This project is a study of plastic systems which looks to activate the role of the surface in architecture as an interface between the techniques of practice and the image of architecture in our current culture.
It is interested in the spatial effects of color such that color becomes architecturalized. It’s no longer used to emphasize form but more acts on its own accord. It brings into focus its own merits and dynamism. Along with experiencing these spatial effects of color, it facilitates thresholds between an overload of saturation and austere white, devoid of color. From outside the perimeter walls, an invitation; inside the walls, a reward; inside the building, a betrayal; and through the thresholds to move throughout the building, the delivery. Three threshold spaces, intimately connected to the inside and outside. Creating worlds within worlds. If you will deal with color saturation. If you go back to the discourse of color. Peter Eisenmann was the first who used color as an architectural material. Using color as architecture is radical. Artificial lighting is really important, painting and spot lights as the key moments in architecture. These moments become the most performative spaces. A world of sensorial delusion and sculptural dynamism.
The graphic in a visual sense represents a digital way of working. Layers are a collapsed into one such that they blend into one another or are explicitly differentiated. It’s visually changing and dynamic similar to the form but in its own way.
All of the spaces are stitched together by transitioning between the austere and the sensorial.
Case Western Medical Library
The project was inspired by Kazimir Malevich’s Architectons and his idea for objectlessness. Its main premise follows the idea that art should not be concerned with the depiction of objects but rather, the feeling or spatiality that is evoked.
The building’s essence results from early studies to create a mesh like a Gestalt Field, based on the Fibonacci sequence. This Fibonacci mesh covers the whole site and reveals an inherent purpose to the building’s structure and organization. Early on, the Fibonacci mesh inherited separate enclaves as a result of a weaving organization. Primarily, this model focuses on the main book stacks separated into four enclaves that organize medical knowledge based on the levels of organization in biology: molecular, cellular, organ, and organ system. This organization follows the Fibonacci mesh’s implications of relating the micro to macro given the logarithmic scale increase. Similarly, the spheres that encircle are scaled according to the books stacks they are associated with and encapsulate the study carrels/computer workstations.
Beyond the organization of information, the movement throughout the building takes on a sub narrative of representing the nervous system. The entrance is located right next to the classrooms, symbolizing the stimulus to retrieve and seek knowledge. Then the slender cones extend to areas where information is stored and processed. It opens up to spheres that hold study carrels and computer workstations— encapsulating biological information processing. Its location around the book stacks constitutes the literal and symbolic storage of information.
Given the studio’s focus on drawing, the drawings are hyper-indexical and saturated with information to imply the pragmatics and translation into a building.
The workshop is called interferences to “refer to the various means through which the projects might weave, reframe, or disrupt contemporary modes of digital design.”
The workshop focused on interactivity: How a user would interact with digital models.
My script takes an amorphous model and immediately splits it up. It is a take on the typical exploded axon except it explores multiple angles, scales and orientations. Unlike the exploded axon, it is not concerned with coming back together or fragmenting according to specific parts. It is simultaneously a mode of viewing/interacting with a model as well as a means to infer or explore other notions.
Upon opening the program, the form fragments. It allows the user to pull apart the pieces as well as rotate around the model. Additionally, the view will periodically change to force a new perspective: a new angle and a new scale.
The redesign of Jesse Owens Rec Center revolves around an aggregation of five crystalline forms that separately occupy diverse purposes and atmospheres. Despite these local differences, as a whole, they maintain overall coherence. The local difference is maintained by the type of exercise it houses as well as the light quality provided by the fenestration skin. Additionally, each unit features a light well that is oriented to a different cardinal direction. The physically similar crystalline form and the fenestration pattern create overall coherence.
There are four areas of exercise: aquatic, cardio, strength training/ general fitness, and courts. Formally, the organization of the units are dictated by points of intersections from the axes of primary paths leading to the site. Areas of overlap provide space for miscellaneous activities that do not fit into the groups, such as a rock climbing wall and locker rooms. Additionally, a running track allows one to experience the varying quality of spaces as it loops through multiple zones. Furthermore, a glass-veiled tunnel runs through the mid-base of the building, allowing an all-embracing view of the multiple exercising zones for someone, like a visitor in an aquarium—without one actually entering into the Rec’s space.
High Density Drawing
The seminar focuses on creating high density drawings. The first step was to create a catalog of scale figures, trees, furniture, and hatches. Additionally, there was a workshop in which different color palettes were experimented with and created. This catalog could then be used to populate the following series of drawings.
The final culmination of the seminar consisted of a reinterpretation of a 1930 map of Ohio State that was divide amongst the class. It was inspired by the Roma Interrotta. My section includes the site of the Wexner Center which is not on the 1930 map. Instead of inserting just the existing Wexner Center, I envisioned it with all the competition entries and the Armory building previously on the site. In addition to redrawing the map, this is a redrawing on multiple levels - Each entry is represented to correspond with Eisenman’s Axon drawing rather than how they were initially presented. Overall, it has remnants of the past, insertions of the future, and possibilities of what could have been
The second drawing illustrates my individual commute to Knowlton. It focuses in on the beginning and end destinations while the middle part of my commute zooms out to reflect the density in between as well as my tendency to zone out on my walk and therefore only recollect the end and beginning.
The third drawing illustrates my view of Knowlton in 2104, 100 years after it was built. Humans have relocated to another planet, possibly Mars, but in order to preserve Knowlton as an iconic building, it gets uploaded to a virtual archive. The virtual space exists on an infinite grid where you are free to create and manipulate the space however you wish. Also, the scale figures are depicted wearing black and neon because that’s the fashion of the future.
Given an archetypal hut as a template to design, strategies of ornamenting it were employed using two-dimensional patterns. The sine curve pattern derives from initial experimentation with Processing as a way to develop pattern using code. An array of sine curves cover the interior vertical walls such that the pattern is oriented perpendicular in relation to a particular wall’s adjacent walls (i.e. the east and west interior walls have vertically oriented curves while north and south are horizontally oriented). The curves then create an overlap on the interior ceiling. Due to an awkward joint that results at the center of the ceiling from the overlap, the hut gets split along that diagonal and provides an entrance/exit that one would slip into. Additionally, the color of the walls correspond to the wall thickness, with the thin walls as white and the thick walls as black to further articulate the difference. Exterior walls become solid black or white and also reflect the wall thickness. Similarly, the exterior ground opposes the corresponding wall condition and also creates an instance in which one would enter on the white surface and exit onto the black surface or vice versa. Also, the interior floor is tiled with black and white tiles that have different variations of sine curves and overlaps.