houses the Capelle Medicee, where it draws the user in from a single thresh-hold and circulates him around the room. Ultimately, the function of the circle, in plan, has served many purposes, but shares the commonality of creating an intuition to circulate and a space without a formal ending. Piazza Brunelleschi is located between two major piazzas of Florence (Piazza del Duomo and Piazza SS. Annunziata) and just one block southeast of one of the main axis of the historic city (via dei Servi). The south east side of the Piazza faces the Rotonda degli Angeli, designed in 1427 by Brunelleschi, currently used as a Language Center for the University of Florence. Similarly to the Baptistery, this building is a single circle, with a domed top. This project converts the existing Piazza Brunelleschi into an addition to the existing Humanistic Library of Florence University. By drawing influence from the function of the circle in Florence, it attempts to build on it’s spatial impact; however, it respects the historic beauty of the existing library, by minimizing the intervention of the new elevation to a low and transparent pavilion, and a deceivingly rigid double height building, set at one end of the library, and embedded 1 meter below the street level.
VIALE GIACOMO MATTEOTI (CITY BOARDER)
ROTONDA DEGLI ANGELLI
PIAZZA BRUNELLESCHI (SITE)
oR
VIA DE SERVI (STREET)
Arn
SANTA MARIA DEL FIORE
BATTISTERO DI SAN GIOVANNI
BASILICA DI SAN LORENZO
20 SITE CONTEXT DIAGRAM
ive r
CASE STUDIES
Arnolfo di Cambio and Brunelleschi’s Santa Maria del Fiore,1296 – 1436 A circle is inserted, in plan, into the otherwise traditional Latin Cross parti. Where the transept and nave would typically have come together at a crossing, a circle, underscored by a dome, now creates a spectacle out of the central space, and a seamless transition between two perpendicular axis.
Brunelleschi and Michelangelo’s Basilica di San Lorenzo, 1470 The circle is a final destination; set at the end of a long nave, it houses the Capelle Medicee, where it draws the user in from a single thresh-hold and circulates him around the room.
Battistero di San Giovanni (1059 – 1128) The entirety of the plan is a single circle, with the doors being the only elements defining a starting and ending point; however, every other feature leads to it being centrally focused, with no evident hierarchy.
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FLOOR PLAN, LEVEL 1
22
CAFE -0.2 M
+0 M
POP-UP SHOP -.8 M +0 M
GARDEN -0.5 M
-.8M
ENTRY -1M
DN
COURT YARD -.8M
DN
DN
GALLERY +0M OPEN TO BELOW
DN
UP
O.T.B.
BR
OPEN TO BELOW
LOBBY B -0.5 M
-0.5 M 0
7.5
15
30
FLOOR PLAN, LEVEL 2
23
+2 M
+2.8 M
OPEN TO BELOW
OPEN TO BELOW DN
STUDY HALL
STUDY TERRACE
STRG
(E) CLASSRO UP
BRIDGE ELV
(E) CAFE
(E) RESTR
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CIRCULATION DIAGRAMS
Roof Terrace Circulation
Level 2 Circulation
CIRCULATION DIAGRAMS
Level 1 Circulation
Basement Circulation
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CROSS SECTION
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ROOF TERRACE STUDY HALL
GALLERY
CINEMA A
0
7.5
15
30
TRANSVERSE SECTION
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ROOF TERRACE STUDY TERRACE
(E) CAFE
STUDY HALL
ENTRY
LOBBY B
GALLERY
CINEMA A
CINEMA B
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ENTRY PERSPECTIVE
AERIAL
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LIVING ROOM PERSPECTIVE
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Silver Lake Live-Work Housing Cal Poly Pomona, Winter 2014, Prof. Nadim Itani Location: Silver Lake, Los Angeles Program: 10 live-work units, 5 single family units, 5,000 sf office space, and 800 sf community space
A room is a marvelous thing, a world within a world. It’s yours and offers a measure of yourself. What slice of the sun enters your room? You feel the privacy of it, you feel that suns belong to you, coming through the window, playing along the sills and the jambs and the walls. – Louis Kahn, 1991 This project looks at the roll of indoor-outdoor living in an environment where density and privacy are priorities. Additionally, it underscores the American dream by land-locking all units, allowing each tenant to assert ownership over a front yard, back yard, and a ground-level front door. In order to propose a solution that maximizes these ideals, modularity and poche are used to segregate the individual units. At face value, the units appear to be arranged into a double-height row-scheme; however, the rows are then broken down into modules of single-family housing units, which pixilates the overall composition. Each individual unit is further broken down into four parts: two positive and two negative spaces, both in plan and section. When placing the units side by side, the relationship of a positive space, next to a neighbor’s negative space, minimizes shared walls and maximizes privacy. Additionally, a linear core, or poche, runs through the length of the site, acting as a structural anchor. The core contains all of the back of house functions that are not noise sensitive, thus creating a buffer between neighboring units. The idea of same-ness is also explored; by providing open plans with several living spaces, this project respects the fact that the tenants will customize a house based on his own needs; the project is simply the shell, and the framework for a home. Ultimately, this project aims to create a single-family house experience in a dense setting.
FIRST FLOOR PLAN
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RETAIL SPACE
UNIT TYPE B
BELLEVUE AVE
DN
UNIT TYPE A
0
5
10
20
UNIT TYPE A
33
COMMUNITY PARK
DN
N DILLON ST
Achieving the American Dream: Each unit includes two positive and two negative volumes, arranged in a 2 x 2 grid, resulting in a personal front and back yard. A unit’s positive volume meets a neighbor’s negative volume, minimizing shared walls to virtually nothing. On the short end of the unit, a core of smaller programs acts as a barrier between two units, and runs down the center of the entire line of units. Ultimately, each unit is pereived as an individual single family home.
SECOND FLOOR PLAN
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UNIT TYPE B
UNIT TYPE A
0
5
10
20
35
DIAGRAMS
NA TU R
AL
LIG H
T
36
BACK YARD
UN
NA TU R
AL
LIG H
T
AIR FLOW
AIR FLOW
FRONT YARD
BACK YARD
UNIT B
AIR FLOW
NA TU
RA
LL
IGH
T
AIR FLOW
NA TU
RA
LL
IGH
T
Maximized Comfort
UNIT A
FRONT YARD
SHARED WALLS INDEPENDENT WALLS POCHE
BACK YARD
UNIT B
RA
LL
IGH
T
RA
LL
IGH
T
American Dream
FRONT YARD
UNIT A
SHARED WALLS INDEPENDENT WALLS POCHE
Maximized Privacy
4-UNIT CONFIGURATION, FIRST FLOOR
FRONT YARD
BDRM
FRONT YARD
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WORK SPACE
BATH CLST
CLST
PWDR
GARDEN
UP
UP
LIVING LIVING
DINING
DINING
KITCH.
PWDR
KITCH.
GARDEN
UP
DINING
DINING
LIVING
LIVING
UP
UP
CLST
GARDEN
PWDR
PWDR
PWDR
CLST
KITCH.
UP
KITCH.
PWDR
CLST
GARDEN
CLST
WORK SPACE
BATH FRONT YARD
BDRM
FRONT YARD
0
2.5
5
10
38
SECTIONS
Transverse Section at Core
Transverse Section at Units
0
5
10
20
0
5
10
20
LEVEL 2 12’ - 0”
LEVEL 1 0’ - 0” T.O. ROOF A 24’ - 6” GARAGE -13’ - 0” LEVEL 2 12’ - 0” T.O. ROOF B 24’ - 6”1 LEVEL 0’ - 0” LEVEL 2 12’ - 0” GARAGE -13’ - 0” LEVEL 1 0’ - 0” T.O. ROOF B 24’ - 6” GARAGE -13’ - 0” LEVEL 2 12’ - 0” T.O. ROOF A 24’ - 6”1 LEVEL 0’ - 0” LEVEL 2 12’ - 0” GARAGE -13’ - 0” LEVEL 1 0’ - 0” T.O. ROOF A 24’ - 6” GARAGE -13’ - 0” LEVEL 2 12’ - 0”
LEVEL 1 0’ - 0”
GARAGE -13’ - 0”
39
40
SECTIONS T.O. ROOF A 24’ - 6”
MASTER BEDROOM
LEVEL 2 12’ - 0”
PATIO
OFFICE
LEVEL 1 0’ - 0”
Wall Section
Cross Section
0
5
10
20
MODEL
41
42
ELEVATION PERSPECTIVE
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Ei-ffel and Got Up Cal Poly Pomona, Fall 2015, Prof. Frank Clementi Location: the Eiffel Tower, Paris, France Program: Institution of Comparative Religion
The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. - Marcel Duchamp, The Creative Act, 1957 In 1889, Eiffel was first opened to the public as the entrance to the World fair. Rigid and technically wondrous, it was a monument of the power and strength of France; however, the tower’s popularity soon became so monumental, that it now is the most identifiable object in the world – making it a monument of more than just France. Now, in 2016, the French have intervened with the outdated icon, in order to reclaim Eiffel as a monument of France. The project aims to keep the integrity of the existing Eiffel, using it as the framework for an intervention. Added to the frame is a new spectacle that will, not only cause interest from a viewer’s standpoint, but also add to the experience of circulating through the tower. The intervention comes with the notion that the French have a historical affinity with the human body and beauty, as the country is the capitol of fashion. The country is also a hub for diversity – seeing a growing immigrant population for the past 20 + years. Thus, the project draws from historical icons of beauty, including Michel Angelo’s David, Duchamp’s Nude Descending a Staircase 2 and Jean Paul Goude’s photo collages, as the process of stitching together an intervening figure. What isn’t evident from the exterior perspective, however, is that the body houses the Institution of Comparative Religion, which operates independently of the tourist attraction. As the public user climbs the tower, he will undoubtedly come into contact with the institute, as the stairs weave in and out of it’s skin, through galleries and entertainment venues, thus creating an inward experience as much as the historical outward viewing experience.
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PROCESS
The David Curve
Eiffel Meets David
PROCESS
Beauty Meets David
Monument to Paris
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VICINITY MAP
5,000 FT
4,000 FT
3,000 FT
2,000 FT
1,000 FT
0 FT
1,000 FT
2,000 FT
3,000 FT
4,000 FT
Legend Eiffel Map 6,000’ Radius Eiffel Worship Culture Fashion
6,000 FT
3,000 FT
2,000 FT
1,000 FT
0FT
1,000 FT
2,000 FT
3,000 FT
AVENUE ELISEE RECLUS
AVENUE CHARLES FLOQUET
AVENUE DE LA BOURDONNAIS
AVENUE DE SUFFREN
PONT D’LENA
SITE PLAN
QUAI BRANLY
AVENUE GUSTAVE EIFFEL
AVENUE JOSEPH BOUVARD
0
75
150
300
47
NORTH CAMPUS, GROUND LEVEL PLAN
48
CAFE
UP
UP
LOBBY DN
0
10
20
40
PUBLIC LIBRARY
ELV. DN
EIFFEL
SOUTH CAMPUS, BASEMENT LEVEL 4 PLAN
CLASSROOM
UP
ELV.
CLASSROOM EIFFEL CIRCULATION & PUBLIC GALLERY
STUDY LOUNGE
up
LECTURE HALL
49
50
CROSS SECTION
CROSS SECTION, NORTH CAMPUS
51
52
INTERIOR PERSPECTIVE
NORTH CAMPUS
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