Episode 3.2- Architectural references

As part of your process, analyze, read, explore, question, be curious about precedents as:

Architects:
Mies van der Rohe, The Barcelona Pavilion, Spain, 1929;
Giuseppe Terragni, Casa sul Lago per artista, Italy, 1933;
Mies van der Rohe, Farnsworth House, Plano, Illinois, USA, 1951;
Le Corbusier, Le Cabanon, Cap-Martin, France, 1952;
Alvar Aalto, Experimental House, Muuratsalo, Finland, 1953;

Contemporary design on Modular Houses and/or buildings:
Shigeru Ban, Rocio Romero, Toyo Ito, Future Systems, Kas Oosterhuis, Peter Eisenman, Greg Lynn, Office of Mobile Design (OMD), etc.;

http://www.fabprefab.com

Artists :
Sabina Lang and Daniel Baumann, The Everland Hotel, 2007.

PHASE 3: THE OMNI ROOM

Episode 3.1- Integration

You will design a modular living structure that adapts, relocates and reorients itself to changing environments, contests, places, views, use, and program.

Its contemporary conception engages materials and surface treatments.

The so called Ever-land structure or Omni Room expands and contracts its dimensions. The flexibility of the modular unit can be integrated with outdoor paths, terraces, decks, patios or/and gardens.

Program

The Living Structure or the Omni Room is considered as:

One Bedroom Unit of 650-700 sq.ft. (conceptual phase)

Total Area available: 24’ x 48’ = 1150 sq.ft. (final design)

Max interior Height: variable from 10’ to 18’

Each unit could have a 2-story height space, and main living/dining/cooking/sleeping places.

Service spaces as bathroom, closet/laundry/small storage.

Each unit should have outdoor spaces and maximize adjacency to outdoor spaces.

Possible addition of one extra bedroom and/or studio with bathroom/closet.

Process

Starting from the previous Light-box exercise, reconsider your light-diagrams as generators of the new spaces. Treat your cuts and their projecting lines as solids. Work with transversal and longitudinal lines and with their intersections to conceptualize new spatial possibilities.

In your design, you must include:

Circulation systems. Consider paths and transitions spaces serving the unit inside and outside.

Entrance/exit options that establish relationships between indoor and outdoor spaces.

Diagram of densities (unit/voids). Combinations and spatial variety of solids and voids. Voids could be considered as surfaces (ex. ground floor garden, outdoor paths, open terrace or deck), or volumes (covered terrace, space underneath or above the unit, patios, voids within the unit). You could involve the space below or above the unit, so that this communal space could pass underneath, flow into your unit, or be treated vertically.

Façade treatment. Skin and structure. Cladding or sunscreens. Differentiated materials. You must integrate the Pattern’ exercise.

Parameters:

Modular dimensions; hierarchy of parts; adjacency of spaces; organizational possibilities;

Spatial flexibility over time with possible expansion of the unit, possible volumetric addition, and/or combinations of more units;

Horizontal and vertical combinations of parts of the unit;

Sectional interlocking possibilities;

Spatial relationships.

Commodity and delight — ease of entry into the house and circulation among the public and private zones; accommodation of natural light and airflow; generosity and sufficiency of space; surprises; unusual use of materials; surface manipulation.

Requirements

Process drawings using Autocad 2007

3d investigations and modeling using 3D studio Max

Physical Model

Final presentation

Due Mon, Dec. 03/2007

Episode 2.9 - FINAL BOARD – 3D Patterns

On 18” x 24” paper sheet, plot and compose the following vertically (18” as base), accordingly to a presentation layout using Photoshop and/or Illustrator:

For each of the two final selected patterns, you should have one rendered top view, one rendered section, and one rendered perspective/axon view.

A total of 6 final drawings using 3D Studio Max are representing surfaces modulated by applying operations involved with pulling/pushing, bending/folding.

Work with solid colors or implement the following materials: stone, concrete, ceramic, glass.

At your choice, as an option: add some views with details of the modulated surfaces, showing the transformation process.

Class pin-up

Due Friday, Oct. 26

Episode 2.8 - FINAL BOARD – 2D Patterns

On 18” x 24” paper sheet, plot and compose the following vertically (18” as base), accordingly to a presentation layout using Photoshop and/or Illustrator:

- Collection of different digital images of patterns applications, in smaller size;

- Your pattern selection as image in color, in bigger size;

- Your pattern selection as line drawing (black and white), in bigger size;

- Your complete individual process involved with geometrical analysis and reassembly of single parts of the original pattern. Particularly, you should insert a full set of drawings exploring operations of repetition, rotation, overlapping, and shifting, scaling, trimming;

- Highlights the 3 patterns selected for the laser cutter;

Attach your laser cut cardboard.

Due Wed, Oct. 24

Episode 2.7 – 3D Patterns – Differentiated Surface

3D Studio- 3D drawings:

Accordingly with the geometrical characteristics of your transformed patterns, and in addition to the previous operations of pushing and pulling, apply the following modulations:

- Banding in and out selected stripes/fields/parts/areas/edges of your 2 final patterns.

- Folding in and out selected stripes/fields/parts/areas/edges of your 2 final patterns.

Protrusions or/and depressions values: 1/4”, 1/3”, ½”, 1”, at your choice. You might explore combination of values.

Due friday, Oct. 19

Episode 2.6 – 3D Patterns – Surface Rilief

Autocad 2007- 2D drawings:

- Apply a tiling modularity to your 2 (two) selected final patterns.

- Insert each pattern within a tile-grid of 2’x2’ modules.

The grid, and its repetition or alternation of units, should be adapted to your drawings, in order to be in control of dimensions and scale.

Use multiple or sub-units accordingly to the geometry of your patterns.

3D Studio- 3D drawings:

- Push down selected parts/areas/vertices/points of your 2 final patterns

- Pull out selected parts/areas/vertices/points of your 2 final patterns

- Combine the inner and the outer parts within your final patterns.

Rilief deepness: 1/4”, 1/3”, ½”, 1”, at your choice. You might explore combination of values.

Start to think about conceiving surfaces for exterior facades.

Due Wed, Oct. 17

Episode 2.5 - Pattern and geometry

Finalize and complete your transformations.
Update and keep in order your prints.

You should have, on 11”x17” paper sheets, a complete set of explorations, which contains:

-Original pattern, analysis of its parts, rules and underlying geometry;

-Set of drawings with application of rotation, repetition, and overlapping;

-Set of drawings with application of shifting, scaling, trimming and their combinations;

-Analysis of lines and parts to reach a successful laser cut of some of your new patterns.

Out of all your selected series of transformations, choose 2 (two) final drawings. While choosing them, start to think about their 3D potentials. Import them into 3D Studio program.

Create a new file for each drawing.

Due Wed, Oct. 10

Episode 2.4- Pattern and geometry

Continue to apply transformations to your selected series.
You have 3 sets of drawings exploring operations of 1-repetition, 2-rotation, and 3-overlapping.
Implement, within each set, combined possibilities of shifting, scaling, and trimming.

On 11 x 17” paper print the following:

Series of 2D drawings where you are to explore repetitions, rotations and overlapping of elements through shifting;

Series of 2D drawings where you are to explore repetitions, rotations and overlapping of elements through combinations of shifting+scaling;

Series of 2D drawings where you are to explore repetitions, rotations and overlapping of elements through combinations of shifting+scaling+trimming;

Scale 1:1 with your construction
Use Autocad 2007

Due Mon, Oct. 8

Episode 2.3- Pattern and geometry

Isolate and redraw the single elements of your original pattern.

Create your individual sets of geometries as sequences of parts.

Place them within the overall figure of your pattern.

Try to uncover the underlying geometry as 2D figure. Your selected pattern contains rules of repetition and multiplication.
What is the inherent principle according to which the single module proliferates?
Reveal the rules, tiling strategies, layers and constraints, which are at the basis of the selected geometries.

Apply different ways of repositioning, combination and transformation of single elements to new entities, forming new patterns of complex organizations. Particularly, you should have a set of drawings exploring operations of repetition, rotation, overlapping.

On 11 x 17” paper print the following:

Series of 2D drawings of your single components. The original overall pattern should always be present as background figure, as reference;

Series of 2D drawings where you are to explore repositioning, combinations and transformations of single elements through repetition;

Series of 2D drawings where you are to explore repositioning, combinations and transformations of single elements through rotation;

Series of 2D drawings where you are to explore repositioning, combinations and transformations of single elements through overlapping;

Scale 1:1 with your construction
Use Autocad 2007

Due Wed, Oct. 3rd

Key words:

Module isolation/part extraction/component extrusion

Translation

Multiplication

Transformation

Repositioning

Manipulation

Addition

Repetition

Rotation

Overlapping

Episode 2.2- Pattern and geometry

Choose and exactly redraw your favorite pattern as a 2D figure using Autocad 2007. Observe the single geometrical elements that are composing the whole.

Draw both of the followings on an 11”x17” paper sheet:

-Your pattern selection as line drawing (black and white);

-Your pattern selection as it is, using colors or hatched zones, if necessary.

Scale to fit page.

Due Monday, Oct. 1st

PHASE 2: Patterned surfaces

Episode 2.1- Pattern analysis

You will search and analyze 2D patterns, and the evolution of their geometrical systems.

Explore the following fields:

- interior design, industrial design

- ornaments in architecture and art

- objects, furniture, lighting

- pavement, tiles, wall coverings, wall paper

- fashion, textile, fabrics

- nature

- science, mathematics

- culture

Collect 10 different digital images of patterns applications. Compose all the 10 images on a paper sheet of 11”x17”. Comment each image with a short explanatory caption (materiality, field of application, designer name,..etc.).

Go in the CoA Library and start to consult a list of selected books, reserved for our class:

The Pepin Press, Agile Rabbit Editions, www.pepinpress.com

· Weaving patterns

· Lace,

· Embroidery

· Ikat patterns

· Floral Patterns

· Medieval Patterns

· Renaissance

· Baroque

· Rococo

· Patterns of the 19^Th century

· Art Nouveau Designs

· Patterns of the 1930

· Chinese Patterns

· Japanese Patterns

· Islamic Designs

· Persian Designs

· Turkish Designs

· Elements of Chinese and Japanese Design

· Bacteria and other Microorganisms,

Schmidt P.,Tietenberg A., Wollheim R., Patterns in Design, Art and Architecture; · ISBN-10: 3764371846 · ISBN-13: 978-3764371845

The world of ornament

The World of Ornament, http://www.taschen.com/pages/en/search/result/1.htm

· ISBN-10: 3822821942 · ISBN-13: 978-3822821947

Due Wednesday, Sept. 26

Episode 1.2.7: due Monday, September 24

FINAL MODEL

Requirements: In addition to all of your process drawings, final 18”x24” final board and final photo prints, you are to have:

Construct your final model from white museum board. It should be made to open, exposing interior form.

Scale 1/2’ = 1’- 0

Class pin-up
End of phase 1

Episode 1.2.6: due Friday, September 21

FINAL BOARD and FINAL PHOTO PRINTS

Requirements: In addition to all of your process drawings, you are to have:

On 18” x 24” paper sheet, plot and compose the following vertically (18” as base), accordingly to a presentation layout using Photoshop and/or Illustrator:

- Three (3) final elevations (of cut surfaces), using 3D Studio
- Two (2) final episodic sections of spatial construction, using 3D Studio
- One (1) final rendered axonometric view of your light-as-solid, using 3D Studio
- Your significant series of diagrams using Autocad.
- Some explanatory text, footnotes, captions or key-words that clarify your concept and working process.

Scale may vary

On 8 1/2” x 11” photo paper print the following:

- One (1) final rendered axonometric view of your light box from outside, using 3D Studio
- One (1) final rendered perspective view of your light box from inside, using 3D Studio

Scale - 1:1 with your construction

Episode 1.2.5: due Monday, September 17

Play with solar light and place omni lights (one or two outside, one inside, properly set their intensities) until you find the ideal solution for your box. Establish your final light condition at 9 am, June 21, Chicago.

Choose the top surface of your box.

Consider your cuts as 3D spaces, as they project light towards the bottom interior surface (floor).

You should explore a reversal operation: light that enters in the box from the top surface become solid.

Render your box in wireframe mode (3D Studio).

On 8 1/2” x 11” paper print the following:

2 (two) Axon Diagrams / light as a solid.

Scale - 1:1 with your construction

Episode 1.2.4: due Friday, September 14

Manipulate the interior surface of your volume in order to intercept/trap/redirect the light developed from your narrative. At this point the openings should be fixed and you should concentrate on the articulation of the sectional properties of the inner void. Rework your digital model.

On 8 1/2” x 11” paper print the following:

Two (2) transversal episodic sections of your redesigned spatial construction.

Two (2) rendered perspectives/ Axons of the box interior

Scale - 1:1 with your construction

Episode 1.2.3: due Wed, September 12

Reconsider your design. In addition to your reworked digital model, develop and construct a physical study model of your project. You may now wish to consider various means of filtering the light as it enters your object.

Materials: Chipboard/tape/glue

Scale 1/2’ = 1’- 0”

Assignment 09-10-2007

Episode 1.2.2: due Monday, September 10

The box is a complete solid with an inner centered void.

Choose one light situation: 21 June at noon (12.00pm), summer solstice.

Redefine your cuts on the top surface and on two or three vertical surfaces.

Develop a three dimensional digital model showing how your object will need to be cut to articulate your narratives.

Use the computer to develop 2D study diagrams of the light/space, and to cut a series of rendered transversal sections. You may only use a white surface style.

On 8 1/2” x 11” paper print the following:

- 2D Diagrams of your cuts, stripes, bands, etc., with Autocad, Sketch-up, 3D Studio, etc. as preferred
- One (1) Axonometric view of the box, using 3D Studio
- Two(2) episodic transversal sections of spatial construction, using 3D Studio.
- Three (3) elevations (of cut surfaces), using 3D Studio
Scale - 1:1 with your construction

Create a digital folder: LIGHT BOX
Save all your drawings under subfolders (sections, elevations, plans, diagrams, axons…)
It is your responsibility to keep copies and traces of all the studio design process and phases.
Be organized and keep all your digital material in order on your computer.

PHASE 1: The sensitivity of a room

LIGHT BOX

1.1 - Precedents: Architectural lighting.

Light is one of the most architecture’s important materials. Whether natural or artificial, light might accentuate or mask spatial properties, or make a place feel particular (safe, scary, sacred, soft, intimate, heavy, evanescent, etc.).

Each group of two students will start to analyze one of the following architects/artists and their selected works:

• Le Corbusier, Chapel at Ronchamp, France, 1959
• Louis Kahn, The Kimbell Art Museum, Fort Worth, Texas, USA, 1972
• Carlo Scarpa, Castelvecchio Museum, Verona, Italy 1950-74
• Renzo Piano, Menil Collection, Houston, Texas, USA 1987
• Tadao Ando, The church of the light, Osaka, Japan, 1989
• Peter Zumthor, Thermal SPA, Vals, Switzerland, 1996
• Toyo Ito:

- Serpentine Gallery, London, GB, 2002

- Brugge Pavillion, Belgium, 2002

• Steven Holl, Planar House, Arizona, USA, 2005
• Donald Judd, (sculptor/artist), Chinati Foundation, Marfa, Texas, USA (Aluminum and concrete works)
• Dan Flavin (artist), Light installations at Chinati Foundation, Marfa, Texas, USA

Compose 5 pages in A3 format (11x17) with:

- Brief description (program, floor plans, dimensions, location, year of construction, main materials) of the building/installation/objects/works.

- Analysis of how light is treated and implemented to give new meaning and value to spaces. Print a collage of information, images, photos, drawings, etc.

- Some elementary digital diagrams that explain trajectories, how light enters or diffuses, vertical and horizontal openings, solids and voids, lights and shadows, type of light, natural or artificial, etc.

Class pin-up.
due Wednesday, August 29


1.2: Light in a BOX

Given a solid measuring 12’ - 0” x 24’ – 0” x 12’ – 0”, containing an 8’ – 0” x 20’ – 0” x 8’ – 0” void, each student will choreograph the movement of light across the interior space during three different days of the year. The top and two of the surfaces may be cut in order to transmit light; the other surfaces are to receive that light/shadow. Consider the light in terms of slots, pools, bands, etc.

You are to proceed by constructing both physical and virtual models and Drawings according to the following episodes. You are to develop your spatial construct thru a reciprocal series of representations using both computer generated and material projections.

For the purposes of this exercise, you are to use the longitude and latitude of Chicago, Illinois.

Represent your project at a scale of: 1/2” = 1’– 0”.

Episode 1.2.1: due Friday, August 31

Choose three different days of the year and locate your volume relative to NSEW.

Program three (3) different narratives for the movement of light across a space.

One narrative should address light movement on a vertical surface, one on a vertical and a horizontal surface, and one on a horizontal surface.

This is to be documented using graphite on 1 sheet of 15”x 22” arches hot press 90# paper, draw each of the three narratives by articulating the pattern of light at three different times of day for each episode.

Episode 1.2.2: due Monday, September 10

The box is now a complete solid with an inner centered void.
Choose one light situation: 21 June at noon (12.00pm), summer solstice.
Redefine your cuts on the top surface and on two or three vertical surfaces.
Develop a three dimensional digital model showing how your object will need to be cut to articulate your narratives.

Use the computer to develop 2D study diagrams of the light/space, and to cut a series of rendered transversal sections. You may only use a white surface style.

On 8 1/2” x 11” paper print the following:

- Series of 2D Diagrams of your cuts, stripes, bands, etc., using the digital media preferred: Autocad, Sketch-up, 3D studio….

- One (1) axonometric view of your light box, using 3D Studio

- Three (3) elevations (of cut surfaces), using 3D Studio

- Two (2) episodic transversal sections of spatial construction, using 3D Studio

Scale - 1:1 with your construction

Create a digital folder: LIGHT BOX
Save all your drawings under subfolders (sections, elevations, plans, diagrams, axons…)
It is your responsibility to keep copies and traces of all the studio design process and phases.
Be organized and keep all your digital material in order on your computer.

Episode 1.2.3: due Wed, September 12

Reconsider your design. In addition to your reworked digital model, develop and construct a physical study model of your project.
You may now wish to consider various means of filtering the light as it enters your object.

Materials: Chipboard/tape/glue

scale 1/2’ = 1’- 0”

Episode 1.2.4: due Friday, September 14

Manipulate the interior surface of your volume in order to intercept/trap/redirect the light developed from your narrative. At this point the openings should be fixed and you should concentrate on the articulation of the sectional properties of the inner void. Rework your digital model.

On 8 1/2” x 11” paper print the following:

Two (2) transversal episodic sections of your redesigned spatial construction.

Two (2) rendered perspectives/ Axons of the box interior

Scale - 1:1 with your construction

Episode 1.2.5: due Monday, September 17

Play with solar light and place omni lights (one or two outside, one inside, properly set their intensities) until you find the ideal solution for your box. Establish your final light condition at 9 am, June 21, Chicago.

Choose the top surface of your box.
Consider your cuts as 3D spaces, as they project light towards the bottom interior surface (floor).
You should explore a reversal operation: light that enters in the box from the top surface become solid.

Render your box in wireframe mode (3D Studio).
On 8 1/2” x 11” paper print the following:

2 (two) Axon Diagrams / light as a solid.

Scale - 1:1 with your construction

Episode 1.2.6: due Friday, September 21

FINAL BOARD and FINAL PHOTO PRINTS

Requirements: In addition to all of your process drawings, you are to have:

On 18” x 24” paper sheet, plot and compose the following vertically (18” as base), accordingly to a presentation layout using Photoshop and/or Illustrator:

- Three (3) final elevations (of cut surfaces), using 3D Studio
- Two (2) final episodic sections of spatial construction, using 3D Studio
- One (1) final rendered axonometric view of your light-as-solid, using 3D Studio
- Your significant series of diagrams using Autocad.
- Some explanatory text, footnotes, captions or key-words that clarify your concept and working process.

Scale may vary

On 8 1/2” x 11” photo paper print the following:

- One (1) final rendered axonometric view of your light box from outside, using 3D Studio
- One (1) final rendered perspective view of your light box from inside, using 3D Studio

Scale - 1:1 with your construction

Episode 1.2.7: due Monday, September 24

FINAL MODEL

Requirements: In addition to all of your process drawings, final 18”x24” final board and final photo prints, you are to have:

Construct your final model from white museum board. It should be made to open, exposing interior form.

Scale 1/2’ = 1’- 0

Class pin-up

STUDIO BRIEF

The studio will explore the territory where the expansion of the digital age, the dissemination of information technology, and pervasive media-entities change the way we perceive and we inhabit space. An ever expanding threshold of speed, efficiency, and meaning is changing our experience of the space.

Accordingly, the dynamism of new forms will search for structures that are malleable enough to adapt to the changeable and ubiquitous contemporary life-style.

Flexible requirements will afford innovative and hybrid spatial configurations that respond to actual exigencies of virtual environments (seating here and been there, places and non-places).

Phase 1: The sensitivity of a room

The room is the beginning of architecture. You do not say the same thing in one room as you do in another, that’s how sensitive a room is. A room is a marvelous thing, a world within a world. It’s yours and offers a measure of yourself. What slice of the sun enters your room? You feel the privacy of it, you feel that sun belongs to you…… Louis Kahn

Develop a comprehension of given “enclosures” by blurring their spatial boundaries, through the exploration of their sensorial potentialities, leading to new redefined spatialities.

A solid, a room, a sequence of adjacent surfaces, or an oriented object will be affected and dissolved by the movement of light/shadow across the interior space. Consider the light in terms of slots, pools, bands, etc.

Manipulations of the surfaces of the volume will intercept/trap/redirect the light developed from student’s narrative.

Phase 2: Patterns as systemic generators of organizations

Investigate through an analytical process the potential of patterns and their rule based organizations, relationships of units, and techniques for variation. Exploring and uncovering underlying transformations which are already within the pattern geometry foster the possibility for varied diagrammatic repetitions.

Phase 3: Integration

Design three different types of units/rooms/ solids/spaces, as synthesis of the previous phases. They should be interconnected in order to configure inhabitable, dynamic, interchangeable, and flexible organizational structures. Parameters :

- Given modular dimensions (ex. 1, 1 1/2, 2 modules)

- Spatial flexibility over time (ex. Possible combination of more units). Growing organism.

- Horizontal and vertical (stacking) combination of the units, variety of solid/void

- Sectional interlocking possibilities

- Diagram of densities

- Idea of adjacency

Requirements:

Proceed by constructing both physical and virtual models and drawings according to the different episodes of the assignments. Develop spatial construct through a reciprocal series of 2D and 3D transformations using both computer generated and material projections.

3D Studio, Autocad, Photoshop, Illustrator, Acrobat.

Other requirements discussed in the syllabus.