Schedule

April 16, 2007

Below is the inventory for what I want to have for final. I had wanted to build an updated 1/8”=1’-0” model, but I think my time would be better spent drawing additional perspectives. They will convey the experience better than a model and can also represent the changes made in the design since the last model was built.

To have for Final:

Early Research/Synaesthetic Memory Map/ Full scale detail (from last semester) – 100%

Early collage drawings of site and sectional relationships (2) – 100%

Early model at 1/8”=1’-0” – 100%

Site Plan – 100%

Building Plans and sections (untouched since midterm) – 100%

1/2"=1’-0” Detail model – 80% complete. 12-15 hours to complete.

Full scale (nightclub coffee table) 40% complete. 20-24 hours to complete

Perspectives. 4 Completed as of now. Create as many more as time allows.

Narrative. 0% complete. 10 Hours.


Schedule

April 16

Work on 1/2"=1’-0” detail model.

April 17

Finish 1/2"=1’-0” detail model.

April 18

Work on coffee table.

April 19

Work on coffee table

April 20

Have coffee table finished. Begin narrative with completed perspectives.

April 21-27

Work on perspectives and narrative.

I can average out to about 12 hours of real work a day, probably closer to 14 when I don’t have class in the final week, which gives me 120 hours of work. I plan to use all of them.

NY Hall of Science

Here are some images from the NY Hall of Science. In this case the structure is placed on the inside of the building. In my case the structure would be on the opposite side, leaving the inside space clean.

Carrie

Here are some photos of a model and map of the 1964 World's Fair. They're at the NY Hall of Science.

Perspectives

Here are the two new perspectives. Following up the previous two, the first perspective is after sundown, in the apartment looking towards the nightclub lounge, where the lights have been turned on (blue). The second is outside of the lounge looking in. It is at night and it is raining.

detail model

So after finishing four perspectives based on photographs i took of my unfinished detail model, I decided to go back to it and finish it. Im working on the fully enclosed floor of the model and decided that I will put the floor on the upper structure, but am not going to build the other elements because it would largely be repetitive of the floor below and probably not an especially good use of my time. That said, would it be weird to use unfinished nature of the upper floor to my advantage, by cutting holes in the floor plate so that i can shine light down to create effects where there might be artificial lighting in the ceiling of the apartment below? Would it be confusing to people to see wholes cut in the upper, unfinished floor?

Structure

Here is the existing structure we talked about, I'm still working on the center section, I will post when it is complete

check it out (ahn)

http://www.klein-dytham.com/architecture/billboard_building.php

trouble posting...

Is anyone else having trouble posting images to the blog? I have not been able to all last night or today. Anyone...?

?

is anybody responding to comments.
hello...

delal

delal...
i thought we agreed you were going to work on perspectives...
you are getting into too much detail on those sections before you really know th equalities of space and inhabitation...
PLEASE get away from orthographic drawings
you need to have a model of the entire site and a lot of perspectives for your final.
DO THIS and we can talk...
marc

stanley

considering your absences (excused)...
you need to post something asap.
please seek some critical advice from your classmates in the meantime.

perspectives

These are two of the perspectives that I have mostly completed so far. I still would like to collage some bodies into them. They are meant to begin to suggest the quality of the "party wall." They are both from inside an apartment facing the party wall with one of the nightclub lounges beyond. The first one is intended to be in the morning and the second one is intended to be at sunset. As I develop more of these drawings, I plan on assembling them as story boards for an experiential narrative through the project.

arnold

it would be good to post some of your perspectives...

dave and alex

dave and alex...
if you have a minute could you please post some of your perspectives...photos or collages...

zach

zach

if you pursue the dark room we discussed....(with the light punctures)...
perhaps these could position themselves relative to the position of the urn in the tower...
what if the light came thru at different times of the day and illuminated particular urns and (and even itineraries)...
this might begin to choreograph when certain families may want to visit...

carrie

carrie, is it possible to reintroduce silkscreening or imprinting or somekind in your project.
since you are limited with materials to achieve the desired lightness...perhaps you should be looking at color or some type of printing on the pieces...

check this out...

big news

Kyung Sic

Moving the Obelisk.


I have a bunch of pictures and stuff from the New York public library. I'll give them to you next time I see you.

post

i highly suggest those of you out last class post your progress.
i will repond quickly.

todays class cancelled

studio
both dan and I have unanticipated conflicts in schedule today.
we will meet on saturday to make this up.
regardless,
i think you need time to do something, considering the lack of progress for many of you on monday.
consider saturday a milestone and have something significant to talk about...
marc

Obelisk and MET

Relationships between Obelisk and MET.

Generally Obelisk has close relationships with imperialism. Though the obelisk in central park was a present from the Khedive of Egypt, it can be considered a symbol of imperialism. Actually there are two Cleopatra's Needles in London and New York. These were given to super power countries because of the hope of cultivating trade relations of Khedive of Egypt. Most countries that have obelisks had those placed in plaza like Place de la Concorde in Paris, because they wanted to make the obelisk symbols of power at that time. So some people suggested the union square, Columbus circle or Grand Army Plaza for the needle in New York. However it was fortunately donated to MET in 1879 as a collection of a museum. The MET opened the doors to its new home in central park. The obelisk became a new collection of MET. By 1895 the relationship between the museum and obelisk was closer. The obelisk was not isolated from MET, Generally people who came the Met did not miss the obelisk because of the size and orientation of MET.

met and obelisk in 1880 first extension in 1895

In 1904 the second extension was completed. Its entrance was chanced. The main entrance was on the opposite side. This meant that the obelisk was isolated from people of Met.

second extension in 1904

Actually there was another design to make closer relationships between the MET and obelisk, but unfortunately it was not chosen.

McKim, Mead and white, 19o7 , new position of the obelisk

The obelisk was totally isolated from MET by 1990. Kelvin Roche John Dinkeloo and Associate completed the European Sculpture court that has huge window to see outside. This sixth extension(the last) tried to make visual connection from Met to the obelisk, but most people who came to the MET did not recognize the obelisk. Even though people who came the European Sculpture court missed it. In 1986 the site of obelisk relandscaped and repaved. The site became higher than before according to the extension of Met. In the end, it was isolated from people on main pass way in central park. Actually most people don’t recognize the obelisk.

after the fourth extension in 1930. afterthe final extension in 1991

1.The obelisk should not a symbol of imperialism.
2. Because it is one of exhibitions of the MET, it should not be isolated from MET. Also physical connection is needed.
3. The obelisk is isolated from people in central park, because of its higher level The position of the obelisk was based on the MET in 1880. The MET had become 20 times lager than before. So its poison should consider the current situations.

4.no technical problem: the obelisk has not deep foundations

foundation in 1880 base of obelisk

no self foundation

BASED ON THESE BOOKS

1.THE NEW YORK OBELISK, THE METROPOLITAN MUSEUM
2.THE METROPOLITAN MUSEUM OF ART AN ARCHITECTURAL HISTORY, MIMA

This is from an interview of Andrei Tarkovsky by Tonino Guerra.

Would you be willing to tell me the end of the film, shot by shot, as if I were a blind man?

It's a very interesting question. Probably it would be nice not to make films, but only recount them to the blind. A beautiful idea! One only needs to acquire a tape-recorder. "Thought expressed is a lie," as the poet said.

Alright, I can't see any thing. Tell me.

A close-up: an ill little girl, the daughter of the Stalker, is holding a large book in front of her. She is wrapped in a scarf. We see her in profile in front of an illuminated window. The camera slowly tracks back and frames a portion of the table. A table in close-up, covered with dirty dishes: two glasses and a jar. The girl puts the book down on her knees, and we hear her voice repeating what she has read. She looks at one of the glasses. And under the power of her gaze, the glass begins to move towards the camera. Then the little girl shifts her gaze towards the other glass and the other glass also begins to move. Then the girl looks at the glass in the middle of the table and we see that it too begins to move under the power of her gaze. It moves and falls to the ground, but it does not break. We hear a train passing near the house, it makes a strange noise, the walls shake, they tremble increasingly. The camera returns to the close-up of the little girl, and with this sound, with this noise, the film ends.


See Also:
Nostalghia: An Andrei Tarkovsky Information Site

AUDIO MIMESIS

Critical and Visual Studies Speaker Series Presents

Professor Allen Weiss
"Audio Mimesis"

Location: Dekalb 401
Thursday April 12, 2007
Time: 12.30-2 pm

Allen S. Weiss works in the fields of Performance Studies and Cinema
Studies, Art History, Comparative Literature and Philosophy. His dramaturgy
includes Theater of the Ears (a play for electronic marionette and taped
voice) and Danse Macabre (for the dolls of Michel Nedjar). He has authored
and edited forty volumes, including Phantasmic Radio (Duke); Feast and
Folly: Cuisine, Intoxication, and the Poetics of the Sublime (SUNY);
Breathless: Sound Recording, Disembodiment, and the Transformation of
Lyrical Nostalgia (Wesleyan). He teaches in the Departments of Performance
Studies and Cinema Studies at NYU.

Flushing Meadows Corona Park on Forgotten NY

This is a recent forgotten ny article

Flushing Meadows Corona Park

matt

matt...you could call your project orphan-edge

Illusory Characters With Startling Stage Presence

http://www.nytimes.com/2007/04/02/theater/02eyel.htm?_r=1&adxnnl=1&oref=slogin&adxnnlx=1175543359-rTJ7h5Tiyvcocn7zXNTO2w

March 29 2007

Shared Stories and the Body (also other stuff)

Marc,

I think I forgot to bring my brain to class with me today.

This is a diagram of the wood/steel nightclub table that I talked to you about earlier. Details aside, this is more about my intentions of the wood and steel coming together, sort of the wood table and the steel table interlocking as we talked about.



I’ve been thinking about the question of what it means to dwell in my project. The apartment house? The subway? The nightclub? This might seem kind of obvious, but more and more, I think the answer is that one dwells in all three and it is the moment of experience that defines the program as the narrative unravels. In response, I have been thinking about how the “shortcut” and the party wall act to define the moments. Looking back at my detail in the courtyard from last semester, I think that the party wall may need to have a certain amount of flexibility so that, for example, sometimes a lounge room is actually a living room that belongs to the apartment and other times it belongs to the nightclub.

Returning to the discussion of the table, maybe the “extra performance” it needs to have can be found somewhere in that ambiguity between what is apartment and what is nightclub. If I think about a coffee table in an apartment, they usually have some sort of drawers or shelves for books, magazines, remote controls, whatever, and a coffee table in a lounge is usually much simpler because its intended purpose is to serve as a place to put drinks. If one did put a coffee table with extra shelves/drawers in the nightclub it becomes that place to hide things or pass notes as we discussed. If I go the route of the wood table/steel table interlocking, this extra function should probably find its place in a gap between the two.

As far as a thought on detailing the table, you’re right about the awkwardness of the wood being flush with the steel. When I bought materials, I made the decision to only buy 1/8” thick strips of steel because I wanted to express the thinness of the cross section in contrast to the thickness of wood. That is why the welded the angles instead of buying them. It didn’t come up in the conversation but I didn’t weld the entire length of the seam so that the thinness of the material would read in corner seam. I think the wood/steel leg can still work but maybe the materials need to be held at a distance from each other so they read more as separate components.

Also the reason why I intuitively wanted the piece to touch the floor with wood instead of metal has to do with the potential of this piece to touch a wood floor. I don’t think metal should come down onto a wood floor. This also has a lot to do with my esoteric preference as a maker to use a wood-bodied hand plane instead of a metal one. For me, the experience of using the wood-bodied block plane is infinitely more satisfying. Mine is made of rosewood and its high density makes it have a certain resonance and in use it almost sings like a musical instrument.

midterm response

I think what I need to work on right now is looking into the scale of a few crucial moments. I need to start zooming in and work out exactly how each piece of installations enhances the space, and not the other way around. I am planning to work on perspective drawings for now. I also should work on the positioning of the walls; how can they better act as sound buffers/ insulations. These walls are also acting as linkages between the “pavilions”. I definitely have to look further into the kind of tensile or ‘hung’ structure I mentioned, and of course the type of materials. The decision on the structure and materials will definitely help clarify the characters, also experiences, of the space.

Overall the comments were helpful. However, when Michael mentioned the part about ‘selective seeing’ as a form of blindness, that certainly shifted my attention. I agree that it might have made a stronger thesis, but then my project would totally be about the one sense; the sense of seeing. And is this idea really “stronger than merely bringing other senses to light”?.

Notes from Day 3 of Midterm

Critics; Marc Schaut, Dan Buscescu, Michael Eng, Jeffrey Hogrefe, and Lex Braes

Kyung Sic -
Have you looked at Tando Ando's temple in the water? It is very graceful in terms of the descension.
Is this merely an extension of the MET?
Is the obelisk moved? So it's a little bit moved. 5 meters
What is the connection between museum, obelisk and the park? What is the importance of this? Why does the obelisk NEED to be IN the museum?
You are using a VERY moral language, this should be here, and there. You are creating a movement from the museum to the obelisk, its a utilitarian answer. You are saying there is a connection, but why should it have anything to do with the museum?
The existing glass box is solid = very unfriendly.
Lex was happy that the obelisk is where it is and is seperate from the museum and no access to it.
The obelisk might be a red-herring.
You are installing a kind of machinery of vision, sensation into the park. The obelisk is a cultural artifact, you mention the sun god relationship. It's a history of colonialism, empires conquer and bring back artifacts, they are given to us.
The museum is an Interiority of identity, build boundary around yourself. The Egyptian wing, is an illusion of transparency, see outside/inside yet the reality of construction is opposite. It is quite solid. Are you trying to make it more fluid? park > museum, museum > park? Just cause you can? Should you or not? Why?
It is a critique of inside/outside. Why does it follow the axis of the existing building. Maby bring in something that doesn't follow the grid.
Fundamental answers that motivate your decisions, those are cultural decisions.
You want to bring in other vitality into the museum, cyclists', runners, park tourists, through the museum.
Through this you are creating and talking much about the different speends of experiencing. This has alot to do with the horizontal but you should be thinking of this in the section and elevations, you talk about levels.
Think about the figures at different levels, maybe at different levels in water.
For most, the obelisk should remain exactly where it is, talk to Brian Jones, he seems to have a good bit of knowledge on what it would take to move one of these.
Undermine the obelisk, look at the foundation, design a new foundation, look at it in a new way, come up under it.
You also need to qualify the bodies of water, higher/lower, how does it move, do we hear it is it still, reflecting or not, and sometimes moving.
Shouldn't the architecture be more friendly to the park, you are breaking up the rythm of the park contours with hard edges, which could work but you need to think of the quality of the space. Be more sensitive of how the park contaminates your project, subtle, and sensitively.
The stairs from for the runner, will cause them to concentrate on their feet, and miss the entire museum, which is against what you want. Where is the landscape, the vegetation, materials, trees. It might not be the formal moves, but the dialog that needs to be looked at.

Zach -
Why just put 3 of those square volumes into the rectangular space, shoudln't you redisgn, it was stronger as 1, there was dialog. And the more similar they are, the one in bunker and the one out in the water, the more different they will perform, one is about water, the other about sky. You are trying to bring attention to the erosive quality.
Effemorality and loss, different than temporality.
Monumentality is unmasterable.
There are relationships between different sites within your site.
The flipping of God's eyes and being within the earth, the detail is important, specifically commented on your section drawings through the building.
Stable structure VS unstable one, that racks and moves. How is the steel treated, does it rust? The wood will rot. Come back in 100 years, will it be there? The hard lines of your geomety are parrelel with the existing, and reminiscent of the Holocaust, rails/crematorium.
Look at Paul Barilia, Bunker Archeology.
The weight of the collective memory is here.

Namtip -
the programs don't necessarily need to be governed by the artists' work that is to be displayed.
There is an equivocation of architecture/work
issue of materials can address that which creates the synaesthesia.
It really is difficult to keep the senses seperate, yet we believe that we can seperate them, your project reinforces the seperation.
Vision is a form of blindness, architecture is also. THis idea is stronger than merely bringing other senses to light.
Architecture is complicit in the ways of seeing. You don't need to amplify these senses individually. Concentrate on the tactile quality, materiality. Look at Richard Serra, scale, it HAS killed people.
You can critique lines of sight.
You dont want this to become just another museum.but dont forget the criteria that allows the audience of people who dont normally visit. You need interaction with the park, as you walk, are there plantings along the paths, how do they invoke the senses.
Rodney Graham, Sylvia Kabowtsky? check them out.
technology of the body, makes you experience what the architect wants you to experience.

Carrie -
The gridwork is a bit too rigid, in terms of being in line with the existing. Tracking/tracing, your hand is working more closely to your idea, get off the3d rendering. be more primitive, there is too much tracks/wheels. Think about the lightness of it, the model shows very well the space between, the drawings flatten and you assign a thick black line to what is the track. work more in model, full scale. Lok at Elieen Grey. and Walter Benjamin. the emergence of the World's Fair in the rising Metropolis, we began to commodify the city.
museum is about the commodification of cities.
not ypical at all, but is in line with the idea of museum, museum without walls.
Look at Margaret Ross's work.
you shouldnt be giving people another place to buy something. What is the relationship between space and commodity?
work/leisure, weekend/weekday > dialog.
what is the rationale in your track system. it closes the system and there is less spontenaity or free-quality, there is no freedom of organsization. the width of the track is the width of a parking space, okay good. there could just be parking lines and not tracks. and the wheels maneuver and then at tijmes fix themselves at some point. you could get off the grid at some point, that is a commentary on the commodity issue. dont forget this is a flea market/museum.

These are the projects I was able to catch in my sketchbook, I wasn't able to get everybody, sorry to those I missed.

Jon Lee

your design arrives already formed before it reaches the site
how does the design (in particular) do what you are saying (not in general)
look at the tomb itself
what is the program next to tomb
could go in two directions
1. could sink
2. could form a dark humor that is very charged (don't allow it to be benal)
you need a matrix of info that can be referred to
the work has to speak for itself as well
your drawings are too timid to show what you are talking about
you could use monument as conceptual site, or you could physically enter into the site
you did the second
right now photo of tomb is most provocative thing you have on the wall
it is a staged moment
narrative begins as soon as you see building in landscape
you need to make more interpretational drawings
memory machine - thats what the tomb is
you set up a conversation with the monument and then turn your back on it
should it be 20' away or 300' - you need to ask these kinds of questions
what is access to the monument?
seeing it? being in it? seeing only a portion? you need to answer this
staircase is very important
does it become an architectural topography?
you traverse it and it allows you to move through memory moments
could increase and decrease speed
[you need to stop reading and start drawing]
bring in grant more
there is a no play about him
you are not presenting your project as a satirical project
when you cut a section you must take a stance about what you're talking about
don't survey, take risks, experiment
use drawing as an opportunistic endeavor
all your work from here on needs a clear agenda
shadow - new york blackout - alziemers - deja vu
you need to draw a shadow - erasure drawings?
its you on the wall - scream through your work

Chris

you need to be more clear about your agenda and program
why so many programs?
you need to edit to make it convincing
they need to collide with the moments you are creating
very expensive real-estate you are dealing with
how does it become essential what you are doing?
needs to be very convincing
central park (could) be thought of as a huge waste of real - estate
you need that kind of intensity (importance central park carries)
as an example: building in dense space - you could make it so you never feel this density
your program doesn't lend itself to your idea
architecture should... - this is how you start a thesis
model isn't helping you
you need to enter problem of architecture
draw plan and section of existing building, put in k mart and find project from that

Arnold

you need to show what you are doing more
your relationship changes to inside/outside as you walk through
why is base more translucent?
your project is more of a programmatic exploration than an architectural exploration right now
you are constructing space from ground up
where is a qualitative feel?
it is still diagramatic

Kyung Sic

why should obelisk have anything to do with museum?
maybe obelisk is less important than you are making it
cultural question - you need to confront this
relationship between museum and park
right now at met there is no connection between inside and outside
obelisk doesn't have access now that you want to give it
obelisk might not be your big thing
what is the big reason for all of this architectural "machinery"
don't want it to be like an amusement park ride
museums are about colonialism (stolen items)
in egyptian wing, there is an *illusion* of transparency and connection to park
there is something here that is not being critiqued
museum is in question
speed in your project dislodges inertia of monument
[your project appears the way that you talk about it]
think about moving water and still water
think about reflection - materiality and immateriality (like obelisk and sun pillar)
whats in the water?
is your thing too severe right now?
be more sensitive about how park leaks in
geometry recalls museum more than park
you should start zoning things: saying things like "architecture is hard here and landscape is soft and vice versa)

Zack

question proportions between elements
the more similar, the more powerful
different from context
think about air and uplift as opposed to water and sinking
death, temporality, and ruin
how does all of this link to synaesthesia
journey
architecture and death in terms of emphemerality - ruin leaves a trace
bring attention to erosive quality
death is anonymous
death is about loss of control and about instability
monuments try to counter this through stability
which system do you occupy?
stable or unstable?
do you move up sometimes on the bridge and down others?
can you flood axis of ruined building
maybe set your tower on fire
read bunker archeology

Namtip

contact doesn't have to be physical
is it a permanent exhibit?
spaces should incorporate senses (not works so much)
synaesthesia - it is difficult to separate senses
separation of senses is a spatial concept (even separation on the body)
[vision is a form of blindness]
stronger statement
cuts out other ways of seeing
once you say what will appear (in architecture) you are saying what won't appear
don't just amplify instruments
think about the spaces you are putting them in
scale is important here
richard serra
in section models, think about scale and what kind of experience happens
in childrens museums people interact with works
don't let it turn into a typical museum
why central park?
pavilion scheme
were you thinking park supports your thesis somehow?
how do you deaden sound?
not yet taking full advantage of park
aren't parks and museums fundamentally the same thing?
central park is not natural
maybe be more specific about moments
think about landscape
is your project just as good (or better) empty?
rodney graham, silvia rabowski (?)
don't make a gimic - a gimic makes you experience exactly what the architect wants you to experience
maybe use different plantings/seasonal ideas

Carrie

lex like the idea
not sure if this system is really pushing the idea
maybe make it full scale
might be too complicated right now
too many tracks and wheels
work on the quality of your computer renderings
think about space between things
Eileen gray
Everything in your project is about the body
Mike Eng likes the site
Walter benjamin talks about world fair and modern metropolis
we began selling cities to eachother at the world fairs
"work of art in the age of technical reducibility"
project isn't critical about commodity and museum
martha rasser (?)
don't just give people another place to buy and sell things
what is it about public space and consumtion?
what is it about progress - the world's fair is about building a ghost city
mine the site even more
dialog between work and leisure
tracks can be thought of as infrastructure
takes away flexibility that is in system
markets have a certain free quality to them
why couldn't these be just parking strips just painted on
Think about work and leisure
work - carts are on strips
play - they are off grid
could work as a portable gallery space for artists as well
work with only 1 or 2 materials
get rid of refrigeration boxes - too complex
make distinctions between objects
some people may need more than 1 cart to sell bigger objects

response

i completely agree with the issue of material and weight in the booth, i cut out cardboard yesterday and even though it was a pitiful start (very flimsy..i don't think so.) just to see the entire length of the booth was actually kind of scary to imagine the whole thing. especially with materials i was hoping for. the sample booth i made is going to be much more open i think, lighter. the tracks on the ground as opposed to parking lines, i guess my take on the tracks was that they are a way to lock the thing in as a property of the park and not some free spinning shopping cart (literally) flying away. the computer renderings, yeah they look bad. dan wanted me to do a "full-scale model" on the computer and draw on them. it made me figure out some things but perhaps slower than just sketching them, but seeing that whole thing rendered helped me realize a little how bulky it was. what dan was sayign about the objects needing perhaps larger than 10 by 10 spaces, well i don't know if i want to just diagram where objects are, i designed the booths so that some of them can team up, or some can use from another space, or some are very empty and spacious. i think i need to categorize the spaces of the booths and maybe permutations the booths can form with each other. and yes i will get a better title. and i will make a full scale. and work out generally all the booths better on a bigger scale. and post more thoughts because i can't remember other stuff

From the Review...

Distance
I need to create a personal separation between myself and the project in order for the project to really expand. This is something that I seem to have difficulty with, being that the inception of the project came from something personal, something that I always thought my thesis project would be.
A good way to create this distance would be through discussion with our critiques and fellow classmates, who could see the project from a different perspective.


Train
I need to start thinking more about the train and how my project connects literally and poetically to it.
One connection is that the train is used for the transportation of goods where as the study hall is used for the transportation of information. This is especially true for the Oral Torah as was discussed earlier.
A physical connection is also needs


Materials
If not now, then when? If anyone knows any books or internet resources where I can get easy to comprehend information on materials and how it reacts to sound please send it over my way…thanks

delal

delal

you need to post.
you need help.
i believe it would be in your best interests at this point to move exclusively into perspective for a bit.
you need to get away from your orthographic projections.

i think your plan is difficult and very aggitated.
is this appropriate for these occupants?
it maybe so, but you arent really discussing this.

you were asked about putting these people on and is(eye)land...
i think you could reverse this negative perception if you are clear about why this relationship to the city and water is theraputic in some way to the users...

Notes For Jon Lee

listed in order of appearance:

-seems to be general right now

-needs specificity of instance where the program & architecture make a statement obout your thesis

-what is the semi-dark humor about the bar next to the grave
____dark humor/shadow

-how do you charge it and make it humorous
it feels neutral right now...a little detached

-be less timid in the moves you make by drawing to produce your commentary

-you could do it two ways: move away from the site or into it as you have chosen to

-if in the site you must participate more in the site....not just an observer but participant

-section is critical

-show...convince...how your work does what the photograph you presented does

-landscape is essential

-open up the flesh of the existing condition

-think of the audience that perceives this opening up of the flesh and participates within it

-is the project - the monumental memory machine vs. your proposal

-right now your project appears to turn its back on the existing conditions

-what is your building's tactical approach? does it perceive or deny presence of the monument?

-this acces to the monument is also critical

-consider the importance of the staircase does it become an architectural topography?

-the stair returns your project to it's departure point____maybe this is the bare form of your thesis?

-do you provide alternative navigational roots for the visitor....alternative choreography to the present landscape?

-do a little dance on the stair case

-make your method as profound as the way in which you are able to verbalize it....make your method of presentation speak for you

-no more reading.....just draw and build....okay maybe a little bit about grant's biography if you think it could help....but no more reading

-sat·ire /ˈsætaɪər/
–noun
1.
the use of irony, sarcasm, ridicule, or the like, in exposing, denouncing, or deriding vice, folly, etc.

-take a risk...if it kills you...so be it

-monumentality- what is it to you in your site and in your project? what does your architecture say in response to monumentality or how does it pronounce your position?

-are you subverting? celebrating?

-how do you utilize the shadow?

_radiating shadow_

After presenting, I realized how fragmentary and unorganized my thoughts were about what I am doing. It was obviously difficult for the critics to give good feedback when the project was not clearly presented to them. Dragana said that I should maybe do a traditional theater, Blough said to stick with Artaud. I agree with Blough on this issue because otherwise, I think the project will lose some of its potential provocativeness. So in order to simplify, I am going to just ask the simple question: "how can the 4th wall be broken architecturally?". Marc, I agree with your thoughts of the proscenium. The reason I was putting it in was to still differentiate between what is stage and backstage. I realize now that this may be of secondary importance right now. The question that remains for me to solve is how the original character of the space can be kept while still allowing for the support structure needed for both actors and spectators in the theater. Over the weekend I will work on schemes that I believe may be able to use architecture to break the 4th wall in a simple way that will not clutter the main space left by the void of the switch box.

from the review

from the review comments, i need to clarify what exactly i want the building to activate, in terms of creating relations through sound, and have a stronger stance on how it fits into the greater context of the site, making sure not to overpower the surroundings. i'm going to break the building down to its most essential elements and start developing a stronger site strategy through a site plan. additionally, i have a lot of drawings to do. blough mentioned how i shouldn't want the building to do "everything", and i agree, so the next step is clarifying how it fits into the passage through the site as a piece and joint.

a lot comments were raised concerning how the building responses to the site, surrounding noises...how it would screen itself off yet at the same time opens itself stragetically to make the internal spaces sensually pleasant, an experience of multiple senses....a way to do it is by layering the spaces, one zone nesting within another, as studied in the smaller 1/32 model and sections...i feel this is an effective stragey but it could be stronger by intergrating more into the landscape, the park which i started in the intial overall scheme at 1/16 model...in the immediate future...im going to explore in sections how the park's elements (ie..water, playground, trees locations..) could help to screen off the traffic noises...for example....

review notes and responses

the rest of you need to post responses...

Moving Forward,

In terms of the midterm review, I feel like I received a lot of great feedback on where to take the project. It appears that the project has a strong foundation to support the greater ideas and goals that I speak about but don't necessarily show. It's going to be my goal and focus for the rest of the semester to solidify the project and show through models and drawings that synaesthesia can be experienced. I want the drawings to convey the emotions and sensations within the various programs that I'm trying to promote.

A couple more thoughts about Shared Stories

I still not entirely convinced that the hotel is the right answer over the apartment house. I think that pushing the encounters between the different activities would make the apartment program less "habitiual."

In casual discussion this morning with another professor, the question was brought up, "Which program do you actually dwell in?" I think that's something else to think about, particularly in pushing the connections between the programs.

One more thing that I've been thinking about for the past two weeks or so, but didn't want to throw in right before the midterm, has to do with the extent of enclosure with the nightclub. In the subwaym, frequently, eventhough it is "inside" the weather is still experienced in some ways, whether it gets cold, like carrol street on the g train, or rain water drips down from grates or cracks in the walls and ceiling. Maybe in the nightclub, (or possibly in the apartments also) there are places where for example water drips down a wall when it rains. I've also been watching a lot of Tarkovsky lately, so that might have something to do with this thinking, admittedly.

Response to midterm

I feel like I more or less recieved the crit that I needed at this moment. The critics had some good questions about my project, which I largely need to address by pushing the connections between the programs, particularly in a specific, detailed oriented way. Something along those lines was actually brought up at the last review, i think by Karen, who said that my entire project could be wall sections. The idea of the "shortcut" that was discussed is something I should really look at more. I've thought about something like that in a subtle way, but maybe I need to look at it more directly. One of the critics also said something about my project being "too smooth," and being that I have always wanted the program to be a bit messy and disjunctive, perhaps I have lost sight in the past few weeks.

Since the most relevant criticism I recieved seemed to be largely focused on the work I have done, rather than my intentions behind it, I am going to interpret that to mean that my project is developed enough to stand on its own and I need to spend the rest of the semester exploring and refining the possibilities of what I have made. Though I don't have a specfic schedule for this, I am going to complete the assignments I have written so far and also creating several new ones, tayloring their completion to focus on the criticism I recieved. Though in some instances, the representation may need to be very technical, for example I would like to develop some wall sections, I think it is time for me to go back to means of representation that are more experiential/narrative.

crit list

Here is the crit list for tomorrow...we will be in 111...it is absolutely mandatory that you are pinned up and and ready to present @ 2pm. This list does not necessarily reflect the order you will present in. Please make sure everybody in studio is aware of this.

Monday 3.19.07

Anh
David
Alex
Nantip
Brian P
Brian J
Zach

monday midterm

i will post the crit list for tomorrow this evening. Everyone should be prepared.

we will be pinning up with lawrence studio in 111.

Spring Break

In agreement with Zack, Tuesday seems like good day to meet.

Meeting over spring break

Having spoken informally with the class, it seems that meeting with Marc and Dan earlier in the week rather than later would be more helpful. Some people will be out of town for different parts of the break so no single day works for everyone, but Tuesday seems to be the best day for the greatest number of people to meet in studio. Does this work?

March 5, 2007

To Consider When Moving Forward (In No Particular Order)

-The project wraps around and under the existing building. Maybe it can also add to the existing building vertically, embedding it entirely.

-Work out the private entrance/lobby/stairs for the apartment.

-Look at the existing stair tower and how it is reused as circulation in the new program. Could it begin to dissolve in the lower levels of project?

-Look at raising the existing ground floor to increase the ceiling height over the dance floor.

-Examine the arrival narratives and also the narratives of people inhabiting the project.

-Look at the relation between the interior bar and the outdoor courtyard. As a “watering hole,” could the bar use water as an experiential element that connects the two spaces?

-Look back at the memory map and identify specific moments where one program bleeds into another and assign “synaesthetic memories” to them that inform the architectural qualities of those moments.

-Consider the possibility of “taking over” a domestic space for use in the nightclub. For example the DJ area could be in a former living room (identifiable as such). If the nightclub serves any kind of food, maybe the nightclub kitchen has some relation to a domestic kitchen.

-Where are the nightclub bathrooms? Do they share a wet wall with the apartment bathrooms?

-Look at the sectional relationship between the sidewalk, the waiting area, the bar, the courtyard, etc. What happens in the space where people line up while they wait to get into the club?

-Could there be more than two apartments, as the program currently includes?

-Choose moments where the programs intersect and look at the experiential qualities of those moments in some kind of drawing. How do the spaces change between night and day?

-Consider materials more.

zumthor...taken from archinect

http://www.youtube.com/watch?v=mOPWNid856c
http://www.youtube.com/watch?v=irkAX2cqpI4
http://www.youtube.com/watch?v=AimS6ZyOiPo
http://www.youtube.com/watch?v=APdEuxeE5eE
http://www.youtube.com/watch?v=eRvM2KKDeGA

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.