DESIGN PORTFOLIO NO. 2 WORKS OF 2012 - 2016
ARCHITECTURAL STUDIES TAYLOR KORSLIN
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ANALYSIS
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CONVERGENCE PARK
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PARIS STUDY ABROAD STUDIO: GIL SNYDER
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STUDIO 6: PROFESSO
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+ WILD STYLE: A H
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STUDIO 1: KATRINA MALAIA
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INTERPRETATIONS OF EL LISSITZKY’S PROUN
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HIP HOP MUSEUM
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S & FORM
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MILWAUKEE ARTS BARGE +
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DIRECTED RESEARCH: + RESEARCH FELLOW ANTONIO FURGIUELE
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THIN SHELL STRUCTURES
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MASTERcrit: VISITING PROFESSOR ANDREW ZAGO
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+ MONSTER IN THE METROPOLIS
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OR CHRIS CORNELIUS
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INTERPRETATIONS OF A PROUN FUNDAMENTALS OF ARCHITECTURE I KATERYNA MALAIA El Lissitzky, a Russian constructivist artist and architect, produced a large number of paintings he called Prouns between 1919 and 1927. He described them as “the station where one changes from painting to architecture”. While analyzing the Proun ‘1921/1923 (image 42)’ (right) I produced a series of spatial interpretations focused on defining space using paired components. Specifically, I concentrated on tectonics and the relationship of pairs to the whole.
PAIRS AND ANOMALY
Objective qualities of the Proun are the basis of the composition. But, with the added dimensions of the physical object, rules were applied to the arrangement of the parts. Each piece was to attach in an orthogonal manner. They are arranged in pairs and the two pieces of a pair could not be placed on the same X, Y, or Z axis. Similar parts would connect in the same way to other similar parts. Exceptions to the later were made only when overall structure and the makeup of the composition depended on breaking the rule.
FRAME AND VOID
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Paris was founded for it’s two islands in third century B.C. due A LANDSCRAPER ALONG THE SEINE RIVER to the natural fortification of the Seine River. The river is now PARIS STUDY ABROAD STUDIO manifest as landscraper to bridge GIL SNYDER the gap between Haussmann plan and river’s edge. The islands are expressed as negative figures in the landscraper that allow the paths of guests to converge where views of Notre Dame and Hotel De Ville can be appreciated.
CONVERGENCE PARK
CAFE KITCHEN
RESTROOMS
EXHIBITS CAFE
MULTIPURPOSE ROOM LOBBY
OUTDOOR CAFE
EXHIBITS
STORAGE
OFFICES OUTDOOR THEATOR
EXHIBITS MUSEUM LOBBY
BOOK STORE
WILD STYLE A HIP HOP MUSEUM WILD STYLE: MoHipHop Studio CHRIS CORNELIUS As a culture, Hip Hop was first introduced to mass audiences with the film “Wild Style” in 1983. The culture assembled around Hip Hop music, graffiti art, and break dancing; all originating in New York in the late 1970’s. It is regarded as a truly American-born art form. SNAFU (Situation Normal All Fucked Up) is an architectural drawing meant to synthesize the subjective qualities of a culture (3 layers of mylar 24” x 36”). This collage advances earlier analysis of music and dance combined with the study of graffiti art. It generated a language for form-making, and ultimately the museum.
Above is the ďŹ nal museum form under the Brooklyn Bridge. Its shape is derived from earlier studies (left). The form studies were generated using the shape language within the SNAFU. They were assembled using some of the poetic techniques of Hip Hop artists, such as mixing and sampling.
Sectional qualities were constructed by superimposing shapes from the SNAFU on the sectional void and carving space from their line-work. An earlier drawing is texture-mapped onto the exterior as a study of facade conditions.
ANALYSIS TO FORM A HIP HOP MUSEUM CONT. Analyzing the Hip Hop culture was an integral part of how forms were derived. Above is the first drawing interpreting the relationship of artists to other artists and the subjective qualities of the song “That’s the Joint” by The Funky Four Plus One, 1980.
Following analytical drawing, I used “found components” to construct interpretive models. These models spatially represent specific observations of poetic elements in the music. Below are plans and sections of each model. These constructed the basis for furthering the graphic lexicon. “That’s The Joint” The Funky Four Plus One, 1980. C A. Focuses on the way in which the five mic controllers (MC’s) diverge and join together in an oscillating sequence. B B. Spatially represents the five instramental sampled components of the song and how they work with one another.
A C. Represents the song as a sequence, rapidly building up the euphoria and eventually fading out. It depicts each MC breaking off for their verse then joining back with the group.
“The Roof is on Fire” Rock Master Scott & The Dynamic Three, 1984. D. Depicts the MC to DJ relationship and each’s unique diction.
B
E. Focuses on the DJ’s records and scratching sequence in his solo. F. Displays the MC’s transparency; as the song is about the DJ’s skills of mixing records. The chronology of the wires shows when the MC or DJ is most apparent in the song. C
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D
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I re-evaluated the graphic language by superimposing the found-object-model plans and sections. Then, extracted line work to compose abstractions (left). Lofting shapes from the abstractions I composed multiple forms. These forms were combined and manipulated to compose the 12” x 12” relief model below. The oscillating process from drawing to physical was the same method used from SNAFU to museum form. It also provided much of the content for the final iteration.
MONSTER IN THE METROPOLIS A BIG, DUMB, BUILDING MASTERcrit VISITING PROFESSOR ANDREW ZAGO In Awkward Position Andrew Zago argues that postmodernism employed irony as a tactic to reveal and disarm power and suppression in architecture. As liberating as it was, he argues, it cast a barrier to the long-standing values of mastery and authenticity in the profession of architecture. He goeson to explain how an awkward position, of which has been increasingly seen in other creative fields, could “reconceive of mastery for a post-ironic authenticity.” In the present-day metropolis many buildings tell us to stand up strait. In the workshop, we aimed to create an awkward stance for a building in the metropolis; one that uses satire and non-conformity to create a new aesthetic. Our precedent for the awkward condition was the pop-culture phenomenon Godzilla. Godzilla first appeared in the film Gojira in 1954. It was rudimentarily filmed using a large model of Tokyo, specific camera angles, and a man in a suit as Godzilla. The way he clunks through the city in a ‘dumb’ fashion is the stance we aimed to recreate. Using precedents of ‘big’ buildings we pushed the awkward concept of a man in a suit. The precedent I chose was Aldo Rossi’s Locomotiva II. It was specifically proposed as a type of urbanistic architecture presupposing a clumsiness in scale. We rotated our buildings up 90 degrees, as if they were standing. Then we imagined the form they would take if they were our Godzilla suits. We superimposed one of Godzilla’s stances on the “standing” building and manipulated it to take on the awkward postition. In doing so, our buildings assumed non-conforming posture in the metropolis.
THE MILWAUKEE ARTS BARGE A MOBILE PERFORMING ARTS VENUE DIRECTED RESEARCH RESEARCH FELLOW ANTONIO FURGIUELE The Milwaukee Arts Barge is a mobile performing arts venue that transforms Milwaukee’s waterways into spaces for social and civic engagement. The barge would carry a proscenium that opens to both sides for performances. When the sides are up their reflective surface projects the viewer within the city. The tail end of the barge has space for a curtain to roll out to act as a back stage for performers.
Our team researched Milwaukee’s geopolitical footprint and found that the network of rivers in the city acted as racial, social, and economic boundaries. The Milaukee Arts Barge would operate primarily in the Milwaukee River as a creative and social exchange catalyst. As a mobile barge, it would be able to do the same for other legacy cities along the great lakes. Immediate right are some of the precedents we studied for barges that range from performance stages and gardens to swimming platforms. Far right are maps looking at racial demographics, vacancy, population density, income, in relation to rivers and parks. Maps from top left to right: Hispanic population density, African American population density, White population density, Asian population density, Median property value, Median household income, parks and rivers, vacancy, and total population.
Hispanic Population Density
African American Population Density 0
0
White Population Density 0
1 - 200
1 - 350
1 - 200
201 - 400
351 - 700
201 - 250
401 - 650
701 - 1000
251 - 500
651 - 1000
1001 - 1350
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1001 - 4000
Asian Population Density
Median Property Value
Median Household Income
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8501 - 20000
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50001 - 100000
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100001 - 170000
30001 - 60000
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Vacancies
Total Population Density
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751 - 1000
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1001 - 1400 76 - 100 101 - 200 201 - 400
1401 - 1800 1801 - 2500 2501 - 4000
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A THIN SHELL MODEL BASE To abstract the river, we used plaster and fabric to form a stacked thin-shell structure as a base for the 1:10’-scale barge model. We learned that a doubly curved shape, in both the draping and tensioned portions, achieved the greatest structural rigidity. When assembling the members, for stacking, we used string afďŹ xed to each end with basswood clips. The tension of this force balanced the compressive force of gravity keeping the combined structure from buckling at the ends.
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