Practice & Teaching
INTRODUCTION & INSTRUCTIONS The portfolio is divided into two parts - Practice & Teaching. The first part Practice has two sections Projects and Details & Catalogues. Practice concentrates on competitions, grants & exhibitions. The second part Teaching focuses on studio and seminar classes with WEB links to each institution. 1. Use Adobe Acrobat Reader or Adobe Acrobat to navigate the portfolio. 2. Select the HAND tool. (upper most on the tool palette - upper left corner of screen) 3. Use the HAND tool to click Bookmarks, WEB links, Notes, etc. 4. Notes are the yellow icons - double click to open additional instructions.
P R A C T I C E
.01 Projects : .03
SPUR
Recruiting Offices @ Rutgers University, New Brunswick, NJ.
.04
TARP
.05
TIME
.06
KOMA
Korean - American Museum of Art, Los Angeles, CA.
.07
GOV.
Public Property for Governors Island, New York, NY.
.08
PASS
Slave Trade & Navigation Museum, Dakar, Senegal
.09
51%
.10
1227
.11
50 YEAR
Directional Modeling - ODD-House Press©, Phoenix, AZ.
Details & Catalogues :
.04
TARP
Sun City : Del Webb Urbanism ( 1940 - 2000 ), Sun City, AZ.
.05
TIME
Polaroid Photography - ( 1994 - present )
.09
51%
Evolutionary Dwellings - ( I S A Grant ), Phoenix, AZ.
.11
50 YEAR
Directional Modeling - ODD-House Press©, Phoenix, AZ.
P R O J E C T S
This section introduces in one page format a series of projects X-ing was involved with from 1994 - 2004
S P U R
.03
K O M A
.06
G O V.
Island
.07
P A S S
.08
1227
.10
De t a i l s & C a ta l o g ue s
This section takes an in-depth look at four projects. All of the following pages include movies, animations, QTVRs, WEB links and text to fully desrcibe the “ scope of work “ for each project.
T A R P
.04
T A R P
.04 SUN CITY: Del Webb Urbanism - USA ( 1940 - 2000 ) The intention of this study was to document urban formations that were stimulated by the inter vention of highly specialized, defined and differentiated architectural elements into the functioning currencies of contemporary cities. The sites of this investigation were the Sun Cities of the Del Webb Corporation : Sun City, AZ. 1960, Sun City West, AZ.1978, Tucson, AZ. 1987, Summerlin, NV. 1988, Palm Desert, CA. 1990, Roseville, CA. 1994, Hilton Head, SC. 1994, Georgetown, TX. 1995 Situating the wor k : The operations performed within the selected contexts were termed "spurring". "Spurring" is defined as a process which implies a sweeping-through of potential sites with new programs. This process constituted and articulated an urban exchange. This study also examined the possibilities for the use of architectural "spurring" as a speculative tool, projecting or anticipating the side effects and after effects of various combinations of the distinct programs. Conclusion : The Del Webb Urbanism - USA ( 1940 - 2000 ) research has been a collaborative process, one that was conducted as an active experiment involving all par ties. This collaboration is seen as a potentially dynamic and productive process that inventories the "existing" as it imagines the "possible". As such it is seen to be a powerful tool for understanding the "existing" city and as a way of exploring the potential of increased programmatic intergration throughout the 21st Centur y city.
T I M E
.05
T I M E
.05 POLAROID PHOTOGRAPHY - ( 1994 - present ) This is a series of polaroid’s taken at the following locations :
10.17.99 scottsdale airshow, barrett jackson AUTO's 01.18.98, NYC 03.28.97, Schwitters,
1227 E. Broadmor, Cranbrook 06.25.97, Office 390, sun spots,
619 W. 11th St., Germany 07.13.99, PLAYTIME, the Birds,
This work I do on a regular basis and it continues to be the most influential in my spatial projects.
Albany 03.27.97, Hoover Dam, Psycho, the Wrong Man, etc.
51% H O U S E
.09
51% HOUSE
.09 Evolutionary Dwellings - Institute for Studies in the Arts Grant " The interior is not only the universe but also the etui of the private person. To live means to leave traces. In the interior these are emphasized. The traces of the occupant also leave their impression on the interior. The detective story that follows these traces comes into being. " Walter Benjamin, Reflections The opportunity exists for the creation of an evolutionary architectural wor k that adapts and responds to the occupant and context. The interior traces that Benjamin refers to may surface onto the exterior leading to the dissolution of the concept of an architecture that is fixed and largely unalterable within which one simply operates. This project proposes the utilization of computer technologies [ Silicon Graphics & Form-Z modeling, rendering & animation, video, Quicktime VR, and rapid prototyping of physical models ] for the exposure of potential-effects of inhabitation on the exterior conditions of our everyday dwellings. The beginning point for these investigations were two typical ranch houses and sites. The houses were modeled into the computer, thus serving as the framewor k upon which all subsequent operations would be made. The models then adapted and evolved in response to the interactions between framework and inputs. The translation process of the inter ior traces into the computer was crucial. Assemblage of a document of these interior traces was performed through various means Quicktime VR, physical drawing and models. The assembled material, a composite of the space and experience rather than a literal transcription, informed and guided our subsequent interactions with the model. Our goal was to establish an evolutionary architectural model by structuring interactions within the computer model which allowed minimal influence on its tectonic development.
50 YEAR HOUSE
.11
50 YE AR HOUS E
.11 DIRECTIONAL MODELING - 1227 PERSONAL TYPOLOGY STUDY The intent was that through personal examinations of our past / present / future dwellings -- we may extract a programmatic vocabulary for a series of architectural pieces defined through qualitative considerations of these past / present / future places. Looking for oppor tunities of interaction with & within our present houses in Phoenix, AZ. In a sense, the past places were a means for ourselves to update them to the present & future. The Directional Modeling is able to respond not only to the moment but also to a context which extends back into our thirty years of experiences. On-Going project for ODD-House Press Š - 50 Year house - ( 1950 - 2000 - 2050 ) Changing Tactics because the family types has changed so dramatically. Continued CORE SAMPLES as a genetic code per program of use PROGRAMS : STORING, SLEEPING, COOKING, RELAXING Applied @ the 1227 House - 9 types selected - including the existing condition selection of houses is not an equal interval...based on development 1st series
house for a woman who’s husband dies after 10 years of marriage - without children
2nd series
house for a same sex marriage with an adopted child carriage house type?
T E A C H I N G
.00 Pedagogy : " Instead of the ideology of communication, open pedagogy adheres to the ideology of signification, which takes into account all the systems of codes, it seeks to make them explicit in order better to analyze their origin and their mode of functioning. The filmic message is didactic, no longer because it transmits a knowledge, but because it permits the elaboration of knowledge. This elaboration is undertaken not by the one who teaches, but by the one who learns, based on the presentation that provides the raw material for an invention. Pedagogy becomes process, not product. " Gregory L. Ulmer.
Enclosed is a series of studio & seminar projects given at the following Institutions :
SOUTHERN CALIFORNIA INSTITUTE of ARCHITECTURE ( SCI-Arc ) UNIVERSITY of CALIFORNIA at LOS ANGELES ( UCLA ) WOODBURY UNIVERSITY ARIZONA STATE UNIVERSITY ( ASU )
Studio & Seminar :
1.
Portmanteau :
a work in four parts
2.
Auction House :
tokyo-phoenix
3.
Spatial Tectonics :
parametric modeling
4.
Drawing 2 :
computer modeling
5.
Advanced Drawing :
digital imaging & modeling
St u di o & Se m i n ar
This section shows a por tion of the 34 studios & 13 seminars I have taught over the last ten years.
Portmanteau :
a work in four parts
Pedagogy : The studio environment is an opportunity for extreme exploration and experimentation through which multiple relationships are uncovered and re-configured into a series of events. These events will prompt the students to critically engage the process of making beyond the given conditions. Such an engagement will allow the students to view and re-view their positions continuously inside and outside of their particular projects. These shifting positions may also reveal additional approaches for future investigations suggesting a process of working as much as a product of the work itself. " The interior is not only the universe but also the etui of the private person. To live means to leave traces. In the interior these are emphasized. An abundance of covers and protectors, liners and cases is devised, on which the traces of objects of everyday use are imprinted. The traces of the occupant also leave their impression on the interior. The detective story that follows these traces comes into being. " Walter Benjamin, Reflections
note: THIS PROJECT IS ALWAYS @ 1:1 SCALE.
Studio Objectives : We will resist the typical reduction to "DESIGN" within individual projects and suggest instead an "ASSEMBLAGE â&#x20AC;&#x153; of dispersed elements that may or may not create a unified whole. The attached elements will not add up to a collection of autonomous parts but will instead coalesce into a new organism < 1+1=x >. The exchange will also question existing methods of representation that have been regarded as "standard" for architectonic investigations. Students will use both two-dimensional and three-dimensional methods of notation that involve material transformations. These transfor mations will be at the service of both formal and spatial issues that increase the student's ability to re-read his or her approach. Methods of representation will not be seen as passive to designed objects but as a processes of design themselves. These techniques will open to the students a non-linear path that utilizes iteration and editing during the assembly process. The characteristics of these techniques will be analyzed in terms of their qualitative similarities and differences. Methods of seeing involve the ability to adjust an individual's personal framework through which all of the tools mentioned above may be continuously accessed. Students will look into themselves for traces and tendencies that can be released into the work. This in-spection is critical for individuals developing a body of work of their own.
Auction House :
tokyo - phoenix
Employ tactics, not strategy: strategy is proper, tactics are improper; The space of the tactic is the space of the other...it is a maneuver' within the enemy's field of vision. " Michel de Certeau
Q1.
Can a city disappear?
A1.
The cities @ Poston, AZ. & Gila River, AZ. were the third & fourth largest cities in Arizona in 1942 ( population 100,000 + ). Today they no longer exist.
Q2.
Can a building disappear?
A2.
History is what we really may be talking about. Natural disaster, fire, etc. can destroy or damage a building, but it is difficult for history to disappear.
Q3.
Can a program disappear?
A3.
Time is the point of this question. It isn’t so much that program disappears, but that they change. A market may exist from 4 a.m. to 10 a.m., but what happens for the next 18 hours?
All of the above deals with the extremely temporal nature of contemporary cities. This temporal nature is exactly what the Studio will concentrate on for the entire semester. The social & political elements will not be disregarded, but layered into the processes and expressed in the architecture of an AUCTION houses for both Tokyo, Japan & Phoenix, Arizona.
PHASE PORTRAITS : Motion-based (animation’s) & image software’s will be use to compress the elements of time & program . The compression will generation a series of phase portraits that will be a direct representation of the forces which molded their development. In other words, the phase portraits are methodology of motions pictures, one which involves the ethics and practice of movement not statics. The phase portrait will also be viewed and reviewed as the first steps in the development of the tectonics for the Auction House project.
SITES: Yoyogi Park, Tokyo, Japan Papago Park, Phoenix, Arizona
Spatial Tectonics :
parametric modeling
Catalog Description : A continuation of the first year studio sequence, Studio 2A expands upon the study of fundamental processes and systems directly as they apply to the making of SPACE. Formal principles, ruled-based systems, iterative processes, game theory, operational parameters and modeling techniques ( conceptual, dynamic, physical, parametric, digital, etc. ( are introduced as mechanisms for generating SPACE. The focus of the studio is on methodology - the premise being that complexity results as an emergent condition from stable and unstable parameters, and recurring patterns of interaction taking place between simple elements
Pedagogy : “ It’s not enough to do something, do something else “. Jeffery Kipnis
As of today, September 07, 1999 there are 115 days until the Year 2000 ( Y2K ). A day is a unit of measure which is relevant to the physical world just as a pixel is a unit of measure for the digital world. As a pedagogical position for the next 361 pixel / days, we will look for specific and repeatable connections between modes of making ( digital & physical ) and the resultant for m produced by the composite of these connections. By identifying these connections we will begin to span the distance between thinking, making, building and SPACE. The studio will be grounded on a series of rule-based projects that introduce simple elements ( pixels ) and how SPATIAL complexity results from straight-forward procedures and processes.
So, for the next 115 pixels / days, let us ask ourselves a handful of SPATIAL questions:
01.
Can we make and produce in the present and the future simultaneously? In other words, can we speculate beyond a fixed moment ( pixel / day ) in time?
02.
By using existing concepts of INTERVAL, REPETITION and SERIALITY as intricate local connectors can “ pixel “ effects be produced? (i.e. Grids vs. Moiré )
03.
Could we think of the “ pixel “ as a GAME? ... from the standpoint of the game pieces, the relations between the pieces and the space involved? ( i.e. Chess vs. Go )
04.
Can new definitions of “ pixel “ propose alternative ways of conceiving the relationship among pixels? “Pixel “ rules are defined locally, therefore, changes within an environment produce fluid adjustments. ( i.e. Flocks, Packs, Schools & Swarms )
05.
Could this new definition also move beyond “ pixel “ as a part of a composition towards “ pixel “ as an active process? ( i.e. Collage vs. Matrix )
With these above questions in mind, the studio environment is an oppor tunity of extreme exploration and experimentation through which multiple relationships are uncovered and investigated. The projects will ask the students to critically engage the process of making & modeling beyond past “ STANDARD “ conditions.
Drawing 2 :
introduction to computer modeling
Course Description : The course as a whole will emphasize the development of the use of three-dimensional and imaging softwares as a method of representing, investigating and illustrating existing designs & objects. The course will focus on acquiring a command of 3D modeling and visualization through the introduction of assignments involving differing geometries and visualization criteria. These assignments are geared toward understanding form-Zâ&#x20AC;&#x2122;s advanced modeling and rendering capabilities. Precision is stressed throughout the exercises, as detailed information such as drawings with dimensions are given to the students before each modeling assignment. This information in combination with for m-Zâ&#x20AC;&#x2122;s intuitive interface and solid-modeling environment allows students multiple ways to complete each assignment. This degree of flexibility is an opportunity for For mâ&#x20AC;˘Z and CAD in general to be fully incorporated into the studio setting by students who are accustomed to drawing on paper and building physical models.
The assignments for the semester include: 1. modeling a concrete box - ( Donald Judd sculpture ) 2. modeling a section of Manhattan 3. modeling a piece of modern furniture - ( Mies van der Rohe chair ) 4. preparing a catalogue 5. modeling a small building - ( John Hejduk structures from the book Victims ) 6. animations These projects range greatly in scale, utilizing the ability of computers to focus on any conceivable environment.
Course Objectives : students who successfully complete this course will: be aware of how computers are often used in the professions of architecture, interior design, industrial design and landscape architecture. understand the relevant terminology of computer science and command the technical vocabulary necessary to describe computer modeling processes. be able to operationally apply software tools to serious analytic work related to design and planning.
Subjects of Study: specifically, the course will deal with the following: hardware: central processing unit, random access memor y, storage devices including removable media, graphic displays, printers, networks. software: three-dimensional computer aided design: geometric modeling, viewing and transforming, rendering the properties of light and perspective views; image manipulation.
Advanced Drawing :
Digital Imaging & Modeling
Course Description & Pedagogy : Technology is rooted in the past. It dominates the present and tends into the future. It is a real historical movement Mies van der Rohe, 1950 In this course students will be asked to confront issues relative to the conceptualization, visualization, and fabrication of architectural space. This course takes the position that architecture is inseparable from its' attendant modes of graphic representation and that the particularities of each mode, or drawing convention, is by default an active agent in the architectural process. In other words, the way thatarchitecture is visualized and represented will have a latent but pervasive influence on the nature of the architecture that is being developed. The course will begin by engaging issues of visualization, move through lighting and fabrication, and culminate in the production of a CATALOG containing the semesters' work. We are presently in an extremely exciting period in the history of architectural representation. Not since the introduction of inexpensive transparent drawing paper at the turn of the century, have the conventions of architectural drawing been reconsidered at such basic levels. What are the implications of the ECLIPSE of the precious DRAWING (executed on a piece of paper or linen) by the equally precious ( but infinitely modifiable and copy-able) FILE? Efforts to respond to these questions are certainly well under way and this class is at the very least, an invitation for you to join the architects already in pursuit of that research. The following drawing / modeling / imaging tools we will use to conduct this research will include the following cross - platform computer software : Form-Z, ElectricImage, 3D-studio, Adobe Photoshop & Premiere & QuarkXpress
ALL STUDENTS ARE STRONGLY URGED TO OWN A COMPUTER AS A GENERAL RULE HERE AT SCI-ARC, and students who own them are urged to obtain a student licensed copies of form -Z and Photoshop as a starting software package. Our work in class will consist of a series of assignments based on the 1GA Differential Topologies assignment of last term. These assignments will be supported by software demos in the computer lab, readings / group discussions on related topics as presented in the course WEB reader ( available the first day of class ), and critiques of output as a group. There will also be dedicated computer lab time for this class with technical support from the two class teaching assistants.
As mentioned above, there will be a course WEB reader which will be provided at a cost of ZERO dollars. All students will be required to read these texts and discussions of the assigned readings will be led by various class members. These discussions will occur as an introduction to all assignments. As the first reading assignment, go to http://www.gsd.harvard.edu/~malcolm/DDM/DDMmain.html. Read chapter 1 - The Second Industrial Revolution. Consider it as a primer on new media culture.
FORMwork :
TOWARDS A NEW MANUFACTURING
Studio Rationale : This studio will research and explore the actualization of digital architectural proposals through the use of computer numerically controlled production processes. These processes offer a method of fabrication - the manufacturing of building components directly from 3-dimensional computer data. This process potentially permits the introduction of differentiation into mass production. Prefabrication and mass production in architecture has traditionally been approached through the standardization of building systems; in contrast this course will focus on the development of repetitive, yet non-standardized building systems. In other words, it is just as easy and costeffective for a CNC milling machine to produce 1000 unique objects as to produce 1000 identical ones. Studio Objectives : Through a series of sequenced exercises, the students will explore the issue of translating 3D digital information into 3D physical models. The course will use the CAED Shop and its CNC Router as a means of moving from digital/virtual models to physical materials and models. The format of the course will include both lecture demonstrations and lab/shop components. The studio will conclude with students developing presentations in a variety of media, including 3D computer files, 2D drafted drawings and large physical models using the CNC Router with hand assembly and finishing. Studio Projects : The first half of the semester will be focused on research and a preliminary study exercise. The projects for this half will be a case study of digital practices in architecture and a preliminary study exercise fabricated using the CNC milling machine. The second half of the semester will be more specifically focused on students final projects, which is developing and producing a Full-Scale Mock-Up using CNC fabrication. KEYwords : Repetition, Unit & Mass-Customization Students are encouraged to work in groups of two & four for the semester projects.
Arizona State University, CAED, SOA Project 3 ADE 321
Project 3.
Third Year Studio page 1/4 Fall 2003
LANDSCAPES OF TRANSFORMATION: A COMMUNITY REMEMBERANCE GARDEN
The Remembrance Garden is a community owned facility that provides at place to mark individual and collective ceremonies marking rites of passage. The facility is also to be used for recreational purposes. By calling the place a garden, we are asking you to consider this as a symbolic landscape that reflects upon the relationship between culture and nature as framed by birth and death, renewal and passing.
Gardens Gardens have special meaning. They are powerful settings for human life, transcending time, place and culture. Gardens are mirrors of ourselves, reflections of sensual and personal experience. By making gardens, using or admiring them, and dreaming of them, we create our own idealized order of nature and culture. Gardens connect us to our collective and primeval pasts. Since the beginning of human time, we have expressed ourselves through the gardens we have made. They live on as records of our private beliefs and public values, good and bad. As an idea, the garden is part of traditional and modern social thought. The garden has long served as a way of thinking about nature and about culture and how each influences the other. It has also been viewed philosophically as the balancing point between human control one hand and wild nature. Gardens have also been used for recreation and are often the place for games and other organized forms of recreation. Rites of Passage Our life is made up of a succession of stages with similar ends and beginnings: birth, social puberty, marriage, fatherhood and motherhood, advancement in oneâ&#x20AC;&#x2122;s life work or social class, specialization and death. For every one of these events there are ceremonies whose essential purpose is to enable the individual to pass from one defined position to another which is equally well defined. Thus we encounter a wide degree of general similarity among ceremonies of birth, childhood, social puberty, betrothal, marriage, pregnancy, parenthood, initiation into professional and religious societies and funerals. In this respect, our life resembles nature, from which neither the individual nor the society stands independent. The universe itself is governed by a periodicity which has repercussions on human life, with stages and transitions, movements forward, and periods of relative inactivity. We should therefore include among ceremonies of human passage those rites occasioned by celestial changes such as the changeover from month to month (ceremonies of the full moon) from season to season (festivals related to solstices and equinoxes) and from year to year (New Yearâ&#x20AC;&#x2122;s Day). Celebration and Mourning A mixture of two powerful human expressions often accompanies rites of passage: celebration and mourning. Celebrations are characterized by collective expression of joy while mourning is based upon the experience of the individual. A single ceremony can involve more than one emotion or expression. For example, marriages are often depicted as bittersweet events where families mourn the loss of one of their own and celebrate the creation of a new pair or family unit. In the most general way, we can say that mourning plays a greater role in ceremonies as we move toward the most individual of all experiences, our own death while joyous celebrations intensify the closer we are to birth.
Stage, Setting and Event The design of the Garden is to consider the integration of three components: stage, setting and event. The stage is the physical context for the setting or narrative within which an event occurs. For example, a table in a room is often used as the stage for a birthday party whose narrative setting involves the celebration of ones arrival into life. The event is the presenting and consumption of the cake with all of its ritual observances. The Remembrance Garden is made up of multiple Stages, Settings and Events. The challenge is how to organize these in a practical and meaningful way. Spatio-Temporal Forms As describe above, gardens can represent a symbolic ordering of culture and nature. This ordering is a synthesis of spatial and temporal forms. The challenge is to find a spatial and architectonic expression of this order. (See attached chapter from Body, Memory and Architecture by Bloomer and Moore.) Your scheme is to consider the following: • Place • Path • Pattern • Edge Phenomenal Transformations The Remembrance Garden is place for transformation; from birth to death, from child to adult. In designing the garden, consider the following phenomenal transformations: • darkness to light • one to many • in, on and above • far to near • seeing and being seen • stillness to movement ARCHITECTURAL ELEMENTS Typology Consider the following typological elements in your design: Earth Form Plain Valley Mesa
Landscape Grove Field Garden
Building Court Block /Room Plinth
Tectonic Wall/Column Window/Door Beam/Plank
Material Concrete is to be the primary building material for all of the building components. The majority of the building units will be manufactured off of the site at a pre-cast factory. (Concrete pavers, concrete masonry units, pre -cast structural elements such as planks, roof sections, columns and joists, pre-cast burial components, pre-cast earth stabilizing elements etc.) Poured in place concrete can be used to link pre-cast systems. Climate Provide shaded areas in all programmed spaces. Consider insulation, ventilation and mass effect in building cross sections. Architectonics One of the functions of this exercise is to develop a design vocabulary that brings together a wide range of architectural forms. Similar to the previous exercise, emphasis will be placed upon the economy of construction relative to the number of individual building elements. In other words, the goal is to achieve a maximum of variety with a minimum of means. For example, a number of the crypt or columbarium unit/structures could be used in a variety of other configurations. Columbarium units could be used as a sun block or a retaining wall and the crypt unit could be extended to form a long span, structural T.
Site Notes The site should accommodate the above program as well as the required volume for water “retention” (a “negative” volume in the site). The earth removed for the creation of the retention basin (“cut”) must be placed elsewhere on the site (“fill”). A minimum of 360,000 cubic feet is to be displaced. Certain elements of the program (Parking, Amphitheater, and Unassigned Open Space) can occur at lower elevations within the detention basin, while others will need to be accommodated at grade or above grade on “fill”. The height limit for the site (earthworks and buildings) is 30 feet above the existing grade. Without retaining walls, assume a 1:3 slope for earthworks.