"Untitled 7"

an abstract endeavour of place construction

 
Questions of Space - [Bernard Tschumi]
 
Is space a material thing in which all material things are to be located?
If space is a material thing, does it have boundaries?
If space has boundaries, is there another space outside those boundaries?
If space does not have boundaries, do things then extend infinitely?
As every finite extent of space is infinitely divisible (since every space can contain smaller spaces), can an infinite collection of spaces then form a finite space?
In any case, if space is an extension of matter, can one part of space be distinguished from another?
If space is not matter, is it merely the sum of all spatial relations between material things?
If space is neither matter nor a set of objective relations between things, is it something subjective with which the mind categorises things?
If the structure of the mind imposes a prior form (that precedes all experience) to the perception of the external world, is space such a form?
If space is such a form, does it have precedence over all other perceptions?

...because questions of space evolve into new processes of invention. This project challenges the artist’s role in design and extends the boundaries of how space is composed. The boundaries of space are set by the limitations of current design processes and this project extends them. The use of ubiquitous material in a banal space proves how the design process is evolving.

Architecture is ultimately rooted in the built artifact, which physically affirms artistic intent as a result of the design. The aim of this project is proved through the design process, rather than a result of it. It takes a banal space and pervasive material and is transformed into architectural space. The process of interrelated steps stitch together a logic structure based on an imposed grid and invented rules. Physical elements are created through this system and figure and plan emerge from the geometric play. The process of how the space is transformed is directly connected to the geometric construction which underlies each subsequent process from site placement to construction.

 
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Site Placement

3813 Greenway Dr. Lawrence, KS 66044

East Hills Warehouse

 
 

The site is set inside the University of Kansas School of Architecture’s Design/Build facility. A warehouse located in the East Hills business park of Lawrence, Kansas. The warehouse is primarily a space for collaborative construction and storage. The big and largely empty space is the base of the project.  The project initially mapped out the site conditions, focusing on the east side of the warehouse. A grid from the joint lines in the concrete floor was imposed.

The grid informs the logic structure which is based off the system of rules. These underlie the play of points and lines, to extrusions that yield geometric forms. The three-dimensional forms are broken down into sections that contain pieces derived from the rules. The pieces fit together by following these rules. The rules are set by a fractal system that fit pieces together to form sections which become the whole.

From here the process of making parts to whole is applied to the ubiquitous and nominal material of oriented strand board (OSB). Each piece is fabricated by Computer Numerical Control technology from the input design. The output pieces are assembled with minimal tools and transported from the studio classroom to the East Hills facility, where they are arranged and further assembled. The assembly and placement of each section are informed by the initial logic structur.

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The objective of the logic structure was to define a framework for a process that composes geometry within given parameters. To determine and ultimately illustrate the steps in building various relationships from design to construction.  The initial design was distilled to the boundaries of the warehouse and its floor grid. Thus the ability to employ the original design and construct elements capable of re-engineering themselves from any input points. The primary geometric forms were implemented to the existing grid and developed systematically through five phases.

This logic structure represents an iterative modeling of these relationships. Each step is algorithmically organised input points yielding basic geometries and three-dimensional forms that establish a process capable of uncompromising modifications, and which constitutes a parts-to-whole system. A system that exemplifies how things go together in terms of parameters that make up not only the physical configuration but the intellectual structure.

 

POINT EXTRACTION FROM GRID
POINTS 1, 3, 5 EXTRACTED FROM
WAREHOUSE  GRID VERTICES
POINTS 2, 4, EXTRACTED FROM
MIDPOINTS OF 1, 3, 5

POINT EXTRACTION FROM COLUMN LINE POINT FROM MIDPOINTS OF COLUMNS 1, 2  EXTRUDED RECTANGLES POINTS BECOME RECTANGLES L = 1' - 6" W = 1' - 6"

POINT EXTRACTION FROM COLUMN LINE
POINT FROM MIDPOINTS OF COLUMNS 1, 2

EXTRUDED RECTANGLES
POINTS BECOME RECTANGLES
L = 1' - 6"
W = 1' - 6"

 

RECTANGLE FROM POINT
LENGTH OF 6’ WEST OF
POINT, 12’ EAST OF POINT, WIDTH OF 0’ - 6”

RECTANGLE EXTRUDED TO 8’ - 0“

CIRCLE ON WALL FROM RECTANGLE ORIGIN POINT
CIRCLE WITH DIAMETER 1’ - 11” FROM RECTANGLE
ORIGIN POINT, 
CENTER OF CIRCLE MOVED FROM 0‘ - 0” TO 4’ - 0” ALONG Z AXIS
SOLID DIFFERENCE OF RECTANGULAR EXTRUSION AND
CIRCLE CREATE OPENING IN WALL

SPLIT AND MOVE EXTRUSIONS
EXTRUSION SPLIT AT COLUMN CENTERLINE, 
PARTS MOVE DIRECTLY EAST/WESTWARD 0' - 9" 
CREATING A 1' - 6" GAP

 
CIRCLE RADIUS 36' - 0" FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3 VECTORS AT 60° AND 315° SPLIT CIRCLE CIRCLE TRIMMED ARC OFFSET 0' - 6" EXTRUDED 2' - 0" ARC OFFSET 0' - 6" FROM CIRCLE OF RADIUS 36' - 0"  

CIRCLE RADIUS 36' - 0" FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3
VECTORS AT 60° AND 315° SPLIT CIRCLE
CIRCLE TRIMMED ARC OFFSET 0' - 6"
EXTRUDED 2' - 0"
ARC OFFSET 0' - 6" FROM CIRCLE OF RADIUS 36' - 0"
 

CIRCLE RADIUS 17’ - 6” FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3
POLAR ARRAY CIRCLE RADIUS
6’ - 6” TANGENT TO CIRCLE R17.5

 

CIRCLE RADIUS 36’ - 0” FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3
VECTORS AT 60° AND 315° SPLIT CIRCLE
TRIMMED ARC OFFSET 0' - 6"
EXTRUDED 2' - 0"
ARC OFFSET 0’ - 6” FROM CIRCLE OF RADIUS 36’ - 0”

VECTOR AT 45° SPLIT ITEM 11 OF POLAR ARRAY TRIMMED ARC OFFSET 1' - 0" EXTRUDED 4' - 0"

VECTOR AT 45° SPLIT ITEM 11 OF POLAR ARRAY
TRIMMED ARC OFFSET 1' - 0"
EXTRUDED 4' - 0"

 
POINT FROM COLUMN 5 CENTER,  MOVED EAST 3' - 0" SECONDARY POINT FROM LAST POINT MOVED 7' - 0" SEGMENT FROM CREATED POINTS,  COPIED AND ANGLED 75° ANGLED SEGMENT TRIMMED AT INTERSECTION WITH POLAR ARRAY ITEM 11 OFFSET

POINT FROM COLUMN 5 CENTER, 
MOVED EAST 3' - 0"
SECONDARY POINT FROM LAST
POINT MOVED 7' - 0"
SEGMENT FROM CREATED POINTS, 
COPIED AND ANGLED 75°
ANGLED SEGMENT TRIMMED AT
INTERSECTION WITH
POLAR ARRAY ITEM 11 OFFSET

JOINED SEGMENTS TO POLYLINE,  OFFSET 0' - 6" EXTRUDED 4' - 0"

JOINED SEGMENTS TO POLYLINE, 
OFFSET 0' - 6"
EXTRUDED 4' - 0"

 
 

 
 

Documentation

 
 


 
 

Fabrication

fabrication and assembling of friction fit elements
individual parts become the whole

 
 


 
 

Half Scale Model

a greater understanding of the project on a smaller scale
documentation of half-scale friction-fit model

 
 


 
 

Analytique

an individual journey through the architects that we aspire to be - presidential studies abstracted and expressed through 3x1" individual prints on canvas

 
 

WOOD WORN AND AGED
Anna Brodersen

Bruder Klaus Field Chapel
Peter Zumthor

Architecture is everything that is true in this world, made in an art of space and time. It is how the world should work. This structure of how we live is our existence. It is a ritual, because everything you do in life should be a ritual. It is a dance between solidarity and discord, and indulgence and order. Between following a path and discovering a path. It is the physical form of our reality, manifested through the plasticity of life. 

INK-GEHRY
Yang Jingxiang

Guggenheim Museum
Frank Gehry

This work aims to deconstruct the Guggenheim Museum in Bilbao, Spain and reconstruct into an ink-wash painting form. The reason for that is that both Guggenheim Museum, Bilbao and the ink-wash painting are relied on fluid transformation, layering and unique orders.

SIKTA                                         
Julia Frendo

The Water Temple
Tadao Ando

A sensorial experience, a simple inversion of the convetional, a series of different architectonic spaces and emptiness. A spiritual cleansing - a place where the combination of architecture with nature reflects the passing of time and transcends the day. 

THE WINDING VILLAGE
Yuhua Dai

China Academy of Art's Folk Art Museum
Kengo Kuma

The goal of Kengo Kuma is the construction of 'negative building'. This negative architecture means that the building is not obvious to see because it is hidden into the surrounding environment. This work best represents this concept. This architecture was built in the mountain. Therefore, it is covered by the forest, and it is also hidden by the trees. The ethereal atmosphere is the theme of this architecture.

GOD IS IN THE DETAILS
Jessie Ewing

Seagram Building
Mies Van Der Rohè

“The essence of space is not determined by the mere presence of limiting surfaces but by the spiritual principle of this limitation. The true task of architecture is to let the structure articulate the space; it is not the building that is work of art, but space.”                 - Mies van der Rohè

The Seagram Building doesn’t have any ornamentation covering the façades, instead the building takes the surrounding stone buildings and reflects them. It shows what New York is consumed with and makes you look around. When looking at the building you see a glimpse of what is around you but still leaves a little bit of mystery to what you’re standing next to.

OF THE TREES
Rachel Johnston

Villa Mairea
Alvar Aalto

Alvar Aalto’s Villa Mairea completely transcends what a typical home and living space have become. Aalto’s design is the mimicry of nature’s beauty.  From the staircase with teak wood jutting up to the ceiling like trees in a forest to the serpentine shape cut out from the living room fireplace, there is serenity and peaceful beauty to this place that results from juxtaposed references to the Villa’s Finnish forest surroundings.  Another aspect of the Villa is the sense of rhythm that these call outs to nature provide. The whole villa is somewhat of a musical experience with its curved shapes, synthesized materials, and use of natural light.  The house, in a sense, draws you in from the forest but never fully takes you away before you are led back outside. Villa Mairea is built in and of the trees.

THE INNATE OBJECTIVE OF ARCHITECTURE
Bumsoo Kim

U.S. Federal Courthouse, Islip, NY
Richard Meier

A building becomes architecture when it aims to surpass the programmatic constraints and address symbolic notions of the building and its purpose. Meier reestablishes this objective in his designs through a critical reflective formulation of design process and manipulation of form against the innate constraints put on by the design program. A visual layering is achieved by self-imposed compositional disciplines, transparency of the envelope, arrangement of successive planes, and the assertion of syntactic centrality which becomes the pivotal space within a building. This design progression is often lost in so-called modern architecture, which tends to rely on aesthetics concealing the constraints rather than surpassing them.

PRARIE SCHOOL
Mario Lerma

Robie House
Frank Lloyd Wright

The Frederick C. Robie house was built between 1909 and 1910. It was designed by Frank Lloyd Wright and is the greatest example of the prairie school style which is considered the first American style of architecture. It was designated a national historical landmark on November 27, 1963.  

CHIAROSCURO
Samir Alvi

Saint Ignatius Chapel
Steven Holl

"Anyone who has become entranced by the sound of water drops in the darkness of a ruin, can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness"                                              - Steven Holl.

RISEN
Kaitlyn Hoines

Temple of Inscriptions
The Maya

Ascend the steps of King Pakal of Palenque’s inscripted temple and journey his birth, life, death and rise amongst the Mayan gods. The temple awaits only those that are worthy - those who give offerings. The King’s rule was forever inscribed on this great funerary pyramid. His death was to be honored as he lied below, hidden in a secret passage way within an intricately decorated sarcophagus.

MODULAR
Trevor Cadiz

Villa Savoye
Le Corbusier

The Villa Savoye represents the point when the method of designing buildings enters  a new era of thinking. Precise and thoughtful extrusions from simple lines and basic geometry evolve a promenade, which relates the modern epoch of the time to the home. For the first time, the home was thought of as a machine for living.

COLUMNS OF LIGHT
Angela Garza

World Trade Center Transportation Hub
Santiago Calatrava

The overall form of the World Trade Center Transportation Hub, termed The Oculus, was inspired by that of a dove being released from a child's hands, which symbolizes the new era of peace after the attacks this nation underwent on September 11, 2001. The major motif is light, and when the sun sets, the illuminated oculus then releases light back out to the surrounding neighborhood as a lantern. Light is such an important element, Calatrava speaks about the structure being supported by columns of light. The combination of natural light flowing throughout the entire station and its innate sculptural form brings relief to the mundane urban jungle of New York City. 


 

 
 

Exhibit Photography

12/01/17-12/04/17

 
 

Photo Credit: Andrew Conroy (ascconroy@gmail.com)