- Because the section begins with the visualization of that which will not be directly seen, it remains abstracted from the dominant way of understanding architecture through photographs and renderings. Sections provide a unique form of knowledge, one that by necessity shifts the emphasis from image to performance, from surface to the intersection of structure and materiality that comprises the tectonic logic of architecture. At the same time, section demonstrates the exchange among multiple aspects of embodied experience and architectural space, making explicit the intersection of scale and proportion, sight and view, touch and reach that is rendered visible in the vertical dimension (as opposed to from top down). In a section, the interior elevations of walls and surfaces are revealed, combining—for examination and exploration—structure and ornament, envelop and interior.
- Lewis, Paul, Marc Tsurumaki and David Lewis. Manual of Section. New York: Princeton Architectural Press, 2016, p.7.
PDF Project 2 Statement
Assigned: Friday 27 January 2017
Due: Wednesday 1 March 2017
Prompt - FIELD CONDITIONS (baseline)
Construct a working physical model to synthesize evidence discovered by the ANALYTICAL ACTION. This performative model should include the volumetric limits, character, and experience of the site conditions. The model must be self supporting, have no singular base plane, be legible from and through all six sides, and register site sections from curb to creek, flood datum, and solar geometry. Six weeks operating concurrently with Project 1 & 2.
Objectives - ANALYTICAL ACTION (soundcheck)
- To understand and make legible site conditions, limits and histories with embodied experience.
- To demonstrate the spatial and tectonic qualities of the site in a performative model that evolves over time — a working model.
- To dimensionally record unanticipated knowledge of place discovered in Project 1.
Process / Sequence
- Ground truth and identify site boundaries.
- Establish systems of primary, secondary, and tertiary (minimum) elements that order or organize the site territory.
- Construct cross and plan section drawings as working tools to facilitate model construction. These drawings should be on durable paper that can be layered with information over time. While they may begin as prints they most likely evolve as hand worked drawings to support the immediacy of evolution instead of the vacancy of machine output.
- Establish material palette.
- Design system of joinery for primary components and means for model to be self supporting and legible from all six sides. Be able to turn model on any edge for fabrication, review, and study.
- Layer information returned from Project 1 - Analytical Action/Game about the site into the model.
- Photograph model as it develops. Post images to person wiki.
- Collect and synthesize written notes, drawings, image collages and other recordings of model development.
- Organize documentation of model and fabrication process within print and PDF folio on common studio template (17” x 11”). Post to wiki.
- Primary materials shall be common lumber (cedar, pine, fir) where efforts have been made to claim the dimensional properties for the model rather than from industry standards. Consider proportion and dimensionality part of the language of the model.
- Plastics, acrylics, polymers may be used again in support of their performative qualities.
- Steel piano wire.
- Paper, chipboard, cardboard.
- NO FOAM CORE.
- Adhesives shall invisible (consider craft — super glue stains are never desirable).
- Use applied color only to the extent it supports diagrammatic legibility. Allow the material pallet to speak for itself, ie: make material selection that supports legibility relative to color, tone, contrast.
Presentation REQUIREMENTS (MINIMUM)
- Performative model of field conditions at 1”=60’-0” (with a vertical scale exaggeration factor of 4 — so vertically 1”=15’-0”) describing volumetric limits, spatial and material character, and human experience of the site area.
- Model must be:
- self supporting,
- have no singular base plane, and
- be legible from and through all six sides (top, bottom, front, back, right, left)
- Model must include:
- solar geometry,
- flood datum, and
- site section conditions from creek to curb.
- Process drawings, notes, photographs of model construction and development.
- Written statement of field conditions discovered during model construction.
- Printed folio in studio format with PDF posted to wiki.
- Art 21, Episode #219. Joan Jonas: New York Performances. 6 May 2015. https://www.youtube.com/watch?v=E6wI33GTnf0 and http://www.art21.org/artists/joan-jonas
- Acconci, Vito. “Following Piece” 1969. https://www.moma.org/collection/works/146947 and https://www.moma.org/artists/53
- Bravo, Doris. “Up Up and Away” blog entry. 17 October 2013. https://dorisbravo.com/2013/10/17/up-up-and-away/#more-1185
- Carrasco, Manuel Casanueva. Libros de Torneos. Valparaíso, Chile: Ediciones Universitarias de Valparaíso, 2009. ISBN 9789561704510
- Ha, Paul, et al. Joan Jonas: They Come to Us Without a Word. Cambridge, MA: MIT List Visual Arts Center, 2015. ISBN 9781941366073
- Pallasmaa, Juhani. The Thinking Hand: existential and embodied wisdom in architecture. London: Wiley, 2009. ISBN 9780470779293
- Tschumi, Bernard. The Manhattan Transcripts. London: Academy Editions, 1981. ISBN 9780312512866
- Zumthor, Peter. Atmospheres: architectural environments, surrounding objects. Basel: Birkhauser, 2006. ISBN 9783764374952
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