2
CONTACT Email
Shayank08@gmail.com
Phone Number
386-882-3800
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www.vsco/skhorassani.com
Blog
www.tumblr.com/blog/skhorassani
www.instagram/skhorassani.com
SHAYAN KHORASSANI SCI-ARC 2017-2018
“If ideas were immortal,we wouldn’t have anything to do. Because we die,and because knowledge can’t be transferred directly, each person has to reinvent the form of ideas all over again. Our social existence is about helping each other to do just that.”
-Lebbues Woods
CONTENTS 3B Design Studio | AMIGAA: Articulation and Tectonics II
13
3A Design Studio | AMIGAA: Articulation and Tectonics I
41
2B Design Studio | Objects to World: Ground and Apertures II
67
2A Design Studio: Objects to World: Ground and Apertures I
111
Summer Transfer Seminar
135
Tectonics + Materiality
145
3A Visual Studies | Coding Form
155
2B Visual Studies III
162
2A Visual Studies II
171
2A History of Architecture and Urbanism III
178
2B Philosophy I
182
2A Art History II
188
3B DESIGN STUDIO
PB
AMIGGA: Articulation and Tectonics II
2288
3B Studio
Spring 2018
Maxi Spina In Collaboration With Ka Leung Wilson Chan
AMIGGA | Articulation and Tectonics II The second studio of the third year introduces students to the comprehensive design and development of a large scale, building on an urban site. Advancing on the pedagogy established in previous studios (AMIGAA: Architecture as Mass, Interiority, Ground, Aperture and Articulation), this studio focuses on the design,development, and tectonic logic of the building envelope and its ability to articulate contemporary formal organizations. Assemblage versus monolithic form, surface versus mass, iconicity and image, the intentional obscuring of hierarchical mass, layered, and graphic assemblies, tectonics and materiality,constitute a range of concerns in the design work. Beyond design competence, students are expected to articulate and argue for conceptual and disciplinary positions in relation to issues of AMIGAA in anticipation of more advanced work in vertical and thesis studios. The 3B studio will work on the problem of urban coningency. The project sites are located in the Historic Center of Mexico City. Vast and Complex, the larger metropolis has evolved historically to produce sites adventurous, often at the same time. In the end, the studio seek to transfrom a situation by fully embracing both what is there and what it might become. It is incumbent on each team to engage the city; on what fronts and to what degree is a question.
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3B DS / Articulation and Tectonics II
Fig. 1-4 Bucarelli Pattern Composition
Fig. 1-1 Street View Perpectives
Fig. 1-2 Street View Perpectival Collages
14
Street View Diagramatic Analysis In the age of digital technologies, we often take on digital surveilance as granted as a true form of representation, without second questioning the minor crutial details that the curated information. This project is an exploration towards these unknwon waters of the digital age, where the voided site would serve as an excellent example to investigate onto the uncharted waters of the digital world, since no accessible route are availible for online street image providers and very little to none clear information could be found according the actual site’s occupation, ambience and materiality.
Fig. 1-3 Street View Sight Angles
Google Map photos exploring sights, from a point of view of a foreigner behind a desk visiting the existing site. This now blocks walls, perspectives, materialities, which leads to lost of layers of architectural elements and materiality. Trees, buses, and street traffic which blocks away the sight of the foreigner, confuses the vision, which leads to examine invisible spaces of the site. This project serves as an response towards this problematic digital world’s missleading information, while the designed strategies could be extremely site specific. Narrowing down the problematics of the curated digital information world to the problem of the revealing the seams between the two realms and creating typologies to reveal the clashes of these two worlds.
3B DS / Articulation and Tectonics II
NE Sight
NW Sight
NE Sight
Ayuntamiento Street View Perspectival Collages_ NE and NW
NE Sight
Ayuntamiento Street View Perspectival Collages_ NE and NNE
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East Sight SW Sight
SE Sight
S Sight
SE Sight
Fig. 1-4 The Free University [Plan]
3B DS / Articulation and Tectonics II
Fig. 1-1 Buvarelli Composition
Fig. 1-2 Ayutamiento Composition
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Massing Diagram
Program Diagram Due to the pronounced form of the massing, the seperation and interaction of the program was settled to oblige the knoting and overlapping qualities of the mass; Where the masses and programs splits into parts at the entrance and joins together vertically in the tower located at the rear of the site. The retail program is placed in the mass that overlaps onto when they interact, due to the circumstances of the volumes as reatil requires wider spaces for safety, traffic flow, and other issues. As the gallery program lands on the ground, it can allow its own private entry ways to the building; More over, the programming of the gallery requires large amount of natural light, which the positioninin of the programs conjures, with roofs and skylight, allowing maximum amount of light intake for the gallery.
Designing by sight of views, a composition of flat planes are created within the site, with care in their positioning, orientation, from, scale, allowance of curvature and the overall skyline they compose. The juxtaposition of these planes created mountain-like form when being viewed at the street level, the height where human eyes are located; However, since these surfaces does not contain thickness, all credibility as massing is lost when aerial views are being performed. Existing as naked plane geometries, an enclosure system were needed; as a strategy for so, larger, more pronounced surfaces are being carefully culled as an anchor for connecting warped and scalloped surfaces as roofs and enclosure. The more dominant planes are selected to not affect the skyline of the composition; though some of the depth and layering of the planes are lost in the transition from surface to mass. Through several versions of massing development, with the form of the massing becoming more defined and pronounced with its own characteristics. The final massing is chosen by its sensible but powerful geometry, with a strong sense of overlapping and vector crossings.
3B DS / Articulation and Tectonics II
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Fig. 1-4 The Free University [Plan]
3B DS / Articulation and Tectonics II
Fig. 1-1 Ayuntamiento Pattern Composition
18
Fig. 1-4 Bucarelli Pattern Composition
Relief Pattern Diagram Surfaces of the massing are developed and articulated by using the same planes that created the massing volume itself. The complex composition and positioning of the planes are attened in accordance to the views available on each street and the composition is projected onto the massing, wrapping around corners and ceilings of the mass. The relief patterning not only breaks down the entirety of the mass, but also brings back the planar quialities of the thin planes in space; when viewed at speciďŹ c angles by the human eye, the skyline and the complex building relationship of the city can be seen on the massing. Fig. 1-3 Morales Pattern Composition
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Fig. 1-4 The Free University [Plan]
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Material Sampling Materiality of the project is determind by the material characteristics of the surrounding context. Our site is a in-ďŹ ll vioded space within a built block, havin party-walls as a front facade of our site, which is the percise character we would like to exploit and develop upon, continuing the party-walls as a major building material for our project. Viewing these brick pattern as pixels, the juxapositioning of these materials allows furthur development on our facade articulation and panellizing of our facade, dictating reliefs of the physical mass, giving the material more dominance than just being a cladded as a skin.
3B DS / Articulation and Tectonics II
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Philip Schaerer - Diary Series
The Digtal Scanner Image Fragmentaiton
Old Brick Patterning with Seames of Greenery and Relief
Old Brick Patterning with Seames of Greenery and Relief
3B DS / Articulation and Tectonics II
Morelos Avenue
Parking Entrance
North Gallery Entrance
Enrico Martinez Street
Bucareli Street
Cafe
Retail Entrance
West Gallery Entrance
Plaza
South Gallery Entrance
Ayutamiento Street
22 SITE PLAN SCALE I 1:250
Thinking Context Visually Located in the Historic District of Mexico City, adapting to an inďŹ ll site, the project argues contextualism as a visual imagery, seen through lenses of modern surveillance technologies. Juxtaposition of brick relief patterning skews and warps into curved and scalloped surfaces; creating a landďŹ ll form that could be describe as an-exact. The incorporation of the form and materiality constantly deceiving the lenses of digital surveillance cameras, allowing an uncanny and ambiguous reading of the massing, from the satellite top view and various angles from street views.
3B DS / Articulation and Tectonics II
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FIRST FLOOR PLAN
3B DS / Articulation and Tectonics II
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MORALES ELEVATION Scale I 1:200
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BUCARELI ELEVATION Scale I 1:200
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AYUTAMIENTO ELEVATION Scale I 1:200
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3B DS / Articulation and Tectonics II
Max Height E.L | 17.70 M
LEVEL 3 E.L | 11.50 M 4
30
8
LEVEL 2 E.L | 7.50 M
LEVEL 1 E.L | 3.50 M 7 2
LEVEL 0 E L | 0.00 E.L 0 000 M
LEVVEL -1 LLEVEL E.LL | -4.2 EE. - 2M LEVEL LE VELL -22 EE.L .LL | -6.7 -6 -6. 6 .7 M
1
3B DS / Articulation and Tectonics II
3
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6
1 Parking 5
2 South Gallery Entrance 3 Retail Entrance 4 North Gallery 5 Underground Retail 6 Retail Street Entrance 7 Archive Room 8 Walk-way Gallery
Max Height E.L | 20.3 M
LEVEL 2 E.L | 10.5 M
LEVEL 1 E.L | 7.4 M
LEVEL 0 E.L | 0.00 M
3B DS / Articulation and Tectonics II
Brick Veneer Waterproofing Sheets (5mm) Insulation R-21 (140mm) Single Pane Glass (25mm) Plaster Light Channel (35mm)
I-Beam (W21x44)
Plaster Wall (100mm)
Interior Apertures
Aluminium Tube (ø20mm) Glass Panels (16mm) Concrete (150mm) Steel Decking (70mm) I-Beam (W14x30) Hanging Poles (ø2mm) Mineral Fiber Ceiling (25mm)
FACADE ASSEMBLY
L-Holders (65mm X 50mm) Tilath Diamond Mesh Lath (3mm) I-Beam (W21x44) Brick Veneer
20m
BUILDING TECTONICS ASSEMBLY DETAIL
STRUCTURE ASSEM
3B DS / Articulation and Tectonics II
10m
I-Beam (W21x44) Brick Veneer
L-Holders (65mm X 50mm) Single Pane Glass (25mm)
Stone Adhere Mortar Tilath Diamond Meshes Lath (6mm) Waterproof Sheeting (5mm)
Steel Plate (5mm)
Steel Sheeting (5mm)
Fiber Insulation R-21 (140mm)
Steel Z-Bars (140mmx140mm)
Plaster Light Channel (35mm) Plaster Interior Wall (100mm)
Y DETAIL
MBLY DETAIL
I-Beam (W21x44)
Steel End Plate (15mm) Steel Bolts (ø50mm) Angled Steel Cleats (12mm) Steel Bolts (ø50mm)
Steel Bolts (ø25mm) Steel Plate (5mm) Interior Brick Veneer Primary Tilath Diamond Mesh Lath (3mm) Secondary Tilath Diamond Mesh Lath (3mm) L-Holders (65mm X 50mm)
Exterior Brick Veneer
Stone Adhere Mortar
10m
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SECOND FLOOR PLAN
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FIRST FLOOR PLAN
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3A Studio
Fall 2017
Maxi Spina In Collaboration With Ana Antoni
AMIGGA | Articulation and Tectonics I 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 of the building envelope and its material and geometrical determinations on site ana a Tall Building form, and the capacity top 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 dependency existing between serial determinations-of both geometric and material order-of the outermost surface, and the spaces it encloses, its surroundings and its iconographic performance in today’s metropolis. Throughout the semester we will thus attempt to situate processes of expression alongside the magnitude that control the economies of towers in order to articulate design proposals, that while fulfilling the different performative criteria of the contemporary High-rise, they contest its presumed identity. Students will hence be expected to put forward a critical position-one 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.
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3A DS / Articulation and Tectonics I
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Fig. 1-2 The Composition and Interaction of Vector and Raster [Model]
Envelope Study Throughout the studies of early computer art during 1960’s, the facade started to develop and form the ideology of breaking the reading of the curtain wall grid as endless vertical and horizontal vectors and rasters that challenges the idea of the at curtain wall by representing real depth versus an implied one. Fig. 1-1 Close-up shot exploring the depth in between the vector and rasters [Model]
3A DS / Articulation and Tectonics I
Squares Recompsing the Recomposed Grid
90°
Same colors starts to explore enegmatic effect of layers.
Squares Recompsing the Recomposed Grid
180°
Lighter colors examines new thicknesses through thin layers
Superimposition of Recomposed Grid
360°
Shadows start to explore depth through flatness of layers
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3A DS / Articulation and Tectonics I
Fig. 1-1 Chunk Model of The Facade
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Fig. 1-3 Axonometric View of The Chunk Representing the Depth in between the Rasters
Facade Chunk Model Throughout the studies of early computer art during 1960’s, the facade started to develop and form the ideology of breaking the reading of the curtain wall grid as endless vertical and horizontal vectors and rasters that challenges the idea of the at curtain wall by representing real depth versus an implied one. Fig. 1-2 Chunk Model of The Facade
Floor Plan Cut
N
Section Cut
45
Steel Suspension Rod
Double Glaze Low-E Glass
1
Section
E
A
2
3
4
5
B
6
7
8
9
C
10
11
12
13
D
14
15
16
17
E
18
19
20
21
F
22
Elevation Scale=1/8”
Steel Outrigger
3/4” Steel Vertical Mullion
Galvanized Steel Grate Catwalk
FACADE CHUNK MODEL
Floor Plan
Scale=1/8”
3A DS / Articulation and Tectonics I
Fig. 1-1 Massing Model Exploring The Stepping Typology
Fig. 1-2 Massing Model Examinig The Central Stepping
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Massing Strategy
Fig. 1-3 Final Massing Model Analyzing The “Shift” That Seperates The Two Masses
The massing stategies were based on a set of wood dowels with specific dimensions that allow fot more variety in terms of the formal variations in physical models that were later translated into digital form. The main idea behind the studies has always been to work with a core in the back of the tower that splits into two in order to creat a shift and viod between the two masses. The use of basswood extrusions was an experimental and systematic way to explore typological issues as well as massing and formal observations. The specific dimensions of these extrusions provide a systematic measuring devive with a predetermind grid.
3A DS / Articulation and Tectonics I
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Fig. 1-4 Evelution of The Massing Models
3B DS / Articulation and Tectonics II
Level 34 E.L. 580’-00”
SKY BA Level 33 E.L. 559’-00”
SKY L
Level 33 E.L. 536’-00”
Level 32 E.L. 523’-00”
Level 31 E.L. 510’-00”
Level 30 E.L. 497’-00”
Level 29 E.L. 484’-00”
Level 28 E.L. 471’-00”
Level 27 E.L. 458’-00”
Level 26 E.L. 445’-00”
Level 25 E.L. 432’-00”
HOTE
Level 24 E.L. 419’-00”
MECHANICA Level 23
HOTEL SK
E.L. 396’-00”
Level 22 E.L. 380’-00”
Level 21 E.L. 367’-00”
Level 20 E.L. 344’-00”
Level 19 E.L. 328’-00”
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Level 18 E.L. 312’-00”
Level 17 E.L. 296’-00”
Level 16 E.L. 280’-00”
Level 15 E.L. 264’-00 E 264’-00””
Level 14 E.L. E .L. 248’-00”
V.I.P
Level 13 E.L. 232’-00” 232’-00”
Rasterizing The Vectors of Miesian Grid
Level 12 E.L. 216’-00” 216’-00”
Level 11 Lev E.L. 1200’ 1200’-00” 1200’-0 0”
Level 10 Lev E.L. 1 184’-00”” 184’-00
Level 9 E.L. 168’-00”
Level 8 E.L. 152’-00”
Level 7 E.L. 136’-00”
Level 6 E.L. 120’-00”
Level 5 E.L. 104’-00”
Level 4
STUD
E.L. 88’-00”
OFFI
Level 3 E.L. 65’-00”
Level 2 E.L. 49’-00”
HOTE
Level v 1 E.L. 33’ 33’-00” 33’-00 00 0
RETAIL
VATION
The design follows the slab tower typology, and is located at downtown Los Angeles. Starting from the bottom up the program consist of retail space, office, hotel, and two sky lounges located at the top. The main idea behind the facade of the towe is to have a transition from the 1920’s Chicago Frame tower’s grid and aesthetics of the facade into a more contemporary version of today’s skyscrapers’s facade. The transition occurs by having the Miesian curtian wall with aesthetic I-beams and grided window pattern at the top and becoming abstracted early computer art through materialized vectors and rasters as it descends to the bottom, implying the old and new ways to challenge the flatness of the typical curtain wall. In the same way, the massing follows this stepping typology having a viod in the lower center area which breaks the slab tower typology into twin tower, which steps to combine the two into one.
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3A DS / Articulation and Tectonics I
Summer Solstice / 8 a.m.
44’ x 32’
Winter Solstice / 8 a.m. W
64’ x 20’
32’ x 22’
Suummer Solstice / 12 p.m. p
Winter Solstice / 12 p.m.
Summer Solstice / 6 p.m. Su
50’ x 50’
Winter Solstice / 6 p.m.
Mechanical / Sky Lounge Sky Room 2
134’ - 00” 35’ x 50’
50
Hotel Hotel Lobby / Mechanical
106’ - 00”
1,408 sq.ft.
1,280 sq.ft.
1,408 sq.ft.
1,408 sq.ft.
12,796 sq.ft.
12,924 sq.ft.
12,796 sq.ft.
12,796 sq.ft.
Offices
Office / Hotel Lobby Retail
Egress Stairs Elevators Service / Freight Elevators
MASSING VARIATIONS
CIRCULATION DIAGRAM
PROGRAM ORGANIZATION
The massing studies that led to the final result were based on a set of wood dowels with specific dimensions that allow for more variety in terms of the formal variations in physical models that were later translated into digital. The main idea behind the studies has always been to work with a core in the back part of the tower that splits into two in the void area, which emphasizes de shift in cores.
The core located on the left is constituded by a set of 7 elevators and 1 service elevator that are specifically for office workers. The one on the right is located on the right is constituted by a set of 5 elevators and 1 service elevator for hotel visitors and 2 elevators for office workers. Each core has a scissor egress stair for fire exit that is accessible on every single floor.
The program consists mostly of office space and partly of hotel floors. The first lobby floor akes visitors to office floors, sky room or directly to the hotel rooms. The first skyroom divides the offices from the hotel area above the void and consists of a space for recreation purposes for workers as well as hotel visitors.
3A DS / Articulation and Tectonics I 1 2
193’ 40’
15’
22’
35’
3 4 5 6 7 8 9 10 11
40’ 25’
193’
15’ 107’
40’
15’
15’ 45’
78’ 60’
A B
107’
3’ 1.5’
8’
C D
46’
F G
Hottel Floor Plan
Hotell Floor Plan 1 2
193’
3 4 5 6 7 8 9 10 11
45’ 50’ 107’ 55’
Sh hear Walls
A B
1..5’ Thick Columns
C D F G
3’ Thick Columns 3 600’
Officce Floor Plan B 1 2
30’
3 4 5 6 7 8 9 10 11 A B
50’
C D
107’ 55’
F G
Office Floor Plan A 1 2
16’
3 4 5 6 7 8 9 10 11 A B
50’
C D
107’ 44’
F G
Gro ound Floor Plan
PHYSICAL PROPORTIONS DIAGRAM
MASS - CORE DIAGRAM
MASS - LATERAL FORCES DIAGRAM
MASS - PERIMETER STRUCTURE
26’
3.25’
3.25’
WC
DN N
UP P
UP P
DN N
ELEVATOR LOBBY
18’’ 15’
3’
HOTEL FLOOR
1.5’’
2’
3.25’
52’
51
9’
HOTEL FLOOR PLAN
6.5’’
8’
12’
WC
26’’
7’
3.5’
5’
32’
45’
6’ 26
8.5’
45’
10’
51’
OFFICE FLOOR 35’
32’
3.25’
3.25’
ELEVATOR LOBBY
OFFICE FLOOR PLAN
Exits
Exit Access
Exit Discharge
UP P
UP P
DN N
WC
5’ DN N
18’’
1.5’ 5’’
3.25’
5’
5’
5’ Exit Discharge
1.5’
9’ 12’ 6.5’
26’
3’
8’’
55’
WC
55’
7’
3.5’
5’
GROUND FLOOR 45’
45’
10’
8.5’ 32’ 51’
GROUND CORE FLOOR PLAN GROUND FLOOR PLAN FIRESAFETY AND EGRESS FLOOR PLANS
FIRESAFETY AND EGRESS AXON
DETAILED CORE PLANS
26’’
Level 34 E.L. 580’-00”
SKY BAR / POOL Level 33 E.L. 559’-00”
Level 33
SKY LOUNGE
E.L. 536’-00”
Level 32 E.L. 523’-00”
Level 31 E.L. 510’-00”
Level 30 E.L. 497’-00”
Level 29 E.L. 484’-00”
Level 28 E.L. 471’-00”
Level 27 E.L. 458’-00”
Level 26 E.L. 445’-00”
Level 25 E.L. 432’-00”
Level 24
HOTEL ROOMS
E.L. 419’-00”
MECHANICAL ROOM /
Level 23
HOTEL SKY LOBBY
E.L. 396’-00”
Level 22 E.L. 380’-00”
Level 21 E.L. 367’-00”
Level 20 E.L. 344’-00”
Level 19 E.L. 328’-00”
Level 18 E.L. 312’-00”
Level 17 E.L. 296’-00”
Level 16 E.L. 280’-00”
Level 15 E 264’-00” E.L.
Level L evel 14 E.L. E .L. 248’-00”
V.I.P OFFICES
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Level 19 E.L. 328’-00”
Level 18 E.L. 312’-00”
Level 17 E.L. 296’-00”
Level 16 E.L. 280’-00”
Level 15 E 264’-00” E.L.
Level L evel 14 E.L. E .L. 248’-00”
V.I.P OFFICES
Levell 13 Leve E.L. 232’232’-00” 00”
Levell 12 Leve E.L. 216’216’-00” 00”
Level 11 Leve E.L. 1200’ 1200’-00” 00”
Level 10 Leve E.L 184’E.L. 1 184’-00” 00”
Level 9 E.L. 168’-00”
Level 8 E.L. 152’-00”
Level 7 E.L. 136’-00”
Level 6 E.L. 120’-00”
Level 5 E.L. 104’-00”
Level 4
STUDIO /OFFICE
E.L. 88’-00”
OFFICE LOUNGE G
Level 3 E.L. 65’-00”
Level 2 E.L. 49’-00”
HOTEL AMMENITY NIT NITY N I IT
Level Lev Leve ev l 1 E.L. E .L. L 33 3 33’-0 33’33’-00” 3’ 3’ 00” 0”
RETAIL LOBBY R RETAI L / OFFICE E LOB LOBB LO OBBY
Level 0
E.L. 0’-00” 0’-00”
Level -1
E.L. -16’-0
NORTH ELEVATION
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3A DS / Articulation and Tectonics I
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3A DS / Articulation and Tectonics I
PLANS
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3A DS / Articulation and Tectonics I
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3A DS / Articulation and Tectonics I
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2B DESIGN STUDIO
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Object to World: Ground and Apertures
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2B Studio
Spring 2017
Anna Neimark In Collaboration With Dutra Brown
Objects to World: Ground and Apertures II Consider this quote form Adolf Loos’s Essay “The Principle of Cladding’ from 1898: “Say the architect is to create a war, cozy room. Carpets are warm and cozy, so he decides to spread one over the floor and hang up four to make the four walls. But you cannot build a house from carpets. Both floor carpets and wall hangings need a construction to keep them in place. Designing this construction is the architect’s second task.” This studio presents the students with the problem of the architectural interior: it’s spatial and material qualities. It centers on a room and builds outward to construct the room’s armature and relationship to the building’s perimeter and the physical world beyond. The representational format used to describe this interior will be the developed surface a drawing of the interior elevations of a room unfolded and positioned along the perimeter of the floor on the reflected ceiling plan. This device offers and opportunity to understand interior elevations in relationship to geometric form, thickness of material, and ornament’s direction.
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wv 2B DS / Objects to World II
Fig. 1-1 Developed Box Model [Elevation]
Fig. 1-2 Developed Box Model [Axonometric]
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Developed Box Model Developed Box – The developed surface drawing explores a normal corner, an oblique corner, and a rendered corner, while representing how the box folds and unfolds. The model examines how the light would enter the aperture in a dark room. Tape was used as the main structure of the model, while representing shadows.The main ideology of the model starts to explore itself during the early stages of developed surface studies which was analysed with the exibility of tape, allowing the model to fold and unfold with different angles and directions. This exibility later on allow the mass to unfold out of its comfort form, developing new posibilities from the concept model. The simple folds and detailed drawing constructs a new representation of the box, allowing the form to explore itself with the new oblique angel. Fig. 1-3 Developed Box Model [Top]
0.03”
0.06”
10°
8“
90°
40°
5“
v 2B Studio / Objects to World
Fig. 1-1 Interiority of The Glass House
Fig. 1-2 Interiority of The Glass House
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Precedent Study | Materiality
Precedent Study Material Palette – This first precedent study looks at materials and their representation in a historical context, in particular, through the lens of the work and writing of Adolf Loos. Material samples were made from photographs of eight canonical interiors. Following a reduced material and color palette, it was attempted to work with color without being colorful and with materiality without using real materials. Instructions were written for each precedent sample and present both in an interim review. The challenge was to reproduce these materials with only one material, while consedring the fact of an easy reproduction, time and cost. The materials later on were cladded on the developed model.
Fig. 1-3 Interiority of The Glass House
Philip Johnson – The Glass House
2B DS / Objects to World II
Leather Materials 72
1 6x6 Sheet Black 4PLY Museum Board Black Masking Tape 12 Inch imperial ruler Non-Sterile Gloves 5 Xacto Blades Xacto Knife
22AA SStudio tudi tu dio / Ob OObjects bje jecctts ts to to W World orld orld or ld
7733
2B DS / Objects to World II
Burned Brick Materials 74
1 Roll Colored paper 1 6x6 Sheet Black 4PLY Museum Board 1 Can Charcoal Krylon Fine Textrue spray Black Masking Tape Elmer’s Glue 12 Inch imperial ruler Non-Sterile Gloves 5 Xacto Blades Xacto Knife
2A Studio / Objects to World
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2B DS / Objects to World II
Folded / Unfolded Box in Motion | Drawing Set [Back/Front]
36 76
The undeveloped drawing exploring the flatness of the model and the qualities of the materials. The leather from was chosen because of its softness, and the burned brick was chosen because of its roughness, to produce a constrast between the two. The challenge was to design a box that could be unfold and fold back from front and also back. The idea of using only one material was still carried on. Tape was use to cladd, fasten, and hold the box together. The tape hinges allow the box to unfold and fold back easy. Different shades of black explore the depth and flatness. This explores an idea and world of pardox, in which the material and color refuses to only act and represent as only one [itself]. These qualities strongly brings out the uncanny characteristics of the box in an imaginary world that uncanny is accepted. The flexibilty of the box explores a transformable box with many opportunities. The 8 drawing were designed in a way the they could unfold and project the other side of the model in the presentation. Fig. 1-1 Exploring Flatness [Front]
2B DS / Objects to World II
37 77
Fig. 1-2 Flexibilty of The Surfaces [Front]
2B DS / Objects to World II
38 78
Fig. 1-3 Unfolded Box in Motion [Front]
2B DS / Objects to World II
39 79
Fig. 1-4 Enlcosed Box [Front]
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40 80
Fig. 1-5 The 2D Representation of The Brick [Back]
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41 81
Fig. 1-6 The Box in Motion To Enclose [Back]
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42 82
Fig. 1-7 Exploring The Illusions of the The Perpetival Angle [Back]
2B DS / Objects to World II
43 83
Fig. 1-7 The Enclosed Box [Back]
2B DS / Objects to World II
Fig. 1-1 Developed Theater Model [West Elevation]
Fig. 1-2 Developed Theater Model [East Elevation]
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Developed Theater Model Developed Theater Model – A model with diverse corner conditions that also include a layered material palette. Paint, masking tape, spray paint, print, sand paper, museum board 1ply 2ply 4ply, basswood, veneer, wallpaper were the only allowed materials to use. This explores the importance of Tape, which was was the only material that was being used for structure and cladding the museum board.
Fig. 1-3 Developed Theater Model [North Elevation]
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2B DS / Objects to World II
UNCANNY SCHEMES
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DEVELOPED THEATER MODEL IN MOTION TO ENCLOSE AND “STAND UP”
2B Studio / Objects to World
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2B DS / Objects to World II
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DEVELOPED THEATER MODEL IN MOTION OF TRANFORMATION
2B Studio / Objects to World
2B DS / Objects to World II
Fig. 1-1 Two boxes highfiving eachother or holding hand while laying on the ground.
Fig. 1-2 Two enclosed boxes sitting next to eachother, shoulder to shoulder.
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The First Date The final project will stem from this conceptual exercise developed individually and will be designed in pairs. Working on one project will bring two different voices together to assume responsibility, test collaboration, and promote discussion and exchange of ideas. For bringing these two ideas together, first the models were transformed into foam core model, while being scaled up. This allows to explore and search more about each project. It also examines the relationship between the two boxes next to each other. The boxes were treated as if they were on a date. Fig. 1-3 The Pink box laying her hand on the Black box’ shoulder.
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Fig. 1-4 Two unfolded boxes and one unfolded human in motion - [Dutra Brown]
2B DS / Objects to World II
Fig 1-1 El-Ray [Top View]
Fig 1-2 El-Ray [Top View]
Fig 1-3 El-Ray [Top View]
The Site After exploring the qualities of the two boxes, mini study models were design to examine the relationship between the two in the given site., while considering the different posibilities of two.The El Rey Theater site is located at 5515 Wilshire Blvd in the Miracle Mile district in Los Angeles. It is an inďŹ ll site, for which we would have to design two facades: one facing the busy thoroughfare of Wilshire Blvd, and the second facing the back parking lot.The Tower Theater site is located at 802 S Broadway in the Broadway Theater District of Downtown Los Angeles. It is a corner site, for which we would have to consider a building that addresses both the historic Broadway Street and its 8th Street cross-street. Fig. 1-7 The Pink box laying her hand on the Black box’s shoulder. [Street View]
2B DS / Objects to World II
Fig 1-4 El-Ray [Top View]
Fig 1-5 El-Ray [Top View]
Fig 1-6 El-Ray [Street View]
Fig 1-8 El-Ray [Street View]
Fig 1-9 El-Ray [Street View]
Fig 1-10 El-Ray [Street View]
2B DS / Objects to World II
PROJECTION ROOMS 437 ft²
MECHANICAL 437 ft²
STORAGE 437 ft²
CONCESSIONS 588 ft²
PRIVATE 3,095 ft²
PUBLIC
THEATER 1
THEATER 2
2957 ft²
STAGE 208 ft² TICKETING COUNTER OFFICES
300 ft²
FILM/BOOKSTORE
1748 ft²
588 ft²
FIRST FLOOR AREA 21600 ft²
CAFE 973 ft²
Fig. 1-1 Program Diagram
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American Cinematheque
Fig. 1-2 Diagrams of the model exploring the roof condition and it’s relationship with the curved ground condition
Producing architecture that explores and questions the scale of the objects and flatness of the surfaces, while transforming the uncanny characteristics to the real world. This project aims for the aesthetics of handmaking models and process, and challenges the overusing of the technology in the studio. These two project, since the begining were being treated with a least amount of technology being used to design. This brings up the qualities and represents an evolution of strong a process. A process that transformed tape hinges to structure, bricks to pannels and a screw to a spiral stair. The project also explors ways of flattening 3D objects into 2D representations and 3D artifacts from 2D representation, while considering the characteristics and qualities of an unfolded model and drawing.
95
3.075”
3.075”
RABBET JOINT
GORILLA TAPE ”5260.3
2 2.595” 90 90°
”901.5
9 90° 90
”901.5
96
”901.5
”901.5
ACCOUSTICS
PH NATURAL MASKING TAPE
3. 781”
UNFOLDED OBLIQUE
3. 781”
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Unflolded Drawing - Dutra Brown
UNFOLDED PLAN
2B DS / Objects to World II
SECTIONS
CATWALK 2
EXTRA EXTRA SMALL SCREW
PINK THEATER
BLACK THEATER
45PLY MUSEUM BOARD
DRYDEX SPACKLING
Mortar.
Just an average size screw.
MONTANA LYCHEE.
Tape.
Brick.
Mortar.
100 DRYDEX SPACKLING Mortar.
4 PLY MUSEUM BOARD Brick.
LOBBY SCREEN Seating area on floor. Lounge area continues up the curve.
KNOB Projector.
WILSHIRE/DUNSMUIR BUS STOP
SECTION A
SMALL KNOB
SMALL SCREW
SMALL SCREW
KNOB
EXTRA SMALL KNOB
Seat.
Big screw.
Big screw.
Projector.
Pillow.
CONCESSION STAND
2B DS / Objects to World II
FOLD
DRYDEX SPACKLING
BLACK THEATER
BEVERAGE
Mortar.
Tape.
Carbonated.
101 EXTRA EXTRA LARGE SCREW A very large screw.
CATWALK 1
OFFICE
EXTRA EXTRA LARGE SCREW Main stair.
STORAGE/WC
5509 WILSHIRE BLVD
5525 WILSHIRE BLVD
ENTRANCE
CONCESSION STAND
EXTRA SMALL KNOB Pillow.
SECTION B
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SITE PLAN
FRONT ELEVATION
2B DS / Objects to World II
MODEL [UNFOLDED]
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BACK ELEVATION
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FRONT ELEVATION
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PUBLIC ENTRANCE FROM THE PARKING LOT
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EAST ELEVATION
2A DESIGN STUDIO
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Object to World: Ground and Apertures
12110
110
2A Studio
Fall 2016
David Eskenazi
Objects to World: Ground and Apertures I The second-year studio sequence focuses on the internal organization of an architectural project, and the relationship of that interior to the physical and cultural context in which the project is located. Building on the rigorous analyses and transformations of geometry undertaken in the first-year of the core, the 2A design studio introduces students to diagrams as conceptual and geometric structures that organize form and program into coherent, speculative building proposals, opening a dialogue on buildings as expressions of disciplinary positions that continues through to the fifth-year thesis project. Through lectures, precedent analysis and specific drawing and modeling techniques, students are introduced to a range of spatial and programmatic ordering systems. An iterative series of diagrammatic exercises allows them to test these models against the studio brief. From this foundation, students develop and argue for a specific approach to the architectural interior in which multiple of these strategies of organizing form and program are superposed, challenging spatial and functional distinctions such as object/field and program/ circulation.
2A DS / Objects to World I
Fig. 1-1 The Free University of Berlin [Model]
Fig. 1-2 The Free University of Berlin [Model]
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Precedent Study | The Free University of Berlin
Fig. 1-3 The Free University of Berlin [Photo]
The Free University of Berlin is a research university located in Berlin, and it’s one of the most prominent universities in Germany. It is internationally known for its research in the humanities and social sciences, as well as in the Field of natural and life sciences. The school was designed in a way to have a horizontal system of communications rather than vertical, so in this way students and pro- fessors would be more interact with each other through out the day. In the sections below this idea is easy to perceive. The centralized organization system of this uni- versity was designed precisely with care. The design produces some kind of enigma and maze, in which every program is connected while being separated from each other. This would produce a strong system in which every program works separately, but together as a group. The plan explores the sequence of the class- rooms and lecture halls, while showing the major and minor nodes. The main idea behind this project was to examine how a system horizontal distributed objects would nally produce a centralized system, in which all programs are connected, and work together as a group.
2A DS / Objects to World I
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Fig. 1-4 The Free University [Plan]
2A DS / Objects to World I
Precedent Study Diagrams
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The ďŹ eld diagram explores the posetive/negative space of the ďŹ eld and the grid of the program.
The vector diagram projects the circulation system in a new form, while exposing the important moments and intersections in the building.
2A DS / Objects to World I
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The first perspective of the superimposed diagram examines the system that is carved out by objects, field, and vectors. The system projects how the circualtion turns into the negative space, which gathers all the programs together.
The second perpective explores the transformation of the fragmented and fractioned vectors, field and objects to a massive system.
2A DS / Objects to World I
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Bird’s Eye Diagarm The concept design explores how the negative space of the objects connects and gathers objects to a centeral node. The red color acts like a “diseases” which represents the areas that are more intracted with public, and is spreading through the program but it’s bounded by the private programs.
Section A
2A DS / Objects to World I
Section B
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Plan | Sections | Bird’s Eye Oblique Section A
Section B
The plan and sections explore the idea of the concept design with more details, while showing the private, public areas and the organization of each program. The transition of the party diagram to plan allows one to examine the interaction between the parts, which were represented as vector and ďŹ elds.
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Site Plan Analysis
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N
N 50
50
100
100
200
200
Site Plan Analysis showing the zonig information and the relationship of the site and program with the road.
Site Plan Analysis showing ďŹ gure-ground relationship, while exploring the existing and added planters on the site.
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N 50
100
200
Isometric Analysis projecting the placement/orentation of the program on the site.
N 50
100
200
Shaded Site Plan Analysis exploring the orienation and effects of the sun on the program.
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Program Parti Diagram The program parti diagram explores the faragmented programs that are gathered together by the negative space, which creats the communal and circulation space of the project. The dia- gram is also divided to two sections The uper section is more private, while the lower section becomes more engaged with public.
2A Studio / Objects to World
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2A DS / Objects to World I
Diagrametic Evolution
124
Private Public
Educational
Indoor
Residential
Outdoor
Public
Staff Public Communication Private Communication
2A Studio / Objects to World
The Desert Art Institude Exploring architecture that transforms Geology to Geometry. A Geometry that produces a circulation, and a circulation that has a logic.The cracked incision in the middle sperates and shatters the gures which provides a hallway organization.This hallway organization produces the main circulation, which sperates in public and private circuation.The wider the gap is the more public the circu- lation become. The Logic of the circulation is to gather the gures to a centeral node, in which each program works seperatly, but they all work together overall as a system. Each program has it’s own lanuage, but they are all in uence by the main incision in the middle. After all the program is simpl ed in a simple diagram. This diagram categorizes the program into 3 sections: 1.The body is the residential area where the residents and student rest their body. 2. The mind the education are where students use their mind to produce their creativity. 3.The product is the main Exhibition in the middle, in which all the programs work for to produce the ďŹ nal production.
2A DS / Objects to World I
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SECOND FLOOR PLAN
2A DS / Objects to World I
127
FIRST FLOOR PLAN
2A DS / Objects to World I
SECTIONS
SECTION A
2A DS / Objects to World I
SECTION B
2A DS / Objects to World I
ELEVATIONS
WEST ELEVATION
2A DS / Objects to World I
EAST ELEVATION
SUMMER WORKSHOP
133
Summer Transfer Seminar
6
134 13 34
Summer Transfer Seminar
Summer 2016
Ramiro Diaz-Granados
Summer Transfer Seminar One of the fundamental concerns of architects has to do with the relationship between two-dimensional representations and three dimensional facts. Since we are in the business of producing meaningful spatial effects/affects, the representational techniques we employ to translate two-dimensional information into three dimensional constructs, and vice versa, have a lot to say about those effects. Central to this translation is the role of p rojection. In his essay “Architectural Projection”, Robin Evans starts out by declaring that “Architectural drawings are projections, which means that organized arrays of imaginary straight lines pass through the drawing to corresponding parts of the thing represented by the drawing.” Within this biaxial framework of geometry/matter in one axis and 2D/3D representation its complement, this course will introduce contemporary ways of thinking and working through formal problems of description and transformation. This will allow matter to inform geometry and geometry to discipline matter. Also it explores ways of flattening 3D objects into 2D representations and glean 3D artifacts from 2D constructs.
135
Summer Transfer Seminar
136
Wireframes are a kind of abstract representation that allows one to track the geometric scaffolding of an object or surface. It allows us to see through the object in that the “other side” is occupying the same space as “this side”. In this sense, wireframes produce a phenomenal effect of perceptual flattening.
Using ⅛” square basswood sticks, a truncated icosahedron wireframe that clings to the rock was constructed. All of the stick segments was straightened and carefully crafted to produce a unified wireframe.
Summer Transfer Seminar
137
This type of image capitalizes on the flattening effect of wireframe models. By spacing out the rotated intervals and layering them, it simultaneously exposes all “this sides” and “other sides” with reference to each individual image showing up as striations that act as a datum.
Summer Transfer Seminar
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Fig. 1-1 Unfolded Skin of The Rock
Fig. 1-2 Subdividing The Geometry of The Skin
Fig. 1-3 Panenilzing The Skin
Fig. 1-4 Rearticulating The Panels To Explore a New Tesselation
Summer Transfer Seminar
139
The chosen rock was covered with palaster .After it was cured, the rock pallet was cut and unfolded.Later the pallet was divided to into a clean geometry to be modeled in Rhino. The drawings explores the form and depth of the rock pallet, while examining the relationship between 2D and 3D representation.
Summer Transfer Seminar
140
Tesselation Skin Parallel to this relationship, between two and three dimensional representation, is that between regular and irregular forms. R egular corresponds to geometrically-determined forms (i.e. cubes, spheres, cones, polyhedra, etc.) which cannot be found in nature and irregular corresponds to matter-driven forms (crystals, rocks, snails, animals, trees, water, fruit, leaves, etc.) which are found in the natural world. This constitutes a second fundamental concern of architects: the tension between geometric and material construction.
Summer Transfer Seminar
141
Fig. 1-1 Powder Printed Model
Fig. 1-2 Powder Printed Model
AS3003 TECTONICS
143
TECTONICS AND MATERIALITY
3A Tectonics
Fall 2017
Maxi Spina & David Ross In Collaboration With Elias Ahmadi, Sarangan Sinnarajah, and John Shahid
2.4 24.3
16.7
6.9
4.5 17.4 .7
.6 25.3
25.6
Tectonics + Materilaity
4.6
4.6
The seminar joint areas of investigation are Tectonic -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 curtain wall -particularly on its forms of articulation and modes of assembly. The curtain wall “can be broadly defined as the non-load bearing building envelope that typically hangs like a curtain from a structural frame.” Since its inception in the bauhaus in dessau, germany, the curtain wall has evolved into a highly performative enclosure system and ranges in thickness and number of layers according to aesthetic desires and climate demands. As a tectonic concept it occupies the territory that is made possible by frame structures, which is a tectonic alternative to load-bearing solid walls, and addresses both the “free plan” and the free facade”, two of Le Corbusier’s five points.Taking ap art and documenting the anatomy and tectonics of a chosen precedent in order to formulate a series of hypothesis in an attempt to construct a number of interrelated tectonic conjectures. Analysis and documentation is followed by a speculative exercise on how to modify one element or sub-system so as to adapt to a slightly altered design scenario constrained by a newly imposed performance criteria given by the instructors. In order to purposefully curate and synthesize the series of tectonic, material and environmental effects produced by this modification, 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.
145
3B DS / Articulation and Tectonics II
Isometric of tectonic algorithmic tect layout of panel patterns through a series of 4 rows within the facade
Aluminum Frame
146
Aluminum Mullions
Aluminum Frame
Aluminum Frame 2.4 1.7 16.7 6.9
24.3
Glass Panes 4.5
17.4 .7
.6 25.3
Spigot 4-Way Connection
Spigot 3-Way Connection
25.6
Glass Panes
4.6
Aluminum Extrusion CNC Cut Plan Detail
4.6
Aluminum Extrusion CNC Cut Plan Detail
Exploded Axon of Panel Connections with Angular Detail of Panels
Trutec Building’s Envelope Study Studying the Trutec building, designed by Barkow Leibinger, Architekten and constructed for the Trumpf Immobilien Gmbh + Co. KG [a technolonogy conglomerate) - our team observed notable construction techniques that made the facade and structure of this office tower economically feasible and energy efficient. By using typical methods of dom-ino construction held in conjunction to rigid rebar enforced cement core - the facade was left free and able to hang along the peripheries of each oor/ceiling.
WORMS-EYE CHUNK B1-PANEL PLACEMENT
Panel type D Viracon glass with high reflective film
Panel type C Panel type B Panel type A
Floor register with convector upright
Spigot connection
Steel and concrete composite floor
Panel attatches to the extruded aluminum stack joint
X
Extruded aluminum stack joint
Utility duct
Steel I-beam 1’-10”X10”
X
147
Steel and concrete sub floor
3-way joint B2- PANNEL DETAIL Glass spacer
2X
Automated roller shading system
Cnc-cut extruded aluminum
Glass substrates Galvanized perforated metal panel
Steel I-beam 2’-7”X5-1/2”
PANEL TYPE
PANEL DESCRIPTION
TYPE A
KALEIDOSCOPIC PERTRUDING PANEL
TYPE B
KALEIDOSCOPIC PERTRUDING PANEL FLIPPED
TYPE C
FLAT PANEL WITH ROTATED MULLIONS
TYPE D
FLAT PANEL WITH RECTILINEAR MULLIONS
PRECEDENT STUDY: TRUTEC BUILDING ENVELOPE SYSTEM: CURTAIN WALL
Glass heat treatment
Galvanized steel I-beam
TECTONICS AS3033 SARANGAN SINNARAJAH, SHAYAN KHORASSANI, ELIAS AHMADI, JOHN SHAHID
3B DS / Articulation and Tectonics II
Isometric Chunk
Isometricc Chunk
Isometric Chunk k
Isometric Chunk C
6’ 6’
1’
5° Rotation 14’
12’
10° Rotation on 12.5° Rotation
148 Josef Albers Elevation n Diagram
Radiation Analysis R di
Elevation Ele evation e va
Elevation
Elevation Eleva ation
Radiation Analysis Anally
Radiation Analysis
Radiation Analysis
Transformed Facade 1x
Facade Grid
Rhythm of Diagonals
2x
3D Elements
1x
3D and Planar Elements
Moving forward, the team envisioned this design implemented closer to home. Using the Los Angeles climate as a guide, and our combined aesthetic derivatives, we implemented a construed version of the panel’s angels, a rounded corner, and a supplemental attachment system to make the facade even more free. In our desing, both new spigots and panels work in conjunction with the stepping provided by the new attachment system to combate the aggressive solar gains of the Los Angeles sun raditions. Through these transformatios the design offers greater energy efficiency while still offering a unique architectural language.
Sun Path Diagrams
Radiation Analysis Diagrams
1-1 Sun Path/Shadow Range Diagram [Elevation]
2-1 Summer Radiation Analysis
1-2 Sun Path/Shadow Range Diagram [Top View]
2-2 Winter Radiation Analysis
1-3 Sun Path/Shadow Range Diagram [North East Iso]
2-3 Exterior Facade Radiation Analysis
1-4 Sun Path/Shadow Range Diagram [North East Iso]
2-4 Interior Grid Radiation Analysis
Variation of Shadows through out the year
Compass
Annual Sun Path Arc
Annual Sun Path Analemmas
1-1 - Elevation sun path diagrams exploring how the sun will impact the the facade by examining the location and the direction of the buidling on the site, while showing the amount of the shadows casting on the facade.
1-2 - Sun path diagrams exploring how the sun will impact the site and building throughout the year. Stereographic sun path diagrams can be used to read the solar azimuth and altitude for a given location.
149 -Radiation Analysis exploring the effect of the interior and exterior pannelazation of the facade, while examining the effect of the solar gain and efficiency of the new development of the facade. 1-3 - Isonometric Sun path diagram exploring the different directions of the shadows casting on the facade and ground throughout the year.
2-1
1-4 - Isonometric sun path diagram examining the effect of the sun in the middle of an summer afternoon to explore the shadow casting by the facade on the site.
Radiation Analysis exploring the solar gain throughout summer, while producing the graph that examines the amount ovvf heat the floor gains per m2
2-2
Radiation Analysis exploring the solar gain throughout winter, while producing the graph that examines the amount ovvf heat the floor gains per m2
2-3
Radiation Analysis exploring the solar gain on the exterior facade, examining the effect, the solar gain of the pannels.
2-4
Radiation Analysis exploring the solar gain and the effect of the interior grid pannelazation.
Diagrams 10 0%
1-1 Sun Path/Shadow Range Diagram [North East Iso]
n So
Su lar
1-2 Sun Path/Shadow Range Diagram [Top View] 10% Heat Transfer Heat Circulation
Radi Radiation Analysis exploring the ssolar gain throughout sum summer, while producing the grap graph that examines the amount of he heat the floor gains per m2
2-1 Sun Reflection Diagram
cd/m2
2-2 Wind Diagram
937.5 812.5 687.5 562.5 437.5 312.5
3-1 Sun Radiation Analysis
187.5 62.5
3-2 Sun Radiation Analysis Graph 4-2
3-2 32
3-1
3-3 Sun Radiation Analysis [Variation1] 3-3 Sun Radiation Analysis [Variation2]
cd/m2 937.5
3-4 Sun Radiation Analysis [Variation3]
812.5
3-5 Sun Radiation Analysis [Variation4]
687.5 562.5 4-1 Daylight Autonomy Calculations
437.5
cd/m2 937.5 812.5
312.5
687.5 562.5
187.5
437.5 312.5
62.5
187.5 62.5
3-3
3-4
3-5
4-1
- Wind and Sun diagram exploring the exterior and interior condtions, while showing the circulations of heat and the amount of solar gain, through double glazed low-E reflected glasses of exterior.
1-2
1-1
4-3
Annual Sun Path Analemmas
Compass
Annual Sun Path Arc
- Sun path diagrams can tell you a lot about how the sun will impact your site and building throughout the year. Stereographic sun path diagrams can be used to read the solar azimuth and altitude for a given location.
Low E Reflective Glass
2-1
2-2
4-2 Interior Daylight Autonomy 1 4-2 Interior Daylight Autonomy 2
3B DS / Articulation and Tectonics II
Bi-directional Supportive Steel Truss
Aluminum Frame
150
Elevation Detail Panel Arraingment
Aluminum Mullions
Bi-directional Supportive Steel Truss
Glass Panes
2.4 24.3
16.7
6.9
Glass Panes
4.5 17.4 .7
Spigot 4-Way Connection
.6 25.3
Spigot 3-Way Connection 25.6
Aluminum Extrusion CNC Cut Plan Detail
4.6
Aluminum Extrusion CNC Cut Plan Detail
Exploded Axon of Panel Connections with Angular Detail of Panels
PRECEDENT STUDY: TRUTEC BUILDING ENVELOPE SYSTEM: CURTAIN WALL
4.6
TECTONICS AS3033 SARANGAN SINNARAJAH, SHAYAN KHORASSANI, ELIAS AHMADI, JOHN SHAHID
Panel Type B
Panel Type C
Panel Type A
Panel Type A Panel Type B
Viracon glass with high reflective film
Automated roller shading system
Steel I-beam 2’-7”X5-1/2”
Extruded aluminum stack joint
151 B2-PANEL PLACEMENT
Floor register with convector upright
Utility duct
Glass substrates Glass heat treatment Spigot connection
3-way joint
X
Steel and concrete composite floor
Steel and concrete sub floor
X
PANEL TYPE
PANEL DESCRIPTION
TYPE A
KALEIDOSCOPIC PERTRUDING PANEL
TYPE B
KALEIDOSCOPIC PERTRUDING PANEL FLIPPED
TYPE C
FLAT PANEL WITH ROTATED MULLIONS
TYPE D
FLAT PANEL WITH RECTILINEAR MULLIONS
PRECEDENT STUDY: TRUTEC BUILDING ENVELOPE SYSTEM: CURTAIN WALL
2X
Cnc-cut extruded aluminum
Galvanized perforated metal panel
Panel attatches to the extruded aluminum stack joint
Bi-lateral steel support structure
Steel I-beam 1’-10”X10”
TECTONICS AS3033 SARANGAN SINNARAJAH, SHAYAN KHORASSANI, ELIAS AHMADI, JOHN SHAHID
VISUAL STUDIES
153
TECHNOLOGIES OF DESCRIPTION
3A Visual Studies
Fall 2017
Satouro Sugihara In Collaboration With Elias Ahmadi, Abel Maquiera
Coding Form Coding Form seminar introduces computational design mindset and provides versatile computation skills through various Grasshopper plug-ins and Gh Python coding. Students are not required to have prior experience in computation but expected to learn logical way of thinking, numerical sensibility, mathematical and geometrical curiosity and comprehension of coherence and articulated diversity in complexity. The seminar starts with quick introduction of regular Grasshopper for beginners and then move on to work with various Grasshopper plug-ins including LunchBox, Weaverbird and Kangaroo. In each session, students are expected to understand each tool’s strength, weakness and a certain type of tendency of design works generated from it. After that, the seminar teaches basics of coding in Python such as variables, iterations and conditioning. Then it goes through various general computational algorithms and algorithms for 3D vector operation and geometric manipulation on Python coding on Grasshopper to acquire fundamental understanding of computation.
155
2B VS / Technologies of Description II
156
FACE STELLATION WITH WAVE ATTRACTORS USING WEAVERBIRD’S PARAMETRIC SUBDIVISION
2B VS / Technologies of Description II
157
2B VS / Technologies of Description II
158
TALL BUIDLING FACADE/STRUCTURE STUDIES USING LUNCHBOX AND PANELIZATION
2B VS / Technologies of Description II
159
162 162
2B Visual Studies
Fall 2016
David Eskenazi & David Freeland
Technologies of Description II Visual Studies II expands on the tools and techniques introduced in Visual Studies I and introduces new software and a more expanded consideration of studio tech-nique beyond the conventions of drawing. Advanced solid modeling in Rhino and an introduction to polygon modeling in Maya also serves to introduce students to a wider range of nonclassical, spline based geometries and their transforma-tions. Where Visual Studies I introduced the legacy of drawing within the culture of architecture, this course - again through lectures, tutorials, and readings - reviews the status of drawings and the move to other, less conventional creative outputs.
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2B VS / Technologies of Description II
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SPHERICAL SHADOW STUDIES
2B VS / Technologies of De Descriptio ion I
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2B VS / Technologies of Description II
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TRANSFORMATION OF THE SHADOW STUDIES TO PHYSICAL MODEL
2B VS / Technologies of Description II
167
2B VS / Technologies of Description I
2B VS / Technologies of Description I
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2B Visual Studies
Spring 2017
Mira Henry & Jenny Wu
Technologies of Description III Building on previous two semesters of visual studies, the course focuses techni-cally on advanced surface modeling and methods of digital rendering. Working from physical arrangements as the point of departure, an emphasis is placed on the ability to identify and translate critical characteristics and details into a digital environment. Tropes of the still life genre, namely the subject of plump fruit and loosely draped cloth are mined for their technical challenges as well as their visual accessibility and playfulness. Close attention is paid to the process of mapping colors, textures and patterns within the scene in order to engage in the problems of surface articulation and the speciďŹ city of atmosphere. “Bananas!â€? Along with a cry for fruit, the title of the course also welcomes an attitude of wacky excess along the way
2B VS / Technologies of Description III
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A HORNED MELON LAYING UNDER HER BED SHEET [PHOTO]
2B VS / Technologies of Description III
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APPLIED MAPPLETHROP COLOR PALETTE/TEXTURE [Render]
2B VS / Technologies of Description III
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TWO HORNED MELONS LAYING UNDER A BED SHEET [PHOTO]
2B VS / Technologies of Description III
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APPLIED MAPPLETHROP COLOR PALETTE/TEXTURE [Render]