SONIC BINOCULARS


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 4 Statement

Contents

Dates

Assigned: Friday 3 March 2017

Due: Friday 5 May 2017


Prompt - SPATIAL PERFORMANCE (bandshell)

Project 4 will culminate the studio bringing together skills and sensibilities of the first three projects, and preceding coursework, to create combinative architecture propositions. The project seeks to cultivate understandings of architecture as more than accretion of well composed form; to refine working methods that conceive and create architecture of interbedded forces and properties extending from planetary geometry to molecular character; and, to use performative physical models and sectional drawings as generative tools.


Program

Design an outdoor performance space to include detail resolution of:

  • bandshell with stage and screen (protection and projection)
  • seating and circulation for 350 (hard and soft scapes)
  • aspirational bathrooms (light, air, water)
  • compact concession (more hot dog stand than restaurant)
  • control/projection booth (sound, light, image)
  • service flows and accumulations (incoming sustenance storage and outgoing waste streams)
  • lighting (natural and artificial, ambient and focal)
  • signage (spatial and textual)
  • access (approach and release at scale of site and individual)
  • drainage (anticipation of events connecting topography and weather)


Objectives

  • Cultivate understanding of architecture as more than accretion of well composed form.
  • Refine working methods that conceive and create architecture of interbedded forces and properties extending from planetary geometry to molecular character.
  • Use performative physical models and sectional drawings as generative tools s catalyzing spatial possibility through analysis and synthesis of expanding site conditions and human interaction with architecture.


Process / Sequence

  • Detailed iterative sequences will be established by section for each studio meeting. Evidence of significant progress to be made in each session.
  • Ground truth and identify site limits and characteristics.
  • 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.
  • Continue to layer information returned from Project 1 - Analytical Action/Game about the site into understanding of the model and project.
  • 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 project development and fabrication process within print and PDF folio on common studio template (17” x 11”). Post to wiki.


Materials

  • 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.
  • Basswood (no balsa wood).
  • Plastics, acrylics, polymers may be used for performative qualities.
  • Steel piano wire (no soft coiled wire).
  • Paper, chipboard, cardboard (NO FOAM CORE).
  • Adhesives shall be invisible (consider craft — super glue stains and hot glue trails 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. Differentiate elements by geometry and character rather than color coding.


Presentation REQUIREMENTS (MINIMUM)

  • Performative site model at 1/8”=1’-0” advancing the operative analytical properties from the Field Conditions while including the bandshell programmatic elements.
  • Performative site sections (cross, longitudinal and plan) at 1/8”=1’-0” situating programmatic experience within field conditions (including solar geometry).
  • Analytical detail demonstrating of human body interaction with material and immaterial forces and characteristics at 1/2”=1’-0”. Not a picture illustrating relationships, but an exploratory drawing evidencing performance of the relationships.
  • Additional drawings and models required by section.
  • Written statement of project aspirations and compositional ordering systems and strategies.
  • Process drawings and models.
  • Printed folio in studio format with PDF posted to wiki.


References

  • 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
  • Galán, Ignacio Gonzalez. A24 - Alberto Cruz, Godofredo Iommi, Claudio Girola: Escuela e Instituto de Arquitectura PUCV. http://radical-pedagogies.com/search-cases/a24-escuela-instituto-arquitectura/
  • Koolhaas, Rem. Elements: floor, wall, ceiling, roof, door, etc. Venice: Marsilio Editori Spa, 2014. ISBN 9783037784297
  • Pallasmaa, Juhani. The Thinking Hand: existential and embodied wisdom in architecture. London: Wiley, 2009. ISBN 9780470779293
  • Reiser, Jesse. Atlas of Novel Tectonics. New York: Princeton Architectural Press, 2006. ISBN 9781568985541
  • Smout, Mark and Laura Allen. Augmented Landscapes. New York, N.J.: Princeton Architectural Press, 2007. ISBN 9781568986258
  • 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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