Desk Crits

Is anyone up for desk crits tomorrow?

I think, at least for myself, that would be most beneficial.

Shared Stories Schedule and Assignments

February 28, 2007

Schedule Through the Midterm

Wednesday February 28

Begin New Stories in the Collapsed City Part I. Continue working on site/contextual drawings.

Thursday March 1

Continue work on New Stories in the Collapsed City Part I.

Friday March 2

Begin A Day in the Life: Shared Stories.

Saturday March 3

Continue work on The Hook Up. Continue work on site/contextual drawings, including Memory Lane.

Sunday March 4

Finish New Stories in the Collapsed City Part I. Work on The Days Keep Turning Into Night.

Monday March 5

Begin New Stories in the Collapsed City Part II. Continue work on The Hook Up.

Thursday March 8

Continue work on New Stories in the Collapsed City Part II.

Saturday March 17

Due for completion: New Stories in the Collapsed City Part I and II, The Hook Up, The Days Keep Turning into Night, Memory Lane, A Day in the Life: Shared Stories, and site/contextual drawings.

Sunday March 18

Tie up lose ends and prepare for midterm review.

Monday March 19 and Thursday March 22

Midterm review. Write a response to criticism and plan out the rest of the semester.


Assignment 5

A Day In The Life: Shared Stories

Objective

This assignment means to further develop an understanding of “The Party Wall” and programmatic adjacencies through imagined occupation of the architecture.

Means

Write a series of short fictional vignettes framed through the context of the architecture about the inhabitants of “Shared Stories.” Focus on the interaction between the characters across boundaries marked by sensory experience.

Material

N/A

Issues

In that “Shared Stories,” is conceived as a memory palace built on the synaesthesia of physical sensation and memory, consider expanding the narratives beyond the present through the inclusion of recollections brought to the surface of the consciousness of the characters by the trigger of physical sensation. How does the architecture shape the narratives and how do the narratives shape the architecture?


Assignment 6

The Days Keep Turning Into Night

Objective

Examine the activation and levels of use of the various components of “Shared Stories” throughout a twenty-four hour period, particularly during the transition from day into night.

Means

Create an experiential drawing that establishes a timeline of use within the project over the course of a complete day. The drawing should include the actual architecture, which may need to change as uses are clarified in relation to time.

Material

Research Material, Photographs, and means of architectural drawing of choice

Issues

How does a greater understanding of the project’s use throughout the day affect how the programs join? Conceptually, uncover differences between dwelling during the day and during the night. Use these differences to refine and reshape the architecture.

Assignment 7

Memory Lane

Objective

Develop an objective history of the site in order to uncover its inherent memories.

Means

Create a drawing that collages the conditions of the site from its original construction to the present day, including the proposal for “Shared Stories.”

Material

Research Material, Photographs, and means of architectural drawing of choice

Issues

As a memory palace that begins to embody the greater city, the project must also embody the imbedded memory of the site. The drawing should demonstrate how the project architecturally references the history of its site.

Assignment 8

New Stories in the Collapsed City. Part I.

Objective

Develop and critique “Shared Stories” by drawing plans and sections through the project that respond to the drawings and models created for both The Memory Palace and the Collapsed City and The Memory Palace and the Collapsed City Revisited assignments.

Means

Develop in conjunction with each other plans, sections, and programmatic diagrams of the project at 1/8” = 1’-0”. Draw a minimum three plans, below grade, at grade, and at midlevel, and two sections.

Material

Research Material, photographs, and means of architectural drawing of choice.

Issues

Key to this assignment is the development of a critique of previous work in order to further the project. When beginning the drawings, carefully consider which plan and section cuts are the most revealing of the project. Also consider the plan/section relationship and how it might be represented in the same drawing. How are diagrams of the program created along side these drawings as overlays or otherwise?

Assignment 9

New Stories in the Collapsed City. Part II.

Objective

Further develop the spatial and material/experiential aspects of the project as a response to the work completed in New Stories in the Collapsed City. Part I. Consider spatial joining, programmatic relationships, and contextual relationships.



Means

As a response to the drawings completed in New Stories in the Collapsed City Part I, develop a model of the entire project at 1/8”=1’-0” using multiple materials that allows the model to further read tectonically and experientially.


Material

Materials could include but are not necessarily limited to chipboard, museum board, basswood, MDF, metal, and Plexiglas.

Issues

Remember that this model is not only a representation of the drawings completed before it, but also a further step in the development of the project. The decisions made when constructing the model should reflect a critique of previous work. Also, being the first assignment to particularly address the project’s materiality on the large scale, consider the implications of how materials are used in each portion of the project and how the different components of the program relate through materiality.

Assignment 10

Shared Stories: Synaesthetic Memory and The Body

Objective

Study the body-scale interaction with project at full scale. This assignment should particularly consider how the sensory experience of materiality has the potential to recall memories of other times and places, making the experience of the architecture an active narrative of synaesthetic memory.

Means

Develop and construct at full-scale pieces of furniture for the apartment, the nightclub, and the subway. First develop sketches for the pieces but also design and learn from the process of working with the materials. Complete at least one piece but work on aspects of all three at full-scale. This will be completed in conjunction with Prof. Jenny Lee’s Welding Class.

Material

Wood, steel, fasteners as per design. Also consider other materials such as glass, stone, or concrete.

Objective

Rather than simply fabricating a set design, learn from experimenting and working with the materials. This process should develop a deeper understanding as to the nature of the materials used and how their fabrication can express ideas about the project and also about the materials themselves. The assignment should develop a constant play between the design decisions made at the full scale and how the project is treated as a whole. Given the opportunity to develop the project along with Prof. Jenny Lee, consider the full-scale project not only as a demonstration of the project but also as a place to learn in a way to further develop the project.

Desk Crits

Hi guys,

I'll be swinging through your studio this evening around 5pm if anyone would like to talk about their projects with me. As some of you may know I've been having trouble finding a time to come in when most of you will be there. Lately I've just be coming in during the evenings between 5 and 7pm on weekdays and talking to anyone who's there. I know some of you have said you work late but normally anything after 8pm is too late for me. So if there's a better time we could schedule when everyone will be around or if you think me coming by in the evenings is fine, let me know. Otherwise I'll see those of you who will be there at 5pm tonight.

-Drew

Revised Schedule until Midterm:

Thursday Mar 1
Detailed section/axo of a booth structure with cabinet plug-ins @ 1 1/2"=1' (this is my wall section, basically)

Monday Mar 5
Finished Site Plan
Plan at grade (typical partial plan(s))

Thursday Mar 8
Diagrams in plan/section describing distribution of program (probably using model photographs), labelled
Sections

Spring Break:
1 Page Description
Sketch of full-scale
Sketch with photograph(s)

synaesthesia on the radio

this is for everyone, but especially the sound-oriented projects

http://www.wnyc.org/shows/soundcheck/episodes/2007/02/22

Intersections of Music and Architecture
Architecture and music influence each other in many places, from arena rock to the subway system.
Today on Soundcheck:
Singer David Byrne, sound artist Christopher Janney, and architect Ben Gilmartin discuss the connections between music and space.

-karin tehve

Notes for Thursday

Matthew
be less precise in your drawings, not so final
the section is critical, design the section, according to your research from Bachelard.
think of the children and their relation to the building, their entry, spacialize according to their point of view.
diagram your project as your did in class, but definitely use it as a tool, again the section, plan.
the model you build may look at a detail first, or a fragment of the whole, just part. then jump into building the entire scheme.

Carrie
you need to get into a bigger scale, maybe 3"=1'-0" would be good for you, it will force you to look into the complexity you need.
1/16"=1'-0" is too small for you and what your project is about.
zoom in on your site plan and model.

Anh
plans and SECTIONS, no elevations, its not useful at this point. get to the spaces.
your walls are too thin, they are single line and the drawing is at 1/8'=1'-0"
show thickneses of walls.
jump into design development, have multiple plans/sections by monday.
draw your project

Zach
the cliff is being represented as a box, it should be a 'cliff'
the high/low tide condition should be made apparent, more than just merely a line indicating that it is so on the cliff wall.
how fast, or slow, does the person/people descend.
you are not aesthetic enough in terms of your methods, again, the cliff, the water, the beach.
the moment the body breaks the ground plane to begin to descend is critical, reconsider your decision.
how many people do you expect to occupy at one given time? 15 was suggested, but maybe there is another space still on the cliff, that acts as a viewing platform. The actual 'ritual' may want to be more intimate with only the immediate family, then the others watch from a distance.
the ramp wants to be wider, maybe 12'
consider the wind direction/current of water, and again the tides.
also the relationship of sizes of ramps and spaces to another, where are there pauses or rest. design those spaces.

Namtip
zoom in, photograph your model up close, i.e. macro, and look at the detail.
sketch at 1/16"=1'-0" do a partial at 1/8"-1'-0", plans/sections
a retaining wall can reoccur in memory, even in for the blind, they can touch at different moments from beginning to end.
the entry, noise maker, bell tower, sound event is great.
take a look Enric Miralles and Alvaro Siza

I was going to hold my tongue on this matter until I was interrogated in studio this morning by Tom Hanrahan, who was particularly distraught about a spray painting incident in HHN 209 on Monday morning, reported by a professor who teaches a class in that room.

I did not say anything to Tom, but want to address this to the studio as one of your peers. Based on the timeline, color, dimensions, and shape of the overspray on the table in 209, its reasonable to assume that this is the doing of one of us. Even if my assumption is incorrect, I'm not going to retract my sentiments on this matter because I actually watched one of you test a can of spray paint on a wall in our studio.

It is absurd that some of you have a blatantly selfish disregard for the other students, faculty, and physical facilities of this school. It is equally absurd that our administrators' time has to be diverted from important issues to policing the generally uncivilized behavior of adults who should know better.

Notes from Monday

Brian P.
don't forget the existing buildings in your model (in your project)
does the structure breakdown? does the framing of it, columns beams inform your design, your drawings.
some of the formal gestures are at odds with the research of the studio.
this is formal now, and needs to be dug into, get in the interior spaces, and apply those qualitative aspects you speak of, program, also try to make it move as you say it does, in model.
convince us that the precession does what you say.

Jon L.
the diagram of your project is critical
be aware of the structure, and be a bit more technical get into the detail

Brian J.
you need to ask more quesitons and more specific ones.
if you take out the columns what will you replace as structure, trusses?
still the space seems too small, you may need more, for the people.
just pick a performance, a play.
the detail should be what is experienced, not just the residual space between the existing wall and your insertion.
demonstrate that you want to reuse the building, take stills from your film and draw over them, and show the pulling away of walls.
look at the Living Theatre, the audience is all over the scaffolding, actors talk to you.

Kyung Sic
look at the space inside the museum and spaces exterior, immediately around.
make a relationship to the inside/outside.
look at the building structure, and Olmstead, the park.
how is this thing sited relative to the building/park.
maybe there is a moment where the jogger breaks thru the building.
draw in section, where is the park/museum in relation to your addition, are there ramps, or other levels you find important to connect with.
think about the history of the museum, you say there is already a 2nd layer added on, now you are adding a 3rd, it is important, the building is growing out into the park, it is 'exfoliating'

Stanley
something Cliff, artist that did work with the steel you mentioned, weathering different faces.
the rubber, think of the way buildings touch other buildings, the expansion joint, HH Center.
plans/sections.
check out the tube Rem Koolhaus did its like a big muffler.
a site plan would be helpful, get some of the fabric in, at 1/16"=1'-0"
several cross sections as well, show thicknesses of walls, invest in drawing.
draw the relationship of the parts.

David G.
go to section at 1/8"=1'-0" and get the whole block in them, you need the context of the site, as well as showing the void that is created within the block.

Alex G.
try scanning your drawings, and maybe blowing up a section.
simple diagram of your plan, entry is important, you may have done this already.
the slipping planes/walls should slip past the existing walls, the balconies should be reconsidered, the term terracing may be explored.
there is a vertical wall scheme, and a horizontal floor scheme, there is opportunity for the slipping walls to happen elsewhere in your project, and maybe in the horizontal if that is your path.
the walls you call party walls, aren't really party walls, they are facades, which are quite different, they are faces.
the subway grate when lit you can see way down, incredible, maybe there is something down there interms of your project, like the nightclub.

for those intervening in existing structures

Im fascinated with watching old buildings as they are demolished or decaying and I would recommend doing this for anyone intervening in existing structures. Its extremely revealing as to how buildings were constructed and how they have been altered. This is a photo of the Hackett builing, which is about two blocks from my site and dates to about the same era and currently being demolished.



This is a photograph of demolition on my site. The building being demolished was built in 1876 and the building I am intervening in was built, originally with the weird stair tower, between 1876 and 1890. Notice the window under the Cangro sign which was blocked by later construction.



Not about demolition per se, but here is a recent photo from my site that is relevant to some of the ideas in my project.

building at full scale

Im going to start planning and building my full scale work almost immediately as I will be working on it as my semester project in Prof. Jenny Lee's welding class.

To return to the idea of the synaesthesia of physical sensations and memories, I see this happening particularly by using materials and construction details in each of the programs that recall the other programs. (i.e. a wood detail in the apartment could recall the nightclub) It wouldn't necessarily be a direct sort of reuse of a detail, but more likely, the suggestion of sensations and the memories of associated with them. For example, a detail in the apartment could join wood and steel in a way that reminds of the intense and sometimes jarring or uncomfortable experience of the nightclub.

That said, I have been thinking about building a piece of furniture for one of the three programs that is designed in regards to how the sensations of its details can recall the experience of the other program(s). Its detailing could also be a smaller scale expression of the larger architectural details of the project. It might be nice to look at the structural details of the building that one doesn't necessarily have direct bodily interaction with and then use them also at the scale of furniture. Much like the full scale detail from last semester, the furniture piece would also be drawn into the larger context of the project in order to place it in relation to the experience of the architecture around it. As a decision I'm not entirely ready to make at the moment, I think it would help to develop the dialog between the programs if I could build also a second piece of furniture. Ideally I would build three, but that feels a little unrealistic at this point. Maybe I can design three and then build at least one or two of them.

carrie

carrie .
check out the doris salcedo post on the interiors blog

nieto sobejano-sailing school-delal

ms&r mill city musem

Alex,

In regard to what we were talking about yesterday, here's a link to some images of the Mill City Museum I was referring to http://www.msrltd.com/ins1.html# and also to a lecture with Thomas Meyer, one of the firm's principles, where he talks about his concept of palimpsest: http://channel.walkerart.org/detail.wac?id=3057

Schedule until midterm

02.12 – update site based to new images
Begin narrative journey - Complete section throught site

02.15 – map out connections in plan and section between programs – specify narrative, experiential (lighting and material) condition

02.19 – 1/8 plan, section and model of ash dispersal platforms – taking into account 7’ tidal differences

02.22 – Revise ash dispersal platform, finish 1/8 model

02.26 - 1/8 plan, section and model of crematory building – Building existing building and connecting intervention into it

03.01 – Revise and complete model of crematory building

03.05 – Refine narrative and connection of programs based on the development of other programmatic elements over the past weeks – begin detailing a building connection

03.08 – Continue designing detail of building connection

03.12 – Revise Columbarium, clarify platform circulation, detail urn connections, begin new model

03.15 – Continue revisions on columbarium, continue work on model

03.19 - MidTerm

03.22 – Catch up on lost sleep from prior to midterm, Review Comments from Midterm, Revise Schedule to complete goals for final

Goals for final:
1/32 site model with intervention
1/4 model of buildings (Columbarium, Crematory, Ash Dispersal)
1:1 model of detail
1/16 site plan
1/16 site sections
1/8 plans of buildings
1/8 sections of buildings
Elevations in site
Detail of building condition (wall section)
Perspective renderings

OPINIONS ABOUT CIRCLES..

circle.....

i think the circle is sometimes an issue.

I have impressive memory, when i was in an circle.

Especially i think circle is one of useful tools to make people pay attention to the center of it.

if an architect want to make people focus on the center, i think this is reasonable.

if the something that is in circle is 3- dementional and huge and the there are intresting things

on its surface, i think a cylinder for exhibation is so reasonable.

i just want to know others' opinions.

Synaesthesia and Synaesthetic Metaphors

http://psyche.cs.monash.edu.au/v2/psyche-2-32-day.html
...from karin

orientational metaphors

jon lee...
and others...
you should read chapter 4 in metaphors we live by...
orientational metaphors

posts

are you all reading comments to your older posts?
you are not responding.

concept drawings

Marc, you missed my turn. I was waiting for you.
So I need web crictic.
Anyway
I missed an important thing during the last 2 weeks.
In my case, structural systems are very important, because I want to make structure to stimulate people imagination. I call it ”association”
Think about “Swiss cheese”. You, guys , know what I mean.
I am trying to find a proper origin for structural system. It should have relationship between the origin and its structure. So I’ll try to make structure based on fabric shape. The beginning is the Gates in central park. I think I should find any possibilities for architectural structure. The fabric shape can be walls, floors, roofs etc. my purpose is that this structure should make people find relationships between the origin and the structure. I need more study about this gesture. Also I need advices or opinions to make reasonable process and study. Anyone will be good.
Here are some images

Thank you in advance.

New Working Title

Based on some of the previous and future assignments I have written for myself, particularly Assignment 1: The Memory Palace and the Collapsed City, which resulted in sectional drawing I had at the review, I am considering changing the working title of my project from "A House, A Subway, A Nightclub," to "Shared Stories in the Collapsed City." Thoughts? Comments?

New Assignments

February 11, 2007

Assignment 5: Due February 18

A Day In The Life: Shared Stories

Objective

This assignment means to further develop an understanding of “The Party Wall” and programmatic adjacencies through imagined occupation of the architecture.

Means

Write a series of short fictional vignettes framed through the context of the architecture about the inhabitants of “A House, A Subway, A Nightclub.” Focus on the interaction between the characters across boundaries marked by sensory experience.

Material

N/A

Issues

In that “A House, A Subway, A Nightclub,” is conceived as a memory palace built on the synaesthesia of physical sensation and memory, consider expanding the narratives beyond the present through the inclusion of recollections brought to the surface of the consciousness of the characters by the trigger of physical sensation. How does the architecture shape the narratives and how do the narratives shape the architecture?


Assignment 6: Due February 26

The Days Keep Turning Into Night

Objective

Examine the activation and levels of use of the various components of “A House, A Subway, A Nightclub” throughout a twenty-four hour period, particularly during the transition from day into night.

Means

Create an experiential drawing that establishes a timeline of use within the project over the course of a complete day. The drawing should include the actual architecture, which may need to change as uses are clarified in relation to time.

Material

Research Material, Photographs, and means of architectural drawing of choice

Issues

How does a greater understanding of the project’s use throughout the day affect how the programs join? Conceptually, uncover differences between dwelling during the day and during the night. Use these differences to refine and reshape the architecture.

Assignment 7: Due February 24

Memory Lane

Objective

Develop an objective history of the site in order to uncover its inherent memories.

Means

Create a drawing that collages the conditions of the site from its original construction to the present day, including the proposal for “A House, A Subway, A Nightclub.”

Material

Research Material, Photographs, and means of architectural drawing of choice

Issues

As a memory palace that begins to embody the greater city, the project must also embody the imbedded memory of the site. The drawing should demonstrate how the project architecturally references the history of its site.

schedule/ rest of the semester

Thu feb 15:
have study models , as fragments of the plan.
in bristol
consider the three terms agoraphobia, stuttering, and asperer's disorder, the characteristics of common disorders and follow the relationships, or common characteristics..

Mon feb 19:
Have sections that show the idea of the gaze, in the field, or through objects
interior skeches

thu feb 22:
have a site model in 1/16th scale,
develop skeches of the 1/16 model in basswood.

mon feb 26:class pinup
have plans, short sections at various conditions, and a model at 1/16th scale.

thu march 1st: respod to the critisim..

mon march 5th:
draw more detailed sections, change scale and more study models'

thu march 8th- 15th
probably work on drawings from study models....

schedule

Monday: Feb 12
Reorganizing the concept based on my thesis
Drawings of concept
Thurs: Feb 15
Reorganizing the concepta concept model

Mon: Feb 19typical models and plans
Thurs: Feb 22development of previous models and plansstarting to think about details.
Mon: Feb 26PIN UPconcept drawings
models(1-32) on my site
plans

Thurs: Mar 1development (plans and sections)Mon: Mar 5development (plans and sections)Thurs: Mar 8starting a detail model

Mon: Mar 12
Making up for missing.

schedule

2/12 analyze site

2/15 drawings

2/19 site analysis

2/22 detail

3/1 das boot

3/5 "final" audio/video work

3/8 "final" drawings

3/12 "final" model in site

SCHEDULE

first: how do you even join the interior blog? i can't figure it out, not too blog-savvy.

second: i can't see why i have to focus on either the cabinets only or the site only. i plan on doing bits from both. right now the difficulty is on the site, how to scaffold the site and its history. to either revive the objects existing by following past examples, or to take the objects that are there and try to revive them through my own interpretation of it. the cabinets, i need to figure out a better system of classification of arrangement. this sounds messy, but i obviously need to think out my schedule according to what i'm going to do. so my schedule is not exactly set in stone but for now:

Monday: Feb 12
site visit
site plan - figure out exactly where i will be on it?
have same-scale cabinets done;figure out what is permanent of that and what isn't.

Thurs: Feb 15
model at smaller scale than the cabinets, how a possible section of the market works, around a 1/2 in=10 ft scale.
work out site plan more.

Mon: Feb 19
full-scale detail started?
more site plan?

Thurs: Feb 22
more of what i was doing monday

Mon: Feb 26
PIN UP
have typical aisle(?) of booths model
site plan
larger scale arrangements of cabinets. or full-scale detail.

Thurs: Mar 1
respond to stuff.

Mon: Mar 5
more of that.

Thurs: Mar 8
have full scale
start zooming in on the stuff that is permanent

Mon: Mar 12
develop.

schedule

Schedule:

2.12
Restate, redevelop, rethink my intentions. Eat a burrito.

2.15
Continue to diagram these ideas and apply them to 2-week project.

2.19
Begin modeling these combined ideas at a scale that can address the quality and experience of these spaces.

2.22
Continue modeling and diagramming the model

2.26
Continue modeling for pinup

3.1
Develop overall building layout in plans and sections

3.5
Continue developing layout. Choose space between programs to develop in detail (scale tbd). Begin diagramming intentions for detail.

3.8
Diagram detail, begin modeling or drawings of detail

3.12 – 3.15
Finish detail drawings and/or model

3.19
Midterm:
Clear statement/goals of project… mainly… why?
Clear diagram and/or model of goals.
Program developed and laid out on site – plans and sections at 1/16”
Model on site at 1/16”
Site Plan at 1/32”, site information, photos, program information
Model and/or diagrams of detail

Prelim Schedule

For the Final:

Drawings

1/8” = 1’ sections and plans (the number depends on the complexity of the final design)

1/4” = 1’ sectional detail

Model

1/16” = 1’ model

1/128” or 1/64^” = 1’ site model

1/8” = 1’ unraveling circuit model

I would like the emphasis to be on models. Once I flesh out the idea through sketch models and drawings I would like to really get into modeling the space in a way that represents the experience of walking through.

Here is my schedule up until midterm:

I will try to add on to it this weekend as I am working

I will try to move past documentation of the building as fast as possible. I feel like the first drawing/model must show in detail the existing condition (with possible beginning of intervention). I will try to get past this stage as quickly as possible.

This weekend

Begin collage drawing of building. It will be a compression of the film into one drawing so that I can begin to refer to this drawing rather than showing the film at every review.

Mon Feb 12

Begin Fragment drawing.

Thurs Feb 15

Begin to finish up the fragment drawing

Begin building a “box of fragments” model

Mon Feb 19

Continue building box of fragments model

Thurs Feb 22

Continue building box of fragments model

Mon Feb 26

Class pinup

Have box of fragments model completed

Respond to criticism and begin collected fragments drawing

Thurs March 1

Continue collected fragments drawing

Begin “pinning” fragments together

Mon March 5

Series of sketch models that consider relation to spaces and materiality

Thurs March 8

Series of sketch models that consider relation to spaces and materiality

Mon March 12

Begin plans and sections

Thurs March 15

Continue plans and sections

March 19

Midterm

schedule for orphanage

drawings and objects in mind:

1/64 orientation map
1/32 site plan
1/16 site model with total construct
1/4 plans and sections
1/4 sectional models....2
2 full size details....1 addressing ground...1 addressing water
w/ accompanying location and detail drawings @ 1" = 1' 0"

monday 2/12:
work on scheme, particularly large hand drawings of sections and model in working site

thursday 2/15:
scheme in plan and sections, beginning to consider materials

monday 2/19:
complete scheme of working model, plans, and sections with all materials accounted and in place

thursday 2/22:
draw detail in 1" = 1' 0" with adjacent conditions

monday 2/26: pin-up

have a good name for project...work with words a bit
present completed scheme and detail in drawing and at phase in construction

thursday 3/1:
consider comments from pin-up
finish detail

monday 3/5:
begin development of drawings and sectional model at 1/4 scale

thursday 3/8:
continuing drawings and model working from each other

monday 3/12:
finish set of 1/4 scale drawings and model
draw site plan at 1/32 and orientation map at 1/64

thursday 3/15:
revisit thesis booklet
prepare presentaion...rehearse

monday 3/19: midterm review

pull all loose ends together for midterm

thursday 3/22:
consider comments and respond to midterm crit
begin adjustments

monday 3/26:
major adjustments resolved
begin 1/16 model in site

thursday 3/29:
1/16 site model and fully intersected construct finished
begin 1/4 scale sectional model

monday 4/2:
make amendments in 1/4 scale sections and plans following midterm criticism and discoveries from built models
finish 1/4 scale sectional

thursday 4/5: pin-up

begin new drawings for next detail...sketch and present

monday 4/9:
last call for final adjustments
begin drawing next detail at 1" = 1' 0"

thursday 4/12:
construction of detail

monday 4/16:
detail finished
survey all work thus far and make schedule for final week

to be done during final week:
-loose ends tied
-revisit thesis book
-revisit / reorganize presentation....practice presentation
-pull together any missing links that may aid collection of objects and drawings to speak for themselves
-properly rest self for clear mind


*schedule subject to change upon better thought and guidance

Zebulon

seems like its happening...

we will meet in studio from 10 - 10:30 depending on when people can come...

give me a call at 508 254 8788 if you want to come, we'll figure it out

schedule

up until Midterm Review…..

Monday Feb 12
-finalize the selections of the displayed objects/artwork, choose them based on the ability to translate their content into non-visual experience (tactility, sound, atmosphere, etc)
-continue to develop overall scheme, working on the 1/32” site model with complete intervention

Thursday Feb 15
-response to the discussion from previous class
-work out the scale of the project accurately, possibly finalize locations of displayed objects
-work in sections, both drawings and sketched models to further develop the scheme

Monday Feb 19
-start looking at the nature of these “walls” or “screens” by going back to the chart of different conditions of seeing
-research on the materials of these “walls”
-further develop the connection between the different senses/ linking series of sensations
-right now the threshold between the park and the city seems to be primarily visual, therefore must clarify the qualities of this threshold.

Thursday Feb 22
-finish up all previous stated assignments
-work on perspective drawings to illustrate the series of sensations/ and moments of display

Monday Feb 26
-class pin-up

Thursday Mar 1
-response to comments from the pin-up
-start working on the amphitheater part

Monday Mar 5
-connect the different programs
-consider materials

Thursday Mar 8
-start to develop preliminary wall sections and details

Monday Mar 12- Thursday Mar 15 (spring break)
-develop plans, sections, elevations, and details for midterm

Monday Mar 19
-Midterm Review

Notes from pinup

I appologize for not having everybody here...
also, I don't know why it is double spaced...

Brian P

- Work from the reflection in the hanger

- Don’t stop at the tectonic edge of the factory to describe the experiences. “extend” your site.

- Think of it as both a linear condition and an overlapped condition

- How do you model the site and its conditions?

- Jeff talked about little mics that are put on your feet as you walk through the city.

- Mediate machine and landscape

- Jeff recommended “music for airports”

Alex

- What led you into these program fragments?

- What is the nightclub?

- Is there a play between programmatic element and narrative element?

- The subway is a nightclub and a home

- The house can serve as a nightclub and a home (house parties)

- Think about spaces as the refer to rest and motion

- What spatial sequence makes a house and what sequence makes a nightclub?

- Where do they intersect in this sequence?

- Do wall sections

- The programs should share space while simultaneously remaining separated

- Lex had a hard time understanding why all of the programs were there

- You could maybe do a hotel – has attributes of transience

- There is a leap between your concept and what is built

- Did you identify three party walls?

- Maybe abstract what happens in a daily task to connect spaces

- You need to start blurring spaces and making them so they are no longer distinct.

- Use real memory of buildings

Jon

- must show existing artifact (pin up Grant’s tomb as it stands now)

- can’t tell what you are doing

- Narrative and artifacts must be more specific

- Drawings are like contemporary comic technique

- Not yet an architectural project (I’m just transcribing)

- Don’t cheat yourself, confront synaesthesia directly

- You need an artifact to reflect on

Matt

- 2 different stages in childhood development

- 75% of orphans are older than 7

- When they are 7 they can think abstractly

- Younger children are very ground oriented

- You should sketch with charcoal (you need to connect more)

- You have a good sensitivity to the site and the senses that needs to be applied better

- Wabi sabi

- Maybe design through model, not drawing

- Go to Lex’s drawing class

Kyung Sic

- you work very fast think about being more specific

- What is your experience of the site?

- Maybe intersect elements that are already in the park (borrow elements like the monumental steps)

- Draw the museum (not only the edge of it)

- Draw inside and outside

- Your geometries could be found from the site

Dave

- Is it like a speakeasy, do you have to know about it to go there?

- Right now, there are adjacencies with no relation (baths not interacting with the garden, Laundromat not interact with baths, etc)

- Do the programs overlap, or do they happen in parallel?

- Your project is about adjacencies, you need to dig deeper when dealing with the relationships

- The skew of your pieces isn’t enough to drive the project

- Pop your piece (I’m not sure which one they were talking about) above ground

- The stairs bother Marc

- Maybe the stair is like a fire escape (a kind of typology)

- The ground plane could be aggressively acted upon

Namtip

- The curtain seems to be not what your project is about

- Your series of sensations are not necessarily linked together

- Maybe obscure vision (in multiple amounts) to heighten the other senses

- A path and journey are not the same

- Right now, you have almost a non-building

- A museum is a good idea. What you show will obviously be crucial. You should propose certain kinds of objects to show.

- You could play the role of curator of the museum as well as designing the space

Delal

- There are 3 disorders

- The moment where the public eye and patient eye meet is important to you

- Think about the public – doctors – patients in relation to common areas, rooms, and administrative spaces

- Are all of the rooms a sort of island?

- Does gaze only occur in plan? It may also occur in section

- You really need to diagram first

- You are trying to represent disease behaviors through form – this seems to be a way of heightening the problem rather than correcting it

- As an example, people with agoraphobia may slowly be introduced into open spaces

- Right now you are doing a 2d compositional drawing

- Marc thinks you should maybe make a very small model – this will force you to think diagrammatically

- Think about (dis)ease and ease

- Make a spatial response to somebody’s disease that may help to correct/ease it

Carrie

- You can create an armature that respects existing fragments

- Your site is already a collection of fragments, maybe you add yours

- You can make armatures that are permanent that allow things to be plugged into them

- What does armature mean? Does it mean plug in? is it something like a bench that can have things attached so it plays a dual role (when in use by flea market and not in use)

- Right now you are designing a geometry, maybe think more about the site first and respect what is there more

- Identify characters clearly, what is the fountain, what are all of the elements that are already there and how do they affect your project?

- You need to spend more time at the site to know what it needs

- Museum without walls? What is this? Maybe you need to define what this means

- Cabinets that fit on site. Modular units can be mixed

- You are doing bottom up design

zebulon

is this happening tonight?

another interpretation of synesthesia in nyc

Synesthesia

A yearly festival that showcases a unique fusion of art forms in one cohesive two-hour evening performance. It is the culmination of months of work by musicians, sculptors, actors, writers, directors, photographers, dancers, and a multitude of other artists who come together to engage each other in a cross-genre conversation.

This ambitious performance piece takes an unforgettable look at how artists influence, inspire, and steal from each other. It's a peak inside the dirty work of creation through the schoolyard game of telephone ... with art.

And it all started with a fortune cookie. In September, the first artist chose a cookie and used the enclosed fortune to inspire his writing. After a few days of furious work, he passed his story off to a photographer, and, in turn, the photographer's series was passed onto the next artist ... and so on.

Now, witness the development and outcome of this five-month-long game of artistic telephone, through live performance and video documenting the 11 artists\' journeys. The contributors to Synesthesia 2007 are: Benjamin Percy, Rebecca Drysdale, Ohad Meromi, PL115 Theater Group,Darian Dauchan, Scott Korb, One Ring Zero, Steve Spehar, JeremyParise, Elizabeth Kurkjian, Ben Greenman, Gregory Stuart Edwards.

Synesthesia brings the schoolyard into the gallery. It\'s live performance, documentary, audience participation, and a completely original look at the creative process.

The Harris Lieberman Gallery89 Vandam Street, Manhattan8p; $15 Continues SATURDAY

________the above description just found its way into my mailbox from the nonsensenyc weekly letter.....thought i'd put it out there.

my schedule is to follow this...

Some remarks and points to consider in the near future, to be resolved by midterm milestone

1. I like Karen’s remarks on the issue of synesthesia as the simultaneous experiencing of multiple senses. This simultaneity is catalysis in bringing vitality to the elders’ spaces. The amplification of sounds (the sounds of running waters, brushing of leaves, of outdoor activities) or the enhancing of scents (of bakery, garden’s flowers) are the few examples to break the monotonous atmospheric condition of the nursing home as in an institution.
I want to develop a clearer diagram expressing this spontaneity within the site, or essence of the project.

2. The possibility of incorporating the screen from the Sketch project in which so far I have lost it…while the definition of the screen as a device to
to shelter, protect, or conceal
to select, reject, consider, or group
to sift or sort by passing through a screen

In redefining what does that screen mean to me now and in the contexts of the nursing home…the screen in the sketch project was primary a sensual device response to the sensitivity of light…perhaps in redefining it something as a sensual filtering device…that now responses to the permeating of scents or amplifying of sounds…

This would yield a different tectonic quality to the screen. On one level it protects and provides privacy to the elders while simultaneously at another level it conceals certain undesirable sensual exposure of the city while amplifies or allow the passing of other senses, the sounds of brushing leaves outside the windows rather than traffic’s noises…for example.
This new tectonic quality of the screen could lead into the questions of materials. What materials are appropriated and can perform the desired conditions? How would it affect the spatial conditions and allow the simultaneously experiencing of multiple senses?

Aging Senses-The Urban Nursing Home

Final Presentation:
Models:
1:16 Final Base Model
1:16 Nursing Home Model
1:4 Sectional Details
1:1 Joint Detail
Drawings:
1:32 Site Plan
1:8 Sections
1:8 Elevations
1:8 Plans
Diagrams:
One that shows the essence of the project
Circulations and organization of the Park and Nursing Home’s programs
Schematic drawings

Feb. 12, Monday
Investigated the issue of the screen
Explore it in sectional drawings
Feb. 15, Thursday
Continue the fragmentary model method with greater specificity, with emphasis on the screen’s tectonic qualities.

Feb.19, Monday
Continue developing overall scheme
Begin developing comprehensive diagrams of the interweaving of site and nursing home: circulation, programs locations…etc
Feb. 22, Thursday
Begin developing 1:16 plans and sections for pin-up
Begin construction of a 1/8 model detail of a section through entire building and site

Feb. 26, Monday
Class pin-up
Mar. 1, Thursday
Review and response to pin-up’s criticisms
Begins material researches and code requirements for elders, handicapped people

Mar. 5, Monday
Begin to develop crucial moment with application of materials, aiming toward the full scale detail
Mar. 8-11, Thursday-Sunday
Begin to develop preliminaries wall sections and details
Constructing second model version of overall scheme in site at 1:16 to be inserted in site study model
Mar. 10-16 Spring Break
Mar. 12, Monday
Mar. 15-18, Thursday-Sunday
Develop 1:16 section drawings, plans
Organize materials for Midterm’s presentation

Mar. 19, Monday
MIDTERM
Mar. 22, Thursday
Review and response to Midterm’s criticisms
Continue Material Research and code requirements for elders, handicapped.

Mar. 26, Monday
Edit and finalize the scheme
Mar. 29, Thursday
Finalize full scale moment in drawings before model construction stage

Apr. 2, Monday
Continue and finish all assignment up to date
Apr. 5, Thursday
Class pin-up

Apr. 9, Monday
Review and response to pin-up’s criticisms
Continue development
Apr. 12, Thursday
Begin 1:1 moment model
Get all necessary supplies for production mode stage

April 13 – April 26
Production Mode:
Finalized all drawings and models
Completed any minor changes
New Site at 1:16
Send any necessary laser cut models (Site Model) to production before April 17th
Send any necessary large format printing jobs to computer lab before April 21st

Apr. 27-28, Friday-Saturday
FINAL REVIEW

Zebulon tonight?

Is this still on. What time and where is this place?

keep going

good start...others please follow asap...
i posted an article on Armando Reverón on the interiors blog that some of u may want to check out...

February 9, 2007

Schedule

Just to recap, about a week before the pinup up I wrote four assignments for myself, which are posted somewhere further back on the blog. For the pinup on Monday I was able to complete Assignment 1, The Memory Palace and the Collapsed City, as I wrote it. I entirely bypassed Assignment 2, The Hook Up, which was meant to examine a party wall moment in greater detail. I started Assignment 3, The Memory Palace and the Collapsed City Revisited, by building my first study model of the project, and I completed Assignment 4, Shared Stories, which was simply about preparing for the presentation because I think my presentations are an area that I just generally need to work on. That said, I think it is valuable to complete these assignments as I move forward. Here is my schedule.

Saturday February 10:

Finish Study Model and write assignments for the next two weeks. Begin a number of secondary long-term tasks including the completion of contextual drawings, the completion of a final site model, and revisions to the thesis book.

Sunday February 11:

Begin The Hook Up assignment: a detailed examination of a party wall condition.

Monday February 12:

Discuss the completed study model and have significant progress on The Hook Up.

Thursday February 15:

Have The Hook Up Completed. Begin completion of The Memory Palace and the Collapsed City Revisited.

Saturday February 17:

Complete The Memory Palace and the Collapsed City Revisited.

Sunday February 18:

Work on A Day in the Life: Shared Stories. This is the first of the new assignments, which I will write about more specifically this Saturday. It is a set of fictional, written vignettes about the interactions of the occupants through the frame of the architecture.

Monday February 19:

Begin The Days Keep Turning Into Night. This drawing assignment (that could change) speaks of the qualitative/experiential changes that occur in the program throughout the course of the day.

Thursday February 22:

Complete The Days Keep Turning Into Night. Begin Memory Lane, a drawing about the memory imbedded in the site itself. This is something that has always been at least subconsciously presence, but I want a drawing on the wall that makes it clear.

Sunday February 25:

Begin New Stories in the Collapsed City Part I. This assignment picks up where The Memory Palace and the Collapsed City Revisited ends.

Thursday March 1:

Complete New Stories in the Collapsed City.

Saturday March 3:

Begin New Stories in the Collapse City Part II.

Thursday March 8:

Due for completion: New Stories in the Collapsed City II, Site Model, and Contextual Drawings. Begin The Hook Up Revisited.

Saturday March 17:

Have The Hook Up Revisited completed. Also have significant progress on the long-term tasks.

Monday March 19 and Thursday March 22:

Midterm Reviews.

Thursday March 29:

Have significant progress on all drawings.

Saturday March 31:

Begin work on final models.

Thursday April 12:

Finish final scale models and drawings. Begin to work at full scale.

Tuesday April 24:

All major work completed.

Wednesday April 25:

Wrap up loose ends.

Thursday April 26:

Wrap up loose ends. Prepare for final presentation. Leave studio be 10 PM.

Friday April 27 and Saturday April 28:

Final Reviews.

The Fluidity of Cyclical Cleansing

Final Goals

1/16” Site Model with complete intervention

1/4” Detail model of connection from Laundromat-Garden-Bath

1:1 Detail of a joint involving water

1/16” Site Plan

1/8” Plans of Laundromats, Bath and Garden

1/16” Site Sections

1/8” Section(s) of connection; Laundromat-Garden-Bath

Elevations

Hopefully perspective drawings or 3d renderings

Detailed Wall Sections

Detailed analysis of water treatment process

Statistical data supporting design;

1. Capacity of Water treatment

2. Dispersion Methods

3. Area Coverage

4. Some additional Calculations…(TBD)

Monday Feb. 12

-Reevaluate placement of Laundromats and construct a model of a further developed connection between Laundromat and bath. (More aggressive break of the ground plane)

-Continue to research and diagram grey water treatment. (May help inform connection between programs)

Thursday Feb. 15

-Finalize location of Laundromats

-Work on Public Bath in plan and Section (Consider further expansion
into east side of garden and start to develop connections between ground plane)

Monday Feb. 19

-Continue to develop overall scheme

-Start to choreograph path/sequence through garden and relationships to other 2 programs. (How does one enter? How are the senses engaged? How does the flow of water inform the path of the user and vice-versa? Answer additional questions…)

Thursday Feb. 22

-Develop a moment for the Pin-up that is a diagram of the project. (The connection between the programs and the involvement of water)

-Develop overall plans and sections for Pin-up

-In process model at 1/16”

Monday Feb. 26

-In class Pin-up

Thursday Mar. 1

-Review comments and criticism from pin-up

-Start data analysis

Monday Mar. 5

-Continue to work on scheme development

-Continue to work on individual programs

-Connections and joints

Thursday Mar. 8

-Continue all previously stated up until this point

-Finish items that have not been completed to date.

Monday Mar. 12 (Spring Break)

-Develop plans, sections and elevations for midterm

-Continue 1/16” Site model

-Start to develop preliminary wall sections and details

-Consider materials

Thursday Mar. 15 (Spring Break)

-Continue all previously stated for midterm

-Develop either 1/4” or 1:1 model

Monday Mar. 19

-Midterm

Thursday Mar. 22

-Review comments and criticism from midterm and respond

-Make adjustments to plan and section as necessary to finalize overall scheme

Monday Mar. 26

-Finalize plans of each individual program and their connection to each other formally and experientially

-Do drawing diagramming the flow of water

Thursday Mar. 29

-Develop 1/4” Detail model of 3 program connection

Monday Apr. 2

-Continue all previously stated up until this point

-Finish items that have not been completed to date.

Thursday Apr. 5

-In class Pin-up

Monday Apr. 9

-Review comments and criticism from review and respond

-Develop Wall sections

-Materials

Thursday Apr. 12

-1:1 Detail model

Monday Apr. 16- Friday Apr. 28

-Last Minute Decisions

-Work out final details of wall sections

-Decide of Materials

-Construct final models, drawings, etc.

This is a preliminary schedule, where I’m sure I have left some things out. Some things may take longer than others but the goal is to have what is stated in the beginning for the final review plus more hopefully. (If all goes well)