Thursday, March 27, 2008

no class for me today. WOOHOO

I'm not going to make it to class today. I spoke with Dan on Wednesday, and will speak with him again when he comes this weekend.

Wednesday, March 26, 2008

The Movement

to clarify your questions from monday: program consists of a market for the Guatemalan soccer league occupying 15 vendors serving authentic food; also space for seating or viewing events of the soccer game and surrounding park. the rendering to the left leaves the idea of units and addresses the canopy as market and seating, incorporating landscaping from the ground to the roof.

Tuesday, March 18, 2008

The center is the black box that is the scripted performance. Its relationship to the audience is the threshold that I am linking to the ballasts on the façade.

Exterior Courtyard leading from Path train platform approaching theater from 15' below grade.

The catwalks will be the means of approaching the performance area for grade level entry.
For now the floor on grade level outside of the black box (ie. The space inside the existing building ((ie. Ie. The audience dwelling area)) is static and the investigation will deal with the quality of spaces created from the combinations of the four moving walls on the black box.

The floor on the inside of the black box is the only vertical movement thus far and is controlled by the solid ballast. Hatches link wall movement to control ballasts in diagram

notes for liz

-you have a strong thesis and strong tectonic relation to thesis
-you're rushing into too complex of a building
-diagrams of building should relate to circulation = shopping
-you've got the idea of maze and idea of worms eye view vs god's eye view. you need both to stop from feeling claustrophobic
-sectional diagrams
-use of maze is important
-set up clear diagram of qualities of space and what you shop for there
-map out and build systematically - create clarity
-optimal shopping+optimal experience - then layout tectonics for that
-hoe does material, space, and light relate or help experience in relation to your thesis
-diagrams of organization and experience
-focus on syhestretic experience
-knowing where you are vs. being lost in the experience
-may create smaller chopping experience and add on according to the tectonics
-maybe posibility of moving walls to create larger space at different times, ex. fish come in on monday so expand walls
-idea of module
-barcelona, mercato: acts as a supermarket & outdoor eating area
-bringing farmers market into supermarket: think of different scales of the two
-contrast of freshness

Midterm notes--Joyce

What is the relationship to the city?
missing images from film
the city is always present in film
need to include city in architecture
site could be anywhere need to be more specific
it is not architecture yet
good ideas of reflection
need to be more incorporated into architecture
clear idea of circulation
why choose this site
the way you are presenting it, it could be anywhere else but not nyc
make more relationship of breakaway from city
use reflection to remind that city is still there

For next monday:
I think the main issues from that were brought up was that my plans were still not considered architecture and that I was not taking advantage of the location of the site.
I think I need to rework on my plans and see how they could come together more clearly as well as trying to incorporate the city in the reflections, maybe rotating some of the wall units.
I will try a few different options

Monday, March 17, 2008

Notes for Ahmed

-what is your process/technique? what drives our project?
-relationship of building to landscape
-why is there this extreme split?
-your spli is tradition-splitting program
-think about distribution in term of Smithson's displacements
-Think about how you move between those relationships to your landscape
-parking is interesting
-nice quotes, talk about certain ideas
-how does the religious and research mix?
-you've stopped challenging those issues
see something ambitious to build rather than traditional
-architecture elements that cant easily be named
-forget about acropolis
-structure of water is good
-you have to erase what you know
-a process of discovering
-set up entry so beautifully
-museum of a book
-you have to struggle with the issue
-just the adjacency of the 2 is not enough
1-issue: how you're addressing site
-personal+ implementation
-you can channel program through material practice
-think landscape strategies that become spatial
-how can you dwell within the site
-Cut into the land
-Think of synesthesia: walls sweating because of water.

Thanks to Leslie

midterm notes - kj

where's the relationship between elderly and daycare? - physically
the language used in children's spaces and elderly are the same - what distinguishes them?
used conventional architecture - should be creating new architecture
acts to link the spaces doesn't link them
detail model - poetic - tectonically and socially
how did you lose the curiosity - experience?
communities of people cannot experience unpredictability of architecture
in detail - furniture and aperture specifically relate to child - through tectonics of structure the 2 interact - middle space in architecture - everything should spawn from it

transition from detail to large scale is difficult but you need to take a position that carries through to both scales - must carry through
have a multiplicity of courtyards at multiple scales

at all times - retain connection between 2 groups - these walls connect the 2 in all places
circulation system must be integrated in program
think about accessibility of surrounding elements
what about the view of the water - the horizon?
take this into consideration in design

more important how building behaves rather than how it looks

to do for monday: model work in detail - spawning from wall detail as the source - will post again when the specificity is realized

thanks to kwangmi and derek for the notes

Notes and moving forward

Go back to thesis:
Consider a stronger declaration, something like a manifesto.
In terms of housing:
Consider issues of rituals, and the home as a kind of apparatus?
Consider cleanliness associated with the home and its relation to the site, which does not have this feature.
Also go to Identity, as in “Nostalghia” and the registration of the aspects of the home.
Smithson: question of the importance of concrete and the issue of scale. eg. spiral jetti
Zoom out and look at the urban scale: Rust at this scale...Analogous relationships of chemical and urban processes. Think about corrosive and renewal.
Create a datum as a basis of measure for ritual as well as physical degradation
consider making a kind of “periodic table of elements” on the site as well as the new materials instituted and their interactions.

For next monday: I will continue to work on perspective/collage drawings, work on proper plans and sections, and try to go back to my research and readings to incorporate the ideas of my thesis back into the architecture, which seemed to be a major critique of my project as it now stands.
I will also focus specifically on the housing portion of the program, developing the rituals and relationships of these rituals to materials and material degradation. This will be done mostly through perspectives and sketches for now.

Midterm Notes

-Destill movement, they thought they wouldn't need art
-art and sensation collapse in their view - think Mondrian
-very beautiful but don't want it to be conceptually banal
struggling with what your thesis is
-there isn't enough challenge to struggle with
purpose of a thesis problem is to create a question an then solving it
-beautiful composition
-I'd like to see you investigate this further
-pollute the program a bit
-the good news is you've got a good building - carefully worded out
but what now?
-challenge you to make a thesis - not just about solving a problem - how do you turn your building into a question
-perhaps focus on your details which are so compelling - perhaps your windows - start with that
-thick planes vs. thin planes
-micro then becomes catalysts
-larger organizational quality
-how do you constitute the section?
-how do you create interstitial voids - nest the spaces?
-what's missing is terminology, i'm sure you have it, just tell us what it is
-Scarpa - he installed an architecture in an existing building
-what are you saying about light?
-layering that you've built up the aperture in the frame - showing what your view is
-art, window, the experience of it
-have to be really strategic with references
-have a position on something
-the site: how is this going to function in Soho? - shopping mall area?
-how does the architecture respond to the environment that you're in?


You don't want it to seem gratuitous
metaphor dimension and literal
piano-structural, trying to carry over these structural techniques
relationship between weight and counterweight
form and function are one in a piano
don't have this yet
parking garage and see what types of spaces are being made
what might make certain boundaries in the theater?
Would it leave the box and enter the city?
Start simple. Your counterweights used to stand out, now just elevators
Look more into the way its prescribed
look at how a barn door opens and closes
fail to organize thoughts around the intentional aspects of your theater
Design the interior. Then, the relationship between interior/exterior will be clear. Then you can show the interior (backstage) as the exterior
Van Doesburg and Mondrian - Cartesian plane
About infinity X,Y,Z axis
Regulate changing pattern
Multipurpose music space in NY-large planes, slices and rotate on tracks- allow you to explore the interior. What will constitute the interior condition?

I think I have currently exhausted the possibilities of the sliding planes on the four walls of the box. I will now choose a movement that suits the desired conditions of the first theater, then the two adjacent theaters. There will be an inner box that separates the performance from the audience and the outer box which separates the theater from the rest of the city. The sliding will break both boundaries. I am currently drawing three plans: the sub grade, grade, and super grade. I will then do another saveas on the max model and 3D model these spaces to investigate the conditions of these two boundaries being broken through their linked movement to the ballasts. I can have the three plans posted by this Friday while I simultaneously 3D model the system granted that I can choose the correct dimensional system that will provide the desired conditions. Sections will be a matter of production.

Sunday, March 16, 2008

mid term note, kim

need to take position, difference between dead and disappearing things.
what makes things that are in the museum more important than other disappearing thing.
what does memory have to do with history.
study texture of the building, concrete, wood, steel, water... etc.
try to relate bridge with building.
and why dumbo?

mid notes

Abandon landscape ideas.
Focus on market strategy, more aggressive structure enclosure.
Go back to research on park market.
Roof ideas how to occupy, edge of fields.
Change program to "viewing platforms"
Break work: park scheme, building schemes

derik mid-review notes

idea of runway is good,
not integrated across the board. light shafts are too discreet.
there are number of different devices that you can use.
great program- commes des garcon; ateliers on each floors.
in terms of the sesorial as a fashion house-might change sensorial qualities.
labor and production. the connection between the two.
the show is the production itself.
good program.
how can you learn from a small .... to the larger scale.
great animation of veil system.
light wells as the mannequin.
scale issue.
do light study to figure out size of it.
skin should be same filtering system also structure.
renderings nice but lights wells dont help it.
mixing of program floor to floor.

Saturday, March 15, 2008

midterm review notes

Real program or written? Did you research size, typology...etc
What is the critical point of view? You sprinkled your program on the site -What is the logic of trapsing across
Landscape- what is driving your decisions? Where are the children coming from?
Think about the tone of existing orphanages
Think about transitions - the experience for the child- scale of the child
Wind catcher- beautiful - upside down light shaft
you see how it is played out- maybe more scales in terms of site
You need more complicated problem that wind catcher- think about ideas of identity - how to deal with that
Develop ground systems- all the boundaries you set up within project- how do they find themselves/ identify themselves
then negotiate all these forms of identity within the walls and borders of the campus - ex: classroom
Think about the interaction with adults- fundraising hall - want to see the children
Relationship of project from the outside- if there's a wall- they are protected but feel rejected closed in.
Alhambra- levels of courtyards - control privacy
technically - make strategic cuts with model making

Thursday, March 13, 2008


just so everyone knows, plotters are down in higgens, so print earlier in the EDS lab

Wednesday, March 12, 2008


Dear ALL:

WE ARE STARTING AT 1PM ON THURSDAY. Please be pinned up/ready/loaded at 12:30.

Please obtain data projector if you are showing your 2 minutes film!!!!!!

We are in: HHS 2nd Fl Hall on Thursday. The line up is as Mark posted on the blog.

All student must attend. I will be there at 12 Noon to see you pin up!!!!!! You may use the adjacent room

Tuesday, March 11, 2008

Plans and sections

Could you give me some feedback before I send them to print?
Thank You


here is a revised plan, any comments before i build the model?

Saturday, March 08, 2008

revised chart of perception boundaries

i revised the forte-piano chart a little.

i hope the layout itself implies perception boudaries as well.

Just to Clarify

We are presenting with Oron and Titus?

midterm review schedule

March 10, Monday
1. Alanna
2. Mike
3. Matt
4. KJ
5. Dionysius
6. Liz

March 13, Thursday
1. Joyce
2. Ahmed
3. Noorah
4. Kwan Mi
5. Derik
6. Robin
7. Leslie

To all who need grades for the research term:

Dear All who need grades for the research term:

First, we owe you an apology for having allowed this task to slip. You will get grades on Monday.
On my part, allow me to expand a bit, not as an excuse, but as a narrative of why I, personally let it slip. In January, Mark and I reviewed your late submissions at length. in our personal time. We carefully read the booklets. That task takes me a few hours.

At the end of that process we called Juliet and gave the go ahead for the late students to enroll for the Spring. After spending considerable time carefully reviewing you work, and giving you the right to register for the spring, I felt that those students had passed the research course. The grade was a last minor administrative step.

I, on my part, apologize again for this slippage. That being said all of you should not worry too much about the grade. It will reflect the quality of your work and as well the lateness of its submission. Just focus on doing better this semester. As I said, we. will take care of it on Monday. Dan

Friday, March 07, 2008

modified structure

after the discussion yesterday, I decided that the structure system HAS to change.
I know I need to develop further, but I have to take that step back, because I agree with
many of the comments: in particular, the structure looking like it is randomly positioned,
not having much relation to the slab and the adjacent structure. ( and needs to be worked out "gracefully")
and to resolve this, my decision is to change the system first.
first, I am not using the earlier parametric, because the curve-look and the relation to the
slabs are not being controlled. ( plus I like the idea more that the light shaft should not have curves, although it may have angles)

Now, after the slab heights are positioned. the square structure will rotate 90 degrees from slab to the next slab. and lateral bracing will be place between the 90 degree change. the lateral bracing will gradually show the square rotating. although all the lines are straight, at an oblique view the structure gets slender in the middle. if the ceiling height is taller, this middle part gets more slender.

the model is not in scale, but I will have few wide ones(that can actually bring in light) and leave much of others at a size that the shafts dont become too dominant.

the parameters in this case, would be the square holes, and position. ( I believe this will resolve the slab relation better)

comments asap would be great.

Thursday, March 06, 2008

i'd also like to know wheather I'm presenting on monday or on thursday with the rest of the 'bad students.'

grades please

I still have an incomplete on my transcript. This may become an issue for graduation. please comment.


Sunday, March 02, 2008

theres a chance i wont make it to class on monday. if so, it will be at 5 PM or later. Will either Dan or Marc be in studio on tuesday/wednesday?


This is what is on the table as of late. I have a skeletal plan, and two sections completed. I printed them and will be sketching on them to determine the actor-to-audience-to-written performance relationship. I will also be sketch builing with the model to test these relationships.

1. Paint through materials as the front and the back have different registries recording evidence of audience
2. Underpinning strategy negotiating the existing to the new construction. models or drawings
3. Create two words for subversive thesis building function
4. Movement model to test and create conditions of 5 theater spaces beginning with perception of moving walls.
5. Blog response text
6. Max site model
7. Perspective drawing
8. Draw 1-1/2” = 1’-0” detail model and extend into site
9. Thesis statement
10. Operational breakdown performance of historical mysteries
11. Where is the large space?
12. Spectators attached seats to ballasts
13. Views through to city/train tracks
14. Sound written for each space
15. Material performance written for each space
16. Dressing areas
17. Operable wall locations
18. Walls to draw onto
19. Operational breakdown performance of historical mysteries (will now be geared towards "Oedipus Rex")
20. Modulate façade ballasts to determine the variable that can be put into them (built for people or water or both etc.)
21. Diagram of sounds on the site at different speeds
22. Design for Illusions
23. Decide type of theater. Epic?
24. Design for the conditions of the epic theater of “Oedipus Rex” by Sophocles


1. Sensation – achieved through the skin
2. Parallel – realization of discontent / disconnect through imitation
3. Disassembly – subversion of reality by displaying the process of creating its illusion
4. Creation – display to inhabitants of their influence on the environment towards the end of their visit

For tommorrow I am hoping to have the diagram of spatial relationships completed. Produce the techtonic in the sketch model tomorrow in class. I am really trying to think of one thing at a time.

study model 2-2