Shayan Khorassani | SCI Arc Portfolio | 2016-2019 by Shayan Khorassani

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SHAYAN KHORASSANI SCI-ARC 2018-2019

“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.” -Lebbeus Woods

CONTENTS Vertical Design Studio I Superpositions

4A Design Studio | AMIGAA: Articulation and Tectonics III

3B Design Studio | AMIGAA: Articulation and Tectonics II

3A Design Studio | AMIGAA: Articulation and Tectonics I

2B Design Studio | Objects to World: Ground and Apertures II

113

2A Design Studio: Objects to World: Ground and Apertures I

137

Summer Transfer Seminar AS Costruction Document AS Design Development AS Tectonics and Materiality 3A Visual Studies | Coding Form

153 159 171 183 191 197

2A Visual Studies II 203 2A History of Architecture and Urbanism III 207 2B Philosophy I 213

28 12

Undergraduate Thesis Fall 2019 - Spring 2020 Peter Testa

Invisible Monument Beatriz Colomina argues that X-ray once introduced a new level of transparency into Architecture in the 1920â&#x20AC;&#x2122;s. Today, a century later, in a world of extreme exposure, as an antithesis, Architecture seeks to ďŹ nd new blind spots. Here, the new architecture is hidden and nested within the visible old. The thin and transparent corporate model of Apple meets the thick and industrial cultural skin of the Battersea Power Station. My interest is to re-vision the new inner reality in our post industrial landscapes. This is achieved by overlaying various measurements, external and internal parallel and oblique projections of lines, then reading out a new assemblage of the existing elements, simulating new resolutions of transparency into Architectural representation.Neither mimetic nor semiotic, these drawings may be understood as a system of exchanges that takes place within objects themselves, which emerges from a critique of both over mining and undermining this industrial object. This thesis challenges the traditional core and shell style approach, and offers a fresh vision and a polemic to the discourse on preservation and iconography of our post industrial monuments. Neither mimetic nor semiotic, these drawings may be understood as a system of exchanges that takes place within objects themselves.This emerges from a critique of both overmining and undermining this industrial object. By redrawing this historical monument with mechanical condition, one could read out a new hyperspatial condition. To explore these ideas, I selected Battersea Power Station, and the new Apple campus as the program, which in contrast, meets the thin and transparent corporate model of Apple, with the thick and industrial cultural skin of the Battersea Power Station.

Thesis / Invisible Monument

Fig. 1-2 Arial View From The Site - 1945

Battersea Power Station London stands on the River Thames which travels from the southwest to the east. Facing the borough of Chelsea, the largest brick building in europe exist. After 40 years of operating in London, Battersea Power Station, which used to be a coalďŹ red power station stands now as an abandoned container seeking to ďŹ nd a program to get reactivated. Unlike our computers and cellphones, our post industrial fabric is full of assets that have retained their value,needing only to be plugged back in with the ability to reconnect with new means and methods. Fig. 1-1 Arero Film of The Active Power Station- 1945

Thesis / Invisible Monument

Fig. 1-3 Men at Work on The giant Dust Extractors at Battersea Power Station

Fig. 1-4 A view of Battersea Power Station in South London

Fig. 1-5 The Control Room of Battersea Power Station

Fig. 1-6 Clive Gammon Fishing From a Boat on The River Thames

Thesis / Invisible Monument

Fig. 1-2 Bernard Tschumi - ZKM Center for Art and Media Technology

Precedents Series of precedents were under my radar in order get inďŹ&#x201A;uenced by techniques of representation, to concepts of designs. These precedents were a start point to have a new vision toward this old industrial monument. To revision the new power station, the building as found becomes the ground for the project and the canvas for the drawing, while working beneath the itâ&#x20AC;&#x2122;s skin. invisible;visible and revealing what was concealed, one could revision a new inner reality of an entity. Fig. 1-1 Morphosis - Sixth Street House

Thesis / Invisible Monument

Fig. 1-3 Morphosis - Bridging

Fig. 1-4 Herzog De Meuron - Elbohilharmonie Hamburg

Fig. 1-5 OMA -KE DA WE

Fig. 1-6 Norman Foster - Red Dot Museum

Thesis / Invisible Monument

Fig. 1-2 Site Plan

The New Urban Synthesizer The program is proposed in two scales, the scale of the existing monuments and the site. The ground serves as a matt building that serves as a data center, which gets cooled down by engines and water turbines feeding off River Thames, and release the heat through the chimneys. In the urban scheme, the ground serves as a connector that connects the buildings on the site to the power station. Projecting Battersea as an urban generator. The two wings serves as workscape for Apple, and Educational/startup workspace. Fig. 1-1 Arial View of The City

Thesis / Invisible Monument

Fig. 1-4 Program Diagram Highlighting the 8 Main Sections

Program 3 million square feet, roughly based the program for the Apple HeadQuarter in 3 main sectors: The offices occupy ﬁve hundred thousand square feet in the two lateral wings. These horizontal spaces are interconnected with the three hundred thousand sq feet of “innovation factory” that occupies the central nave. The eight hundred square feet of Apples’ data center is housed underground, and extends to the existing towers. which are cooled by turbines and cooling towers connected to the River Thames. Fig. 1-3 Diagrams Exploiting GIS Data of The Existing Assets

Thesis / Invisible Monument

Fig. 1-1 Front Elevation

Thesis / Invisible Monument

Fig. 1-2 Superimposed Cross Section

Thesis / Invisible Monument

Fig. 1-1 Side Elevation

Thesis / Invisible Monument

Fig. 1-2 Superimposed Section

Thesis / Invisible Monument

Fig. 1-2 Superimposed Plan

“SUPERDRAWINGS” My vision follows up with 3 main arguments over the relationship between viewer, and the building’s facade: Venturi’s decorated shed | The high tech building | The inside out building. Neither mimetic nor semiotic, these drawings may be understood as a system of exchanges that takes place within objects themselves.This emerges from a critique of both overmining and undermining this industrial object. By redrawing this historical monument with mechanical condition, one could read out a new hyperspatial condition. Fig. 1-1 Elevation Oblique

Thesis / Invisible Monument

Fig. 1-3 Section Oblique

Thesis / Invisible Monument

Fig. 1-2 Arial View From The Site - 1945

Pointcloud Scenes From Animation From the Drawings to Point Cloud, in a contrast to the realm of realistic render based images, the detail of these simulations speculate a mysterious inner reality of this industrial object ,which is suspended in a ghostly medium. This generates a democratic distribution of the elements within an object. This is a hyper-contemporary vision for our post industrial landscapes, with new resolutions of transparency into architectural representation. Here, the new architecture is hidden and nested within the visible old. Fig. 1-1 Battersea Power Station Front Elevation By Thibaud Herem

Thesis / Invisible Monument

Fig. 1-1 Battersea Power Station Front Elevation By Thibaud Herem

Thesis / Invisible Monument

Fig. 1-2 Series of Catwalks Transfer The Workers to The New Boiler House

Interior Scenes From The Animation The project speculates on various architectural tropes: The new oblique elements are juxtaposed within the old. The variable densities of office spaces. Old industrial skylights bringing in natural lighting into cafes and restaurants. Series of catwalks transfer the workers to the new boiler house. This is where the innovation factory would take place. In Between the structure, and the nested parts. The main atria would expose the offices to natural light. On the top, the event space would take place with a retractable roof. Fig. 1-1 Original Interior Scene

Thesis / Invisible Monument

Fig. 1-3 Another Series of Catwalks Transfer The Workers to The Other Wing

Fig. 1-4 Lecture halls, Meeting Rooms and Event Spaces Would Occupy The Nested Parts

Thesis / Invisible Monument

Fig. 1-1 The New Oblique Elements Are Juxtaposed Within the Old.

Fig. 1-2 In Between The Structure, and The Nested Parts

Thesis / Invisible Monument

Fig. 1-3 The Variable Densities of Office Spaces

Fig. 1-4 The New High Tech Interiority With Its Low Tech Skin.

Thesis / Invisible Monument

Fig. 1-1 The Main Atria Would Expose The Offices To Natural Light

Fig. 1-2 On The Top, The Event Space Would Take Place With a Retractable Roof

Thesis / Invisible Monument

Fig. 1-3 Innovation Factory Would Take Place, In Between The Structure, and The Nested Parts

Fig. 1-4 The New Oblique Elements Are Juxtaposed Within the Old.

28 38

Vertical Studio Fall 2019 Andrew Zago

Difficult Pyramids This studio’s concerns are largely disciplinary. It views the discipline as a complexly wrought but evolving edifice made of numerable assertions, breakthroughs, disputations, reversals, and inversions serving to provide a springboard for architectural novelty. Disciplinary interests in architecture are both in flux and viewed by many as disengaged from the world and its pressing needs. This studio posits that this flux reflects the field’s unease as we collectively grope for architectural expressions that are both novel and fundamental and, that it is precisely from architecture’s disciplinary obsessions that we create new ways to engage and reflect upon the world. The studio will consider the progression of increasingly eccentric, atectonic works of architecture over the last fifty years and contrast it to current reactionary formal impulses. The studio will examine these opposing tendencies and propose that the urge to return to stability is both inevitable and made impossible by our recent past. This return occurs not a circle, as some would hope, but as a spiral with the intervening years of architectural complications causing a phase-shift. This ur-form condition will be explored through the reexamination of pyramidal compositions. This exploration will be done through building proposals, in dialog with other building projects, and with reference to works in painting, sculpture, and other allied fields. It will operate under the assumption that the haptic sensation created by drawings and models is an inextricable part of forming these primal conditions. This studio is technologically agnostic. It encourages extrabuilding explorations, but works from the premise that architecture is mostly about buildings.

Vertical DS / Difficult Pyramids

Fig. 1-2 CoalBreaker in Pennsylvania from 1960’s

Difficult Pyramids | Coal Breakers For the ﬁrst half of the semester the studio start analyzing the Pyramidal formal aspects of series of coal breakers from Pennsylvania. Each student started the process from modeling the coal breakers from images selected by student’s individually. The horizontal stack quality of these forms were examined throughout the process of modeling these coal breaker both digital and analog, without knowing any information about the interiority of these industrial buildings. Fig. 1-1 Big Scale Model of The Coalbreaker

Vertical DS / Difficult Pyramids

Fig. 1-3 The Difficult Pyramids Exhibition

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Fig. 1-1 Front Elevation Projecting Three Parts of The Horizontal Stack Lamination

Fig. 1-2 The Cut Line of The Natural Landscape

Difficult Pyramids | Models As a formal exercise, the ⅛” = 1’ plywood models explored the horizontal stack lamination of these forms from the perspective of a model to fully understand the pyramidal form of these objects. These models were later exhibited in SCI-Arc, alongside with 150 images of Coal Breakers found from Pennsylvania. Fig. 1-3 Side Elevation Exploring Different Proﬁles of The Stack

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Fig. 1-4 Side Elevation Examining Varies Window Cut Outs on The Facade

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Fig. 1-1 Analyzing The First Form With Series of 6 Rectangles

Fig. 1-2 Revisioning The Form With Series of 4 Rectangles

Difficult Pyramids | Diagrams To Form Series of diagram then were extrapolated from these parts to understand the formal language of these parts separately. Therefore the form would generate an â&#x20AC;&#x153;ur-formâ&#x20AC;?, which is neither the original, or unprecedented. These formal studies, led the project to a monolithic form which later was transformed into a forum at the University of Chicago, as a space of discourse and intellectual exchange. Fig. 1-3 Examining The Second Form With Series of 8 Rectangles

Vertical DS / Difficult Pyramids

Fig. 1-4 Laminating The 3 Parts To Construct The New “Ur-Form”

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Fig. 1-1 Cross-Section - The Two Small Auditoriums, and The Private Circulation In-Between Offices

Vertical DS / Difficult Pyramids

Fig. 1-2 Longitudinal Section - The Program Organization Throughout The Building

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Fig. 1-1 Cross-Section - The Stack of Multipurpose Space Over The Dinning Hall

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Fig. 1-2 Longitudinal Section - The Underground Auditoria, and Mechanical Rooms

Vertical DS / Difficult Pyramids

Fig. 1-1 Basement Floor Plan

Fig. 1-2 Ground Floor Plan

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Fig. 1-3 First Floor Plan

Fig. 1-4 Second Floor Plan

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Fig. 1-1 Third Floor Plan

Fig. 1-2 Forth Floor Plan

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Fig. 1-3 Fifth Floor Plan

Fig. 1-4 Sixth Floor Plan

28 58

Vertical Studio Spring 2019 Devyn Weiser In Collaboration With Sally Lwin and Chuwen Ong

Superpositions | More or Less For the past few years in architectural discourse we find ourselves among many revivals, historicism and post-modernism, digital and systems design, the re-emergence and various materialisms. In a time of unprecedented reduplications, to make the next move will require the construction of an apparatus of fiction. A new ontology of representation and redefinition of the concept of authorship. Neither mimetic nor semiotic, representation may be understood as a system of exchanges that takes place within objects themselves. This new generic orientation emerges from a critique of both overmining (explaining objects in terms of their roles in relational structures) and undermining (explaining objects in terms of their constituent parts). In support of this discourse on Appropriation and Representation the studio will work with a drawing and imaging apparatus that involves both digital and analog processes. Defamiliarizing the ways in which images and objects are constructed and perceived, this visual regime has the potential for a new architectural syntax.The studio embraces the demise of dialectical and dualistic thought. Without the dialectical model of synthesizing opposite viewpoints, this design paradigm seeks to interrupt and corrupt the computer’s predilection and capacity for blending, interfacing, and translation. Designers will work in what are assumed to be adverse genres, without synthesis, to invert the usual relationships between form and content and as a way to originate new originals.

Vertical DS / More or Less

Fig. 1-2 James Stirling, No. 1 Poultry Scheme B Situated in Londonâ&#x20AC;&#x2122;s Financial District

Superpositions | No.1 Poultry For the ďŹ rst half of the semester projects were developed in parallel using custom scripts for Drawing. Through the selection and combination of viewports, parts of No.1 Poultry, were explored. Each viewport generated a new revionsary architectural reading of the original parts. This generated a catalog of parts, which inspected a new taxonomy. Through the combination of view points, and various line type thickness, new readings of the parts were explored further. This challenged the part to have to generate graphical representation of the original parts, producing new wholes from individual parts, which challenged the part to whole relationship. Fig. 1-1 James Stirling, No. 1 Poultry Scheme A - Site Model

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Fig. 1-3 Taxonomy of Parts From Various of Viewpoints Generating Revionary Layering of Spatial Organization

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Fig. 1-1 Selected Parts Out of The Catalog Series Generating New Readings of Line Types

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STACKING TYPOLOGY

NESTING TYPOLOGY

COURTYARD TYPOLOGY

Fig. 1-2 Taxonomy of Part With Varies Typologies

Vertical DS / More or Less

Fig. 1-2 Parts Circulating Within The Block [Scan to See The Animation]

City of Parts The city of parts were generated through volumizing the graphical parts that challenges the fundamental techniques of extrusion, which produced strong taxonomy within the figures. These figures explored new extreme types of seriality, which generated set of morphologies explored through stacking and nesting. These parts further tend to explore new gestalt, which produce pristine set of wholes out of parts through nesting and stacking. The new whole tend to generate an autonomous urbanistic taxonomy within each other throughout the city, while fitting into the context of London, offering variety of programs throughout the financial district. Fig. 1-1 Isonometric View Projecting The Urbanistic Taxonomy

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MOORGAT E

RESHAM

GRESHAM ST GRESHAM ST GRESHA

M ST

KING N STREET S VERTI VERT T CCAL AL DDATA CENTERR

LOTHBURY

KING ST

LOTHBURY OTH RYY LLIBRARY I RARYY

LN MEW HOLO BART

GRREEESHA M LOFTS

EDLE

ADNE

THRE

KING ST

CORNHILL ILL LL GGARDEN RDENN

BANK AN OOFF EENGLAND NGGLANND MUSE M USEUM US EEUU

EAPSID E PRIN

CHEAPSID

EA THR

POULTR Y

CORNHILL

E ST

BUUUCKLERSBURY CK URY RY C ER CENTER

T RIA S

WALB R

OOK

KLER

IAM ILL

BUC

QUEE

CORNHILL

VICTO

THREAD NEEDLE OFFICES

KIN

QUEEN ST

N QUEE

MANSION HOUSE

MANSION HOUS

QUEEN STREET T VERTICAL GARDEN

E ST

EDL

DNE

CES

SBU

LOM BARD ST

T RIA S

VICTO

KIN AM

ILLI

LOM BAR DS T

ST LOMBARD M ARD LIBRARY ARYY

CANNON NON DATA TA CENTER CENT

ANNON

Fig. 1-3 Urban Morphology of The Parts Throughout the City

Vertical DS / More or Less

Fig. 1-1 Catalog Set of Building Sections Exploring Figures Within Different Contents

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Fig. 1-2 Series of Elevations Projecting The Figural Qualities of The Taxonomy

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Fig. 1-1 Lothbury Library

Fig. 1-2 Bank of England Museum

Vertical DS / More or Less

Fig. 1-3 Mansion House Mall

Fig. 1-4 Old Jewry Cinema

Vertical DS / More or Less

Fig. 1-1 Lothbury Library

Fig. 1-2 Bank of England Museum

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Fig. 1-3 Mansion House Mall

Fig. 1-4 Old Jewry Cinema

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Fig. 1-1 Lothbury Library

Fig. 1-2 Bank of England Museum

Vertical DS / More or Less

Fig. 1-3 Mansion House Mall

Fig. 1-4 Old Jewry Cinema

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Fig. 1-1 Cornhill Garden

Fig. 1-2 Moorgate Offices

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Fig. 1-3 Poultry Offices

Fig. 1-4 King Williamâ&#x20AC;&#x2122;s Theatre

Vertical DS / More or Less

Superpositions | The Cinematography The second half of the semester the model was taken to the Robot House, in order to perfectionally get documented with advanced lighting and camera positioning. This will open up the conversation about the role of an architectural model in contemporary discourse in the medium of a cinematography. [Scan With Phone To See The Video]

Vertical DS / More or Less

4A Studio Fall 2018 Anna Neimark

AMIGGA | Articulation and Tectonics III The ďŹ nal Studio in the core sequence introduces students to independent thinking and integrative design through an open yet deďŹ ned framework. With one foot in core and one pointed towards thesis, the pedagogy is based on culminating all previous core studios by charging the students with constructing a disciplinary position and formal agenda as it relates to advanced notions of Precedent, Tectonics, Aesthetics, Composition. This four-fold structure is intended as an underlay for students to think about and produce a multi-dimensional architectural proposal. The studio,as a whole, works on the same project type and area with different trajectories within this framework according to the guidance of each instructor. This provides an experimental platform for students to test ideas and their execution, with the crafting of a position having as much currency as the crafting of the project and its representations.The studio will use the N-Plex(du,tri,quad,etc/) building type, situated in Boyle Height, as a vehicle to explore and address the issues on the table. Urbanistically speaking, these building types occur within speciďŹ c zones that seek or allow for a slight increase in density in certain parts of the city. They lie somewhere between the house (singular and prototypical) and housing (repetitive and modulare) and address socio-economic factors though questions about what is shared. Students will perform a design exercise, select one of the sites provided, and make an architectural proposal that embodies a position or attitude in relation to the four-fold mentioned.

4A DS / Articulation and Tectonics I

Fig. 1-2 Abstract Diagram From Perot Museum’s Elevation

From Large to Small The myth told by the OMA’s Y2k and Casa da Musica, generated a discussion of the shift of scale from Small to Large, while the concept survived, but the building changed dramatically. All the while, the program shifted from small to large. It was both completely locked in- the ﬁgure ground diagram dictated every decision along the way. The same strategy was explored here, but this time in reverse, from Large to Small. The precedent study from Perot Museum, was revisioned through abstraction of the elevation to generate new reading of the project. The strategies played, was to ﬂip the plans in the vertical direction in order to generate new interiority of the project, while keeping the skin and form the same. Through scaling down the project, various architectural element of the project eliminated in the scale of the house. The skin remains the same, while serving new set of function in the scale of the house. Fig. 1-1 Morphosis - Perot Museum

4A DS / Articulation and Tectonics I

Fig. 1-3 Perot Museum - Elevation

Fig. 1-4 Perot Museum - Elevation Oblique

4A DS / Articulation and Tectonics I

Fig. 1-1 Perot In The Scale of A House - Elevation

Fig. 1-2 Perot House - Elevation Oblique

4A DS / Articulation and Tectonics I

Fig. 1-3 Perot House - Elevation

Fig. 1-4 Perot House - Elevation Oblique

4A DS / Articulation and Tectonics I

Fig. 1-2 Locating Site Within The Context of Boyle Heights

Vilage of Parts The Village of Parts were generated from new set of ďŹ gures of the Perot Museum, now in various of shapes. The new shapes may vary, but the interiority of the house remains the same, which challenges new corner conditions, and spatial organization through out different scales of the house. The strong taxonomy within ďŹ gures tend to generate a neighborhood in the context of Boyle Heights, which attracts the neighbours, towards the end, while generating a warm neighborhood within the strange context of boyle heights which takes care of its inhabitants from diffrent scale of age in the family. Fig. 1-1 Plan Projecting The Figural Composition Within The Parts

4A DS / Articulation and Tectonics I

102

Fig. 1-1 Perot House Within The Neighbourhood

Fig. 1-2 Plus House Within Its Neighbourhood

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Fig. 1-3 Cilinder House Within Its Neighbourhood

Fig. 1-4 Cheese House Within Its Neighbourhood

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Fig. 1-1 Perot House Within The Playground

Fig. 1-2 Plus House Within Its Neighbourhood

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Fig. 1-3 Cilinder House Within Its Neighbourhood

Fig. 1-4 Cheese House Within Its Neighbourhood

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Fig. 1-1 Perot House Interior- Interior Section Oblique

Fig. 1-2 Plus House - Interior Section Oblique

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Fig. 1-3 Cilinder House - Interior Section Oblique

Fig. 1-4 Cheese House - Interior Section Oblique

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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.

111

3B DS / Articulation and Tectonics II

Fig. 1-1 Ayuntamiento Pattern Composition

116

Fig. 1-4 Bucarelli Pattern Composition

Pattern Relief 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 ďŹ&#x201A;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 Pattern Relief Surface Projections

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118

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. Fig. 1-1 Material Juxtaposition

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119

Philip Schaerer - Diary Series

The Digtal Scanner Image Fragmentaiton

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

120 SITE PLAN SCALE I 1:250

Fig. 1-2 Site Plan

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. Fig. 1-1 Material Juxtaposition

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FIRST FLOOR PLAN

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BUCARELI ELEVATION

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AYUTAMIENTO ELEVATION

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MORALES ELEVATION

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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

LEVEL 2 E.L | 7.50 M

128 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 -6.7 EE.L .LL | -6. -6 6.7 M

SECTION I

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129

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

3B DS / Articulation and Tectonics II

Max Height E.L | 20.3 M

LEVEL 2 E.L | 10.5 M

LEVEL 1 E.L | 7.4 M

130

LEVEL 0 E.L | 0.00 M

SECTION II

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131

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)

L-Holders (65mm X 50mm) Tilath Diamond Mesh Lath (3mm) I-Beam (W21x44) Brick Veneer

BUILDING TECTONICS ASSEMBLY DETAIL

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)

135 FACADE ASSEMBLY 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

STRUCTURE ASSEMBLY DETAIL

Fig. 1-2 Assembly Details

Fig. 1-3 Brick Pattern Relief

3B DS / Articulation and Tectonics II

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3B DS / Articulation and Tectonics II

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3B DS / Articulation and Tectonics II

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3B DS / Articulation and Tectonics II

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3B DS / Articulation and Tectonics II

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143

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144

3B DS / Articulation and Tectonics II

145

3A Studio Fall 2017 Maxi Spina In Collaboration With Ana Cecilia 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.

147

3B DS / Articulation and Tectonics II

154

Rasterizing The Vectors 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. Fig. 1-1 Elevation Representing Rasterization of The Curtain Wall Layers

3A DS / Articulation and Tectonics I

156 Fig. 1-2 Building Tectonics Assembly Exposing The Layering System

Sectional Chun 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. Fig. 1-1 Isonometric View Exploits The Rasterized Curtain Wall Within The Context

3A DS / Articulation and Tectonics I

Fig. 1-1 Floor Plan Projecting The Regime of The Office Organization

158

Fig. 1-3 Ground Plan Showing Various Entrances From Adjacent Streets

Fig. 1-3 Floor Plan Exploring The Core Separation

3A DS / Articulation and Tectonics I

159

Fig. 1-4 Elevation Represents How The Tower Meets the Ground

Fig. 1-2 Building Section Exploring The Stepping of the Massing

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’

160

Hotel Hotel Lobby / Mechanical

106’ - 00”

1,408 sq.ft.

1,280 sq.ft.

1,408 sq.ft.

12,796 sq.ft.

12,924 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

86’ 6’

45’’ 4

3.25’

DN N

UP P

DN N

1.5’’

HOTEL FLOOR

ELEVATOR LOBBY

18’’

3.25’ 2’ 52’

5’

3.25’

5’

3.25’

161

9’

HOTEL FLOOR PLAN

6.5’’

8’ WC

26’’

12’

7’

3.5’

5’

32’

45’

26’’

6’ 26

8.5’

45’

10’

51’

OFFICE FLOOR 35’

32’

3.25’

ELEVATOR LOBBY

OFFICE FLOOR PLAN

Exits Exit Discharge

Exit Access

UP P

DN N

5’ DN N

18’’

1.5’ 5’’

3.25’

5’

5’ Exit Discharge

1.5’

9’ 26’

12’ 6.5’

26’

3’

8’’

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’’

3A DS / Articulation and Tectonics I

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3A DS / Articulation and Tectonics I

163

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.

165

2B DS / Objects to World II

Folded / Unfolded Box in Motion | Drawing Set [Back/Front]

36 170

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

37 171

Fig. 1-2 Flexibilty of The Surfaces [Front]

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

178

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.

179

3.075”

RABBET JOINT

GORILLA TAPE ”5260.3

2 2.595” 90 90°

”901.5

9 90° 90

”901.5

180

”901.5

ACCOUSTICS

PH NATURAL MASKING TAPE

3. 781”

UNFOLDED OBLIQUE

3. 781”

181

Unï¬&#x201A;olded 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.

184 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

KNOB

EXTRA SMALL KNOB

Seat.

Big screw.

Projector.

Pillow.

CONCESSION STAND

2B DS / Objects to World II

FOLD

DRYDEX SPACKLING

BLACK THEATER

BEVERAGE

Mortar.

Tape.

Carbonated.

185 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

12188

188

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.

Section A

2A DS / Objects to World I

Section B

194

Plan | Sections | Birdâ&#x20AC;&#x2122;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.

195

2A DS / Objects to World I

Diagrametic Evolution

198

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 circulation 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 itâ&#x20AC;&#x2122;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

WEST ELEVATION

2A DS / Objects to World I

EAST ELEVATION

2A DS / Objects to World I

202

PLAN

2A DS / Objects to World I

203

204 220 04

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.

205

Summer Transfer Seminar

208

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

209

Fig. 1-1 Powder Printed Model

Fig. 1-2 Powder Printed Model

AS Construction Documents Spring 2019 Pavel Getov | Kerenza Harris In Collaboration With Elias Ahmadi, Teahan Kim, Saranagan Sinnarajah and Yipeng Liu

Construction Documents The course focuses on advanced methods of project delivery and construction documents incorporating digital technologies and investigating new models for linking design and construction processes. It introduces Building Information Modeling as one of the tools for realignment of the traditional relationships between the project stakeholders. Using a single unit residential building located in Los Angles, students will analyze and develop the architecture by creating a detailed 3d digital model and a set of 2d construction documents speciďŹ cally tailored for the design challenges of a single unit residential project. Lectures and site visits to fabricators and construction sites will further inform students of technical documentation methods for projects that are operating on the forefront of design and construction technologies to date.

211

4B AS / Construction Documents

AS Design Development Fall 2018 Pavel Getov Scott Uriu In Collaboration With Elias Ahmadi, Teahan Kim, Eron Kumar, and Max Boselli

Design Development This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials, the integration of building components and systems, ďŹ re/life safety and ADA planning, and the introduction of sustainability measures. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and demonstrate Stewardship of the Environment.

223

4A AS / Design Development

Routel Connector

Routel

Steel Mullion Connector Steel Mullion Steel Truss Tubular Connector Tubular Connector

1.5’x1.5’ Square Tubing Laminated Saftey Glazing Aluminum Mullion Cap 1/4” Custom Aluminum Tube

Molded Silicon Gaskets Seismic Support Steel

1” x 1” Steel Tube

9” I-Beam

1” Steel Bracket

2” Steel Bracket

Double Glaze Glass Insulated Tempered Glass Seamless Steel Tube 1’ Aluminum Mullion

1/4” Custom Aluminum Tube 1.5’x1.5’ Square Tubing Laminated Saftey Glazing Aluminum Mullion Cap Molded Silicon Gaskets Seismic Support Steel 9” I-Beam

1/4” Custom Aluminum Tube Steel Beam

1/4” Custom Aluminum Tube

Steel Mullion

1/4” Custom Aluminum Tube 5” Offset for Bracket

Steel Truss

Insulated Tempered Glass Spider-Web Glazing System

Steel Hinge Concrete Floor

Insulation

1/4” Custom Aluminum Tube 5” Offset for Bracket Concrete Floor Concrete Slab Insulated Tempered Glass

Spider-Web Glazing System 1.5’ x 1.5’ Steel Tube

Insulation

Concrete Slab

4A AS / Design Development

HDP Blocks 1” Insulated Metal Panel

1” Insulated Metal Panel Kawneer Mullion System

1’ x 1’ Steel Tube 1’ x 1’ Steel Tube

1’ x 1’ Steel Tube 1” Insulated Metal Panel

Steel Mullion

Kawneer Mullion System 1.5’ x 1.5’ Steel Tube

Double Glaze Glass

Structural Core

Steel Truss

Standard Steel 9” I-Beam

Steel Mullion 1’ x 1’ Steel Tube

Double Glaze Glass

Laminated Saftey Glazing

Aluminum Mullion Cap

1” Insulated Metal Panel Molded Silicon Gaskets Seismic Support Steel

1’ x 1’ Steel Tube

Standard Steel 9” I-Beam 1” Insulated Metal Panel

awneer Mullion System 1.5’ x 1.5’ Steel Tube Double Glaze Glass Standard Steel 4” I-Beam

1’ x 1’ Steel Tube

Steel Mullion

Double Glaze Glass Double Glaze Glass 1” Insulated Metal Panel 1” Insulated Metal Panel

Standard Steel 4” I-Beam Double Glaze Glass

Laminated Saftey Glazing

Aluminum Mullion Cap Double Glaze Glass

Molded Silicon Gaskets

1’ x 1’ Steel Tube

1.5’ x 1.5’ Steel Tube Kawneer Mullion System

1” Insulated Metal Panel 1’ x 1’ Steel Tube

Steel Mullion 1’ x 1’ Steel Tube Exterior Window Ventilation Poured Conc

Structural Core Double Glaze Glass

x 1’ Steel Tube Pavement

1” Insulated Metal Panel

Ground Floor Insulation Floor Pedestal

Kawneer Mullion System Ground Floor Found

1.5’ x 1.5’ Steel Tube

Floor Pedestal

Steel Truss

Steel Mullion 1’ x 1’ Steel Tube

Double Glaze Glass

Laminated Saftey Glazing

Aluminum Mullion Cap

1” Insulated Metal Panel Molded Silicon Gaskets Seismic Support Steel Standard Steel 9” I-Beam

Double Glaze Glass Standard Steel 4” I-Beam

4A AS / Design Development

226

4A AS / Design Development

CUSTOM TUBES STEEL TUBES 1’-5”x1‘-5’’

DOUBLE GLAZE GLASS 1/4” THICK

CUSTOM BRACKETS 1’ STEEL BRACKETS

TUBE TRUSS

MULLIONS

STEEL W BEAM

4” ALUMINUM MULLION

DESIGN TEAM TEAHAN KIM NEIL VASQUEZ ELIAS AHMADI MASSIMILIANO BOSELLI ERON KUMAR SHAYAN KHORASSANI

BRACED WALL [CORE] GLASS & STEEL

PRIMARY STEEL 1’-5” STEEL SQUARE TUBES

INSTRUCTORS -

MEGA CHUNK

Scott Uriu Pavel Getov

LECTURE HALL A17

227

DRAWING REVISIONS -

NO. 1 2 3

DESCRIPTION DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT

CONCRE CON CRETE CRE TE SLA SLAB B 4’ THICK 4 THICK

MOLDED SILICON GASKETS

LATERA LAT ERALL SSTEE ERA TEELL 1’ x1 1 x1’’ STEEL STEEL TUBES TUBES

SHEET NO.

CON NCRE CRETE TE FLO FL OR 1’ POLISHED FIN.

PILES 1x1 CONCRETE TUBES

9” I-B I EAM EA

LAMINATED TED SA SAFET FETY Y GLAZ GLAZING ING

+SEISMIC SUPPORT STEEL

1/16” THK

DATE 10/15/18 11/18/18 12/03/18

4A AS / Design Development

228

4A AS / Design Development

229

4A AS / Design Development

Morelos St.

2 DESIGN TEAM TEAHAN KIM NEIL VASQUEZ ELIAS AHMADI MASSIMILIANO BOSELLI ERON KUMAR SHAYAN KHORASSANI

INSTRUCTORS Scott Uriu Pavel Getov

TYPLICAL FLOORPLAN

Enrico Martinez St.

Bucare ali St.

232

10 0

11 1 A15

12 DRAWING REVISIONS -

NO. 1 2 3

1 A15

DESCRIPTION DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT

2 14 4

1 15

1 4

SHEET NO. PLAN N LEV VEL 3

Archive ve e Terrace ce e Gallery ry y Rooftop & Restauran nt Transition space ce e Librar ra ary a r

N 0 5 10

5 50

Ayuntamiento St.

1 2 3 4 5 6

A14

DATE 10/15/18 10/15/18 10/15/18

4A AS / Design Development

DESIGN TEAM -

Level 3 elev. +35’

2 Plan A

A. 14

INSTRUCTORS Scott Uriu Pavel Getov

Levvvel 1 ele ev. +1 15’

Level 2 elev. +25’

Level 1 elev. +15’

BUILDING SECTIONS

Levvvel 2 ele ev. +2 25’

TEAHAN KIM NEIL VASQUEZ ELIAS AHMADI MASSIMILIANO BOSELLI ERON KUMAR SHAYAN KHORASSANI

8 4

233

DRAWING REVISIONS LLevel 4 ele el ev. +45’ ev e

Le Level e 3 ele el ev. ev e v +35’

Plan A A. 14

NO. 1 2 3

DESCRIPTION DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT

DATE 10/15/18 10/15/18 10/15/18

8 Level 2 elevv. +28’

Level e 2 ele el ev. e v +25’

Level 1 elevv. +13’

SHEET NO.

A15 1:100

AS 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

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.

235

3A AS / Tectonics and Materiality

Isometric of tectonic algorithmic tect layout of panel patterns through a series of 4 rows within the facade

Aluminum Frame

236

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 Buildingâ&#x20AC;&#x2122;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 ďŹ&#x201A;oor/ceiling.

3A AS / Tectonics and Materiality

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

Extruded aluminum stack joint

Utility duct

Steel I-beam 1’-10”X10”

237

Steel and concrete sub ﬂoor

3-way joint B2- PANNEL DETAIL Glass spacer

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

3A AS / Tectonics and Materiality

Isometric Chunk

Isometricc Chunk

Isometric Chunk k

Isometric Chunk C

6’ 6’

1’

5° Rotation 14’

12’

10° Rotation on 12.5° Rotation

238 Josef Albers Elevation n Diagram

Radiation Analysis R di

Elevation Ele evation e va

Elevation

Elevation Eleva ation

Radiation Analysis Anally

Radiation Analysis

Transformed Facade 1x

Facade Grid

Rhythm of Diagonals

3D Elements

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.

3A AS / Tectonics and Materiality 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.

239 -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

3A AS / Tectonics and Materiality

Bi-directional Supportive Steel Truss

Aluminum Frame

240

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

3A AS / Tectonics and Materiality

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

241 B2-PANEL PLACEMENT

Floor register with convector upright

Utility duct

Glass substrates Glass heat treatment Spigot connection

3-way joint

Steel and concrete composite ﬂoor

Steel and concrete sub ﬂoor

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

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

3A Visual Studies

Fall 2017

Satoru 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 toolâ&#x20AC;&#x2122;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.

243

3A VS / Coding Form

244

FACE STELLATION WITH WAVE ATTRACTORS USING WEAVERBIRDâ&#x20AC;&#x2122;S PARAMETRIC SUBDIVISION

2B VS / Technologies of Description II

245

HT Plan Spring 2019 Peter Trummer

The Architectural Plan For architects, the plan is mainly understood as the representation of living arrangement by means of an orthogonal, horizontal section through a building. In this seminar, instead of understanding the plan as this kind of representation, or even as a concrete abstraction of certain formal principles, the aim is based to ask the question: “What do we do when we make a plan?” or more particularly, “What is architectrual section defines the relationship of a building and its ground, the plan defines the “political” boundary between an inside and an outside. More specifically, we can say that in a plan we cut out a world from the world. The word “plan” is both a noun and a verb. To plan something means that we impose an architectural idea onto the world, via a plan that remains an irreducible entity: the plan is always more than planning. What disciplinary knowledge do we use to design such a world? What kind of architectural ideas exist within a plan, and how are each of these ideas related to each other? The intent of this seminar is to unfold the multiplicity of architectural ideas implied by the plan’s FORM, it’s SPACES, its MATTERS, its FUNTIONS, its EVENTS, its ORGANISATION, and its REGIMES, and to consider as fresh what we, as architects enforce with the horizontal datum of buildings.

253

4B HT / The Architecttrual Plan

254

4B HT / The Architecttrual Plan

255