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)

For the next two weeks.......

Thank you Matt and Carrie for taking notes for me today, they were very clear and I’m sure will prove to be helpful.




Two Week Schedule

4-12
Sound research
Material research

Determine how many people I am designing for.

Through drawing I want to get a better idea of plan/section using the ideas of:
Fast/slow
Loud/quiet
Public/private
Studying/Non-studying

4-15
After exploring important moments through drawing the next step is to test it out in model integrating the research that will be done

4-19
Further model building of as many different moments in the project as possible

4-22
After examining on a micro level, I want to zoom out and again look at the project as a whole, applying all new changes and how they advance the project.

Me and my Big Brother...

http://maps.live.com/

Isometric site views from each cardinal angle. Unbelievable. Thought it would be a help to everybody. Thank Otto....

inhabiteurs' indirect experience of architect

i know dan had good thanks to extend to karen....who by the way left her thermos in the room and now may be found on the partition between the desks of zack, jon, and myself.....but i think lex braes also had good comments......one in particular that we might all remember and glean from our friend christopher's crit:

to _ _ ck foucalt and to go beyond abstract connections of others' to the concepts we are employing and to begin to experience them for ourselves. i.e. get away from the research and get into the feelings of our constructions for ourselves....to construct based on our own intuitions and explorations....possibly stemming from the research but more importantly embodying the richness of our own senses...of touch, smell, hearing, taste, and even vision...but in the end a manifestation from us as creators....not as employees of such persons as foucalt but as employers of our own ideas and experiences.

recall pallasmaa when he says that the inhabiteur of architecture ends up feeling or experiencing what is the bodily transmission of the architect...through their design experience of the spatiality / temporality of the built object.....
......i'll get back with the dircet quote later....
...enough.

blogs

i have invited my interiors thesis research class to our blog (and vice versa)...please feel free to communicate...i would also like for us to attend each others reviews a bit if possible...

couple of quick thoughts for zack

marc... i've been on this blog for a couple of days now with my updated gmail account... i dont know why you can't see me there.

zack... just a couple of thoughts i had while your project was being discussed -
a. i don't know if this really exists, but one of the comments made me think of these "weeping widow" services i've seen in cartoons where you hire someone to show up at your grave after you die and mourn for you so other people visiting the same cemetery would think you have a loved one still caring about you. the gridded structure that you created would sort of become a free weeping widow service for everyone because from the outside you really can't tell who the visitors are there to mourn. They would be surrounded on all sides by these bodies and disappear into the structure- all you would hear is a gentle sobbing.
b. the question about whether the island would still be used to bury the jane doe's and the homeless raises another issue about the cost of burying bodies these days. i've heard that it costs a pretty penny to hold a funeral service and buy a spot in the cemetery... and i could imagine someone paying a premium for this synaesthetic grave site getting pretty upset that a homeless person gets to be buried right next to his loved one. maybe this is something you could look into? shrug...

review notes

Marc and Dan, I do apologize for my late response. Alex's notes pretty much cover everything that was mentioned/suggested at the review. Again, thank you very much Alex for posted those comments. Also from the notes Carrie and Delal have given to me, it seems like I have to go back to the chart I have of the different conditions of seeing. Right now all these different conditions I have tried to created are not well linked to one another. I should figure a way to overlap them. However, they did appreciate how I began to suggest the kind of materials used in the project. Furthermore, the project could be a park, not an object, but a condition of landscape. Another important thing I need to work on is the selection of artwork, be more specific about them.

Notes From Review

Alex:

-How do spaces recall memories? Look at matching and creating reoccurrences trough tactility.
-Why these specific program fragments?
-What is a night club program, and how does it relate in section with the apartments, how are perceptions specifically overlapped.
-Look more closely at the solitary nature of a house as apposed to its more public and active parts.
-The idea of the night club as middle condition, a threshold, between the subway and the house needs to be considered more carefully. The connections between the elements should be looked it more carefully.
-How are Past, Present and Future included in this? How specifically does the memory palace lead to new stories and new itineraries, what elements are crucial for this.
-the Parti Wall (a pun) as a mediator, how do the three subjects mediate.
-Think about how a subway can be both a nightclub and a home – how else can the programs overlap to different users.
-Back out – what needs to be the sequence, what sequence makes a house? Rest-Move-Move-Rest-Move…. How can they be overlapped at different times?
-Look a house party, do the rooms mix
-Look at section, do the programs cross - even if only a glimpse across a light well – what are the narratives to the programs
-What makes a house a house or a nightclub a night club?
-The influence of other scales should be addressed – the juxtaposition of inside and out – and the differing energy levels
-The program of a House/Apartment might work better as a hotel as it relates to the different degrees of transience on a scale more closely related to that of a subway and nightclub (people often live in hotels for lengthy periods of time)
-what it the relation of the people who work in the different programs, they experience the spaces in a more less transient and more permanent state
-To get into the building design you need to jump – think about using the memory map more abstractly to reach an architectural proposal
-clarify and develop a tectonic language of light and texture and how they knit together in sequence.

Jon:

-You use specific operations - but they are ungraspable – you need to specify narratives and artifacts
-Your layered drawing evoke – multiple simulations, narratives, and spaces but they are never realized
-Look at the Freud’s Stages of Dream Work – non-linear layers in the subconscious – and tie them into performative acts.
-what are literal operations as apposed to physical operations.
-The project needs to move out of the metaphorical to the architectural.
-according to your drinking buddy Lex you are “in danger of being too clever, and I don’t mean ‘real’ clever.” But you already know this.
-You need to make a make a set of rules for yourself (spatial and architectural) – use narratives to help create these rules.
-the project is not only a metaphor but the space it occupies.
-you need to test reality
-clarify and simplify your concepts
-think about using a part of Grants tomb and its rules to inflect upon your bar without using the tomb itself.
-Look at and propose other schemes, displacing the bar, inside/outside, above/below, wrapping.
-You need to analyze the tomb more – how do people currently interact with it (do they?)

I don’t have as complete a set of notes for the rest of the class, but we can talk in person when working in studio.

Desk Crits

Hi guys,

Sorry for the late notice, I'll be coming down to your studio around 3pm today if anyone would like to discuss their projects with me.

-Drew

???

it is amazing that alex can get the work done as well as take the time to help all of you...i have simply asked a couple of you to join the blog...you CANT even do that...i also asked for those of you whose reviews i wasnt able to attend in full to give me the low down...HA...i have to wait for alex to do this...???

Crit Notes

February 6, 2007

Two-Week Sketch Problem Crit Notes:

Zack

- Your project seems to have elemental tones, earth, air, fire, and water. Perhaps look at this a bit more.
- How does your new program interact with the existing program? You are inviting the public on to grand that they have long been denied access to. Does this inform how you look at the programs? You could look at the program both in general and specific terms. In other words maybe the program can both serve as a general memorial for remembrance and reflection to the unknown dead buried on the island while it also works for personal mourning.
- Where does your proposal stand in relation to the contemporary burial practices of various cultures and religions? Also look at the history of cemeteries as social spaces, particularly Greenwood Cemetery.
-The bird(s) may have become a symbol for your project. How do they affect the experience of the program? However, with the idea of holes for birds and holes for people, you may have found the dead bird because it intuitively had something to do with your project. Bird=flight=transcendence
-The columbarium could have a certain architectural sentience as it changes over time because it fills with bodies.
-Considering an architectural choreography of death/mourning, write a clear sequence of experience for visitors through each of the three programs: both in time and space. While you could continue to look at all three programs you could also choose to focus on the one that is most “architecturally significant” and uses the whole site.
-If you find a condition on parts of the island where erosion reveals bodies, is there a long-term implication for your architecture? As I understand it, the tendency in our cultural environment is to bury people in perpetuity. It may be possible that in the future, your architecture is on the shore, eroding into the water. It raises issues of temporality, especially in terms of burial. Maybe in addressing the current condition of erosion you can somehow allude to what may be the ultimate future for the whole island.

Chris

-How are the reflected images physically shifted in scale (magnification, etc)?
-Why did you pick 7 World Trade Center as a site? Putting a Target in your program, on this site, makes a rather ironic pun, even if you did not realize it.
-There is also a link between your elevator project and the significance of elevators in the World Trade Center disaster. Stealth occupancy and memorial in relationship.
-Does your project address the social/business hierarchy of office culture and how view is assigned based on the hierarchy.
-Don’t call the project a memorial. Why this office tower? How does the mirror play a part in choosing the site? An office tower is a “non-location.” It is everywhere and nowhere. There is an elevator in the middle of a glass box that has no identity, but the views provided by the mirrors begin to provide reference. “I am no where but I am in relation to _____.”
-Overall, take a stronger position and also take advantage of the section and the frame (or lack thereof).

Bryan Plust

-Sounds in the hangar change through out the day because it is flooded by tidal water that changes level. This is interesting to look at because in this instance a change in sound signifies some kind of event (the changing water levels) and many times the perpetual users of machinery don’t particularly listen to the sound of the machinery, only different sounds made by the machinery that indicate that something is not working correctly.
-How are resonators incorporated into your program, a sound park and factory?
-Extend the sound sequence of the program throughout the entire site.
-Consider the soundscape of the site both as a composition, a linear progression, but also as a field with multiple possibilities. How do you map soundscape as a field of conditions?

Brian Jones

-You are layering multiple simultaneous sensations and proposing that switches (synaesthesia) can occur between them.
-The existing structure on the site is an architectural cladding that allows for human access to the switch. You relate the crackling of paint chips under your feet to the crackling of electricity in a switch.
-Fragmented spaces play off each other in a mega structure and linking them builds overall understanding. You are looking for the one fragment that you encounter from all the others: the key to piecing together and understanding all the fragments. You are looking for the angel from your Rome/Castel Sant’ Angelo project and used the fan spinning in the wind as an example, but be careful because while maybe it is omnipresent, it is really only encountered once in the film of the site, as far as I noticed, whereas the angel sculpture in Castel Sant’Angelo really is omnipresent (I made sure to look for it when I went myself).
-The building is arranged as spaces for humans around a mechanism. The theater replaces the existing mechanism.
-As a destination, people could be shuttled here from the city, though a shuttle train may not speak strongly of the idea of switching. Why do people go here?
-Be careful that rerouting existing infrastructure in order to support “dying infrastructure” does not become too much of a stretch.
-Do you walk from the PATH station and can this be part of the experience of going to your program? Brian, you know my Hadrian’s Villa story. (For those who don’t, the short, short version is that I hiked to Hadrian’s Villa from the train station in Tivoli. It is 4-5 miles each way over a significant change in elevation and highly experiential. Of my three trips to Hadrian’s Villa, this one was by far the best.)
-Circuitry is a metaphor for you. Let it go temporarily and look at bigger issues such as nailing down your program. How many people need to come to the site to make it a big enough destination?
-Remember your sketch problem and think of the bench as a theater.

Jon

-The project seems to be based on re-casting Grant based on details of his biography that you know and the rest of us have to take your word for it on this topic. The narrative is compelling but currently lacks architectural meat.
-If you are going to propose inserting a program under Grant’s tomb, it needs to work within the rules of reality. What is the ground like? What are the structural implications of undermining the monument? How is this structure detailed? Draw the monument in a real site section and not as a singular object.
-“You are too clever for your own good.”
-“Are you going to be like Piranesi or make a real project?”
-“Your entombed in your own ideas in Grant’s tomb.”
-Look at other programmatic strategies, possibilities, and opportunities. Key to this is looking critically at the site and its section.

Matthew

-Institutions tend to objectify the individuals within them, but synaesthesia could provide an oneiric experience in the institution that overcomes this tendency.
-There is sensitivity in the project that tends to not come across in the more “architectural” renditions of it. Perhaps you should draw more with charcoal. Its looseness may be closer to your own thinking and the material has a rawness and natural quality that connects better to the children.
-Being that you build sculptures to express ideas you don’t seem to have words for, it would probably be better for you to design through modeling, which is a process influenced by sensitivity to touch and materiality.

Kyung Sic

-Consider a relation between your program and the obelisk in its original location.
-The program is that you look at art while you jog. When you present the project, try to focus more on the relation of money through the park to the art you are looking at rather than explaining the minute details of how the paths affect the way people move.
-In building a project next to or as an addition to the Met, you need also to critique the architecture of the existing building, especially in terms of how people move through the Met.
-I noticed that again you were talking about your project “controls” the way people move throw it, which is something you have talked about before and were critiqued that you have to be very careful when you talk about “controlling” people with architecture. Perhaps it is a subtly of language. In the context of public architecture not specifically meant to control people (a security check point is an example of architecture that specifically controls people) you really want to provide opportunities and suggestions for how your program should be occupied rather than “control.” As a note as too riding a bike through your program, maybe the part of the project that should slow one down are the pieces of art that you want to look at rather than the shape of the path. Though if you want to, the bike path may have to include some sort of obstacle the rider actually has to dismount in order to negotiate. I ride a bike a lot in the city and while it doesn’t happen often, there are times when I encounter obstacles that require me to dismount and walk my bike. When I cross the Pulaski Bridge to ride to my site, I dismount in the middle of the bridge to walk over the expansion joint, which looks like it could probably damage my tires. Also, I generally walk my bike over open grate bridges because it’s dangerous and extremely uncomfortable on a bike with thin tires.

Dave

-Is the program for the residents of the block or is it for the public? Is it advertised or is it like a speak easy that you have to know about?
-There is an issue with adjacencies that seem to occur without strong relationships. Push these relationships. Perhaps the garden and the bath complex cross over and are thought of more as one element rather than two.
-The baths are well placed in found space but the laundromats are aggressively placed into existing programs without strong justification. Since the site is essentially the found, left over space of the block it may make more sense to work entirely within the found space.
-The project needs to have stronger vertical relationships as it pops out of the ground.

Ahn

-The program appropriates public space, but it does give space back to the public, or at least has the opportunity to do so.
-Synaesthesia can be thought of as simultaneous sensations and the project intends to declare or amplify these simultaneities.
-The study model is a good start and the adjacencies have been sensitively developed, but it is not yet architecture. For the next step, push the model to a higher level of specificity that makes it architecture and not just space. The fragmentary model also presents a strong way to work.
-Go back to early interest with the scrim imbedded in the section, which could be rediscovered in the newest scheme.

Namtip

-It is exciting to rethink the institution of the museum. The proposal takes a the idea of the museum and makes it accessible to both the sighted and non-sighted, rather than just making a project that caters to one or the other exclusively.
-Although, right now the threshold between the park and the city seems to be primarily visual (or is it). Clarify the qualities of this threshold.
-The sequence of sensations needs to be more precise and considered. In a sense, you are working both as an architect and as a curator. You may want to go back to the idea of picking a series of specific art works to include in the museum and choose them based on the ability to translate their content into non-visual experience (tactility, sound, atmosphere, etc).
-You were asked why the project is sited the way it is. Maybe a site drawing could clarify your intentions or maybe reveal a better site placement. Maybe quickly look at a couple other schemes.
-Right now the project is almost a non-building and it could be a park, but it could also be an interior, or both.

from dan...

"Yes, several of you did a lot in two weeks. Bravo! On Thursday, after we review the five left, we should have a class discussion about the next phase of your work while keeping in mind the end product..All of you should review what you have and what you don't have from the five items that were required for this presentation.!!!!!! ..clearly some of you didn't cover all of them.........please review what was required and self evaluate.

I also really liked Karen's comments. ... a lot...Mark I hope you get her back. I will also try to bring Michael Eng, ......but he can not come this Thursday.

We should again ask each of you to develop a project schedule for next phase of your work until the mid term review.... and post it on the blog by Monday...it worked last time.....dan"

again

namtip...arnold...kyung sic...
please join the blog as of today...
this is mandatory...
thanks...marc

namtip...arnold...kyung sic...
please join the blog as of today...
this is mandatory...
thanks...
marc

further

david...i am curious to see how your discussion wrapped up...ahn and namtip...did you get thru a review? please post results

reviews and further posting

very good review yesterday.
most of you were very articulate and realized the project as assigned...
it was great to see the level of completion of some of the models...
if you can do that in 2 weeks...imagine what you can accomplish by the end of the semester...
the projects are far from complete of course and we have a lot to do, but please maintain the intensity...

please post the discussion comments and the pertinent work you displayed to open the discussion...
i am tired of giving dead lines for that stuff that largely go ignored...just do it now...
jeffrey offered to repsond in depth on the blog...
so post so we can make the most of it...
i will also ask karin the join the blog...
she was a great critic...

marc

Unreal...

So I found this on forgotten-ny.

My site is the first Long Island Savings Bank Building. Here is a picture of one of the later Long Island Savings Bank Buildings, which has since been converted to the "Vault Nightclub."

Here is a link to the forgotten-ny article:

Queens Plaza


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j engine

http://cdhi.mala.bc.ca/jengine/index.htm