4/27/2017 - Tighten Up
Over the week I started to lay out some plans. I started with the Pilotis. Le Corbusier uses the same sized columns on a grid. I didn't want to do the same things that he did so I decided to scatter the columns so they looked random. Looking back to the Maison Curutchet and the tree that runs through the building, the tree has a different diameter than the columns, and in a forest, all the trees are different. So I decided to pull inspiration from that and vary the diameters of the columns.
I than started to "connect the dots" and outline walls and spaces. I then planned out what I thought a free facade would look like. Some I started laying out the main floor of the home and what that might look like. Through the sketching process, I started to blur some of the lines of the rules. But I think I need to be stricter with the rules. Twist and bend them, but don't break them. They need to be there.
4/25/2017 - The Fifth Obstruction: On Architectural Autonomy
"It is only in that instant when the laws are silent that great actions erupt."
The page is blank. We can pick and go anything we want. Anything. So where to start? Where to end? I had no idea. So i thought back to the beginning, all the projects that we have done over the semester and what would fit in the "what next" category. I thought back to the Maison Curutchet. Then I thought about how I felt when I got assigned to Professor Carranza's studio. When he told us that we would be working on Le Corbusier and his works. The first thought in my head was, "I hate Le Corbusier" and we would be working with his works all semester. I think the reasons were I just didn't understand his works, I didn't get them I thought they were boring.
So I decided to put myself into his shoes and work with what he worked with. The 5 Points of Architecture. Pilotis, free plan, free facade, horizontal windows, and roof garden. Using the rules he applied to himself, I want to see what I could come up with.
"It is only in that instant when the laws are silent that great actions erupt."
The page is blank. We can pick and go anything we want. Anything. So where to start? Where to end? I had no idea. So i thought back to the beginning, all the projects that we have done over the semester and what would fit in the "what next" category. I thought back to the Maison Curutchet. Then I thought about how I felt when I got assigned to Professor Carranza's studio. When he told us that we would be working on Le Corbusier and his works. The first thought in my head was, "I hate Le Corbusier" and we would be working with his works all semester. I think the reasons were I just didn't understand his works, I didn't get them I thought they were boring.
So I decided to put myself into his shoes and work with what he worked with. The 5 Points of Architecture. Pilotis, free plan, free facade, horizontal windows, and roof garden. Using the rules he applied to himself, I want to see what I could come up with.
Sunday, April 23, 2017
4/21/2017 - Kinetic Art Gallery
Today was the Crit for the 4th Obstruction, and over all I think it went fairly well. I think if I had my floor plans up and presented those as well It would have helped a lot. The way the axon came out, I liked it, but being drawn at a 30 degree angle, it was hard to see all the angels and floor changes that were going on. The axon wasn't helping my presentation so I think it I had my plans up there then the axon would have made more sense. I took the three perspective that used and redrew them with all the changes that happened when I drew out the floor plans and more changes that came with the sections. I had an exploded axon of the three floors and the roof plan. As well as the model of the original Masion Curutchet and the new model for this project.
There are so many ways I could have taken and seen the images that I choose and so many ways I could have developed the project differently. But in the end I really liked how it came out, and yes I might have missed a lot of opportunities, but this is also something I have never done before, its completely different form everything else, but this is something I kind of always wanted to do, and when I would try to in the past, I would get turned down or steered in another direction. So I'm really happy that I had the opportunity and was allowed to do what I wanted.
Today was the Crit for the 4th Obstruction, and over all I think it went fairly well. I think if I had my floor plans up and presented those as well It would have helped a lot. The way the axon came out, I liked it, but being drawn at a 30 degree angle, it was hard to see all the angels and floor changes that were going on. The axon wasn't helping my presentation so I think it I had my plans up there then the axon would have made more sense. I took the three perspective that used and redrew them with all the changes that happened when I drew out the floor plans and more changes that came with the sections. I had an exploded axon of the three floors and the roof plan. As well as the model of the original Masion Curutchet and the new model for this project.
There are so many ways I could have taken and seen the images that I choose and so many ways I could have developed the project differently. But in the end I really liked how it came out, and yes I might have missed a lot of opportunities, but this is also something I have never done before, its completely different form everything else, but this is something I kind of always wanted to do, and when I would try to in the past, I would get turned down or steered in another direction. So I'm really happy that I had the opportunity and was allowed to do what I wanted.
4/18/2017 - Finalizing the Plans
Over the weekend I finalized how the floor plans and section would look. I know I'm going to be hating myself when I go to do a model or my Axon because I think only maybe only 3 pairs of walls are parallel. But I really like how it looks and the spaces that are created. No two spaces are the same, and each space has its own feel and emotion and lighting condition, and height, some are really tall, some are short, some start one floor and then turns into a double height space.
I started to think of a program for the spaces that I have created. And Professor Carranza suggested a Kinetic Sculpture Gallery. And I really liked the idea, with all the changes and openings, there would be so many ways to view a single piece of art. One could walk all the way around, look from a floor above or from a floor below. And with all the different size and heights of the rooms, a lot of different cultures can be displayed. Also with indoor and outdoor spaces, the sculptures can interact with light, wind or rain, or they could be inside and stand alone.
I also created a small study model for the Gallery and if anything I fell in love with the spaces I created even more.
Over the weekend I finalized how the floor plans and section would look. I know I'm going to be hating myself when I go to do a model or my Axon because I think only maybe only 3 pairs of walls are parallel. But I really like how it looks and the spaces that are created. No two spaces are the same, and each space has its own feel and emotion and lighting condition, and height, some are really tall, some are short, some start one floor and then turns into a double height space.
I started to think of a program for the spaces that I have created. And Professor Carranza suggested a Kinetic Sculpture Gallery. And I really liked the idea, with all the changes and openings, there would be so many ways to view a single piece of art. One could walk all the way around, look from a floor above or from a floor below. And with all the different size and heights of the rooms, a lot of different cultures can be displayed. Also with indoor and outdoor spaces, the sculptures can interact with light, wind or rain, or they could be inside and stand alone.
I also created a small study model for the Gallery and if anything I fell in love with the spaces I created even more.
4/14/2017 - To Create a Floor Plans
Next we selected three of our favorite perspectives and started to stitch them together and create floor plans from the spaces we created. And even though the three final I picked didn't have the funky floor changes and opening that a lot of them had, I now I want to incorporate them.
Next we selected three of our favorite perspectives and started to stitch them together and create floor plans from the spaces we created. And even though the three final I picked didn't have the funky floor changes and opening that a lot of them had, I now I want to incorporate them.
So looking at the images I started to plan out how the wall are to create those spaces, then how they would fit together. A lot of walls that are not parallel to create odd shaped spaces and open to above spaces meaning there are multiple floors, as well as indoor and outdoor spaces. After a lot of sketches and quick-draws, I started to piece together a shape and idea of the plans, so I started to cut some sections and designing how I want the floor plates to fit together. I didn't want to do what I've done in every other studio before, I didn't want to make boxes.
4/11/17 - Take Two
After our mini pin up on Friday, Professor Carranza asked us to take another look at the images that we choose. Do the images have to be cut in a square, and do the images have to be right side up? So I printed out a few more images a little bigger, and I started to rotate the images and looking at the lines and seeing in my head the lines projected and what they could create. So I created three more perspectives over the weekend.
So even though I was looking at the images differently, I still created spaces with multiple levels and floor changes. Open to below and above spaces as well. So I know I'm going to be incorporating that into the final project.
After our mini pin up on Friday, Professor Carranza asked us to take another look at the images that we choose. Do the images have to be cut in a square, and do the images have to be right side up? So I printed out a few more images a little bigger, and I started to rotate the images and looking at the lines and seeing in my head the lines projected and what they could create. So I created three more perspectives over the weekend.
So even though I was looking at the images differently, I still created spaces with multiple levels and floor changes. Open to below and above spaces as well. So I know I'm going to be incorporating that into the final project.
4/7-2017 - A Little of This and a Little of That
For the first look at this obstruction I printed out a few interior perspectives of the Maison Curutchet. I started to look at them differently, Instead of seeing the images, I was looking at the lines that cut through and intersect to create the images. The line where the floor meets the wall, or the wall to the wall, or the wall to the ceiling. And I started cutting out sections that I thought were interesting and that I can work off of. I created six perspectives derived form the sections.
A lot of them had floor changes and opening to the floor above or below. So that created a lot of double and triple height spaces And some had wall at odd angles, creating interesting spaces that aren't just boxes.
For the first look at this obstruction I printed out a few interior perspectives of the Maison Curutchet. I started to look at them differently, Instead of seeing the images, I was looking at the lines that cut through and intersect to create the images. The line where the floor meets the wall, or the wall to the wall, or the wall to the ceiling. And I started cutting out sections that I thought were interesting and that I can work off of. I created six perspectives derived form the sections.
A lot of them had floor changes and opening to the floor above or below. So that created a lot of double and triple height spaces And some had wall at odd angles, creating interesting spaces that aren't just boxes.
Wednesday, April 5, 2017
4/5/2017 - The Fourth Obstruction: This + That
"the artists, the architects, first senses the effects that s/he intends to realize and sees the rooms s/he wants to create in her/his mind's eye. S/he senses the effects that s/he wished to exert upon the spectator...These effects are produced by both the material and the form of the space."
The architect's general task is to provide a warm and livable space. Carpets are warm and livable. S/he decides for this reason to spread out one carpet on the floor and to hang up four more to form the four walls. But you cannot build a house our of carpets. Both the carpet on the floor nad the tapestry on the wall require a structural frame to hold them in the correct place. To invent this frame is the architect's second task.
For this assignment, you are to begin with the already constructed notion of space and transform it, To do this, you will take 3 existing photographic views of the interior and transform them by cutting them, re-framing them, and drawing around them. It is up to you to choose the view, the amount of cutting that you want to effect on the image - keep in mind, however, the photograph's original perspectival lines, points, and other regulating systems - and the reassembly of the image and its component pieces; you can also use two or more images or image fragments and "connect them" in a new way to begin to develop new spatial characteristics. Additionally, think about the material qualities and character of the new space, it's new scale, its relationship to the ground and the sky, etc. The final and generative view will be a perspective collage-drawing that reassembles the fragments(s) of the original view into a new composition.
What spaces do we want to create, what is the feeling we want people to experience as they enter the space and be in the space. We are creating the spaces, then finding out how they interact with one another and the envelope around the spaces. So for Friday, Professor Carranza wants 6 variations of this idea, from there we will refine and work with what works and disregard what doesn't.
"the artists, the architects, first senses the effects that s/he intends to realize and sees the rooms s/he wants to create in her/his mind's eye. S/he senses the effects that s/he wished to exert upon the spectator...These effects are produced by both the material and the form of the space."
The architect's general task is to provide a warm and livable space. Carpets are warm and livable. S/he decides for this reason to spread out one carpet on the floor and to hang up four more to form the four walls. But you cannot build a house our of carpets. Both the carpet on the floor nad the tapestry on the wall require a structural frame to hold them in the correct place. To invent this frame is the architect's second task.
For this assignment, you are to begin with the already constructed notion of space and transform it, To do this, you will take 3 existing photographic views of the interior and transform them by cutting them, re-framing them, and drawing around them. It is up to you to choose the view, the amount of cutting that you want to effect on the image - keep in mind, however, the photograph's original perspectival lines, points, and other regulating systems - and the reassembly of the image and its component pieces; you can also use two or more images or image fragments and "connect them" in a new way to begin to develop new spatial characteristics. Additionally, think about the material qualities and character of the new space, it's new scale, its relationship to the ground and the sky, etc. The final and generative view will be a perspective collage-drawing that reassembles the fragments(s) of the original view into a new composition.
What spaces do we want to create, what is the feeling we want people to experience as they enter the space and be in the space. We are creating the spaces, then finding out how they interact with one another and the envelope around the spaces. So for Friday, Professor Carranza wants 6 variations of this idea, from there we will refine and work with what works and disregard what doesn't.
4/4/2017 - Welcome to the Newly Refurbished Torture Chambers
Today was the Crit for the 3rd Obstruction, and our surprise guest critics were ourselves. Two students presented at a time, while two others and Professor Carranza crited them. I was happy with my presentation, I feel I had a lot of things pinned up and that my collages were very convincing.
Over the weekend, I worked on the collages. I had a large over all image of what my space would look like incorporated into the space. It was done on a 24" x 36" size sheet. I used the Piranesi as a background, laid out my collage onto, them had another Piranesi that I cut out what was in the foreground and laid that on tip, so it looked like my space was always there, and was at the right depth into the image.
My second collage was the one were I used the perspective as a template. I had the foreground cut out like the last one, but I didn't attach it to this one. I just laid it on top, so it looked like the large one, until I presented. I then took off the the cover to reveal what my building would look like under the stairs and all the stuff in the foreground.
My last and favorite collage in an interior perspective of what it would be like inside one of the torture spaces. This one was a risk, because I wasn't sure what it was going to look like or what I was going to use where. All I knew was that I wanted to do one. So I had a lot of images and I had a lot of things cut out and was placing them on the page here and there and just played around until I found things that just started to fit together. At the end it ended up becoming my favorite, I feel just looking at this one, it really gives the feel of the space. If I was told to only pin up one thing to express this whole project, I would choose this one.
Today was the Crit for the 3rd Obstruction, and our surprise guest critics were ourselves. Two students presented at a time, while two others and Professor Carranza crited them. I was happy with my presentation, I feel I had a lot of things pinned up and that my collages were very convincing.
Over the weekend, I worked on the collages. I had a large over all image of what my space would look like incorporated into the space. It was done on a 24" x 36" size sheet. I used the Piranesi as a background, laid out my collage onto, them had another Piranesi that I cut out what was in the foreground and laid that on tip, so it looked like my space was always there, and was at the right depth into the image.
My second collage was the one were I used the perspective as a template. I had the foreground cut out like the last one, but I didn't attach it to this one. I just laid it on top, so it looked like the large one, until I presented. I then took off the the cover to reveal what my building would look like under the stairs and all the stuff in the foreground.
My last and favorite collage in an interior perspective of what it would be like inside one of the torture spaces. This one was a risk, because I wasn't sure what it was going to look like or what I was going to use where. All I knew was that I wanted to do one. So I had a lot of images and I had a lot of things cut out and was placing them on the page here and there and just played around until I found things that just started to fit together. At the end it ended up becoming my favorite, I feel just looking at this one, it really gives the feel of the space. If I was told to only pin up one thing to express this whole project, I would choose this one.
3/31/2017 - How to Create a Torture Chamber?
Over the week I started to perfect my sections and plans, getting a finalized version of what they would look like. I also started to create a massing of what my building/space would look like. I had the sections and plans, but I didn't really know how it would all flow and fit together. So I made a axon and from there I laid down my Piranesi drawing and started to create a perspective and how my building would look like in the space.
Took me a few tries to get the scale and layout correct, but I got there. Once I figured out where and how my building would look, I kept going and based off the axon I did, found out how my building would lay underground. Most of my space is under ground, under the stairs in the Piranesi. Now that I have that done, I plan on scanning it into the computer to scale and figure out they size I want and need for the collage, I think by having the perspective as a template will help me later on when I start cutting out images and textures for the collage.
I started to collect images that had pieces that want to use for the collages, stone works, some torture equipment, and some dark and creepy dungeons. I plan on zooming in on some and printing multiple so I can relate some areas with others. I also looked through some more Piranesi's drawings and pulled some that I might be able to use. A corner or a wall or people.
Over the week I started to perfect my sections and plans, getting a finalized version of what they would look like. I also started to create a massing of what my building/space would look like. I had the sections and plans, but I didn't really know how it would all flow and fit together. So I made a axon and from there I laid down my Piranesi drawing and started to create a perspective and how my building would look like in the space.
Took me a few tries to get the scale and layout correct, but I got there. Once I figured out where and how my building would look, I kept going and based off the axon I did, found out how my building would lay underground. Most of my space is under ground, under the stairs in the Piranesi. Now that I have that done, I plan on scanning it into the computer to scale and figure out they size I want and need for the collage, I think by having the perspective as a template will help me later on when I start cutting out images and textures for the collage.
I started to collect images that had pieces that want to use for the collages, stone works, some torture equipment, and some dark and creepy dungeons. I plan on zooming in on some and printing multiple so I can relate some areas with others. I also looked through some more Piranesi's drawings and pulled some that I might be able to use. A corner or a wall or people.
Tuesday, March 28, 2017
3/28/2017 - A Change of Plans
So in true Jasmine fashion, I've changed my Piranesi image. I was thinking of doing the Baths of Diocletian, but the more I looked at it and the plan and other images Piranesi had of the Baths, I find I wasn't as crazy about them. They seemed kind of simple and boring to me. So I was flipping through a few I had selected to narrow it down a little from the thousands that are available and I was drawn to another one. The Well from the Prison series. As I was looking into the image I started to see my building inside the etching.
Over the weekend I started making my sections. I wasn't thinking about the program yet for the sections, so I was just trying to create spaces. I incorporated some of the curves that I used in my floor plan inside the section as well.
After talking with Professor Carranza, he agreed with the change of scenery. He also wanted me to take another try at my sections, not make the spaces so "boxy." Looking at the new site I don't really need to have enclosed spaces, because I whole site is an underground enclosed Hell. So instead of designing a Roman Bath, I'll be designing torture chambers.
So in true Jasmine fashion, I've changed my Piranesi image. I was thinking of doing the Baths of Diocletian, but the more I looked at it and the plan and other images Piranesi had of the Baths, I find I wasn't as crazy about them. They seemed kind of simple and boring to me. So I was flipping through a few I had selected to narrow it down a little from the thousands that are available and I was drawn to another one. The Well from the Prison series. As I was looking into the image I started to see my building inside the etching.
Over the weekend I started making my sections. I wasn't thinking about the program yet for the sections, so I was just trying to create spaces. I incorporated some of the curves that I used in my floor plan inside the section as well.
After talking with Professor Carranza, he agreed with the change of scenery. He also wanted me to take another try at my sections, not make the spaces so "boxy." Looking at the new site I don't really need to have enclosed spaces, because I whole site is an underground enclosed Hell. So instead of designing a Roman Bath, I'll be designing torture chambers.
Friday, March 24, 2017
3/24/2017 - Easy Peasy Piranesi
Giovanni Battista Piranesi was born on October 4th, 1720 and died on November 9th, 1778 at the age of 58. In 1740 he went to Rome for work, he worked under Giuseppe Vasi, who taught hi the art of etching and engraving, and he practiced on the city and its monuments. Vasi soon learned that Piranesi had incredible skills, his etching looked so much like paintings. In 1743, he produced his first published works called Prima parte di Architettura e Prospettive, and they were views of the city of Rome. In 1745 he followed up with another series called Varie Vedute di Roma Antica e Moderna. I would say Piranesi's most famous work would be the Prisons or the Carceri d'invenzione or the Imaginary Prisons. There are a series of 16 prints that depict enormous subterranean vaults including multiple staircases and huge machines. Some thought it was images of Hell or of the subconscious mind.
For this project we are to pick a Piranesi print and use that image as our site. We are to collage our building that we created form collageing floor plans, into a Piranesi print. I have a few that I like that I am thinking of using. I'm going to create a section of my plans first and start looking at the images more in depth to see what one I want to use. One I know what Piranesi site I'm going to use and what plans and sections I'm going to use, I can start to think and plan what the program of my building will be. My favorite one at the moment is the Baths of Diocletian. But I'm also looking at the Prisons, and the Tomb of Caius Cestius, along with a few others.
Giovanni Battista Piranesi was born on October 4th, 1720 and died on November 9th, 1778 at the age of 58. In 1740 he went to Rome for work, he worked under Giuseppe Vasi, who taught hi the art of etching and engraving, and he practiced on the city and its monuments. Vasi soon learned that Piranesi had incredible skills, his etching looked so much like paintings. In 1743, he produced his first published works called Prima parte di Architettura e Prospettive, and they were views of the city of Rome. In 1745 he followed up with another series called Varie Vedute di Roma Antica e Moderna. I would say Piranesi's most famous work would be the Prisons or the Carceri d'invenzione or the Imaginary Prisons. There are a series of 16 prints that depict enormous subterranean vaults including multiple staircases and huge machines. Some thought it was images of Hell or of the subconscious mind.
For this project we are to pick a Piranesi print and use that image as our site. We are to collage our building that we created form collageing floor plans, into a Piranesi print. I have a few that I like that I am thinking of using. I'm going to create a section of my plans first and start looking at the images more in depth to see what one I want to use. One I know what Piranesi site I'm going to use and what plans and sections I'm going to use, I can start to think and plan what the program of my building will be. My favorite one at the moment is the Baths of Diocletian. But I'm also looking at the Prisons, and the Tomb of Caius Cestius, along with a few others.
Ancient Temple
Baths of Diocletian
Great Gallery
Plaza of Stairs
The Sawhorse - The Prisons
Tomb of Caius Cestius
Thursday, March 23, 2017
3/21/2017 - The Third Obstruction: Exquisite Corpse
For "Insertions Into Ideological Circuits," you are to take as generative the very representations of the given canonical building. Through cutting, collage, scale increase/decrease, weaving, cross-pasting, etc., develop out of the existing plans of the given building a new set of plans. The plans, from this, should be the generator of the building's new sectional and spacial conditions. Apply the same technique used to develop the plans to generate the elevations (albeit mediated by the findings in the sections), perspectives, etc. For these and other generative drawings, feel free to use the vast representational arsenal of the architect - not only from the given project but from his entire oeuvre; think of the possibilities of creating a project based on the surrealist technique of the "exquisite corpse." Additionally, keep in mind that the building has to the ground and its landscape.
So my understanding of this project is that we are making a Frankenstein of Le Corbusier. We are to take our plans and any plans of a Le Corbusier building, cut them up and re attach them, keeping in mind patterns and forms that we create, to create new plans and sections for a building. The catch is we don't know the site, or what it is we are designing for , like is this going to be school? a hotel? or a restaurant? We don't know.
So I did a few layouts, the first one, I just used the plans for the Maison Curutchet. I cut out rooms then reattached them to create new plans. But that isn't really what this project is about. We have to make patterns, not really paying attention to what we are making until the end, then look at the spaces that are created. So the next one I cut the plans into one inch strips and wove them together, trying to connect some of the lines, but in the end it didn't really define any spaces. So I tried again. This time I did a weaving of sorts, but not like a basket. I laid one strip down and placed the second so most of the lines and spaces connected, and so on and so on. Then by accident, the strips that were left over, the way I had them laid out, created another layout, and surprisingly, its actually my favorite out of them all.
For "Insertions Into Ideological Circuits," you are to take as generative the very representations of the given canonical building. Through cutting, collage, scale increase/decrease, weaving, cross-pasting, etc., develop out of the existing plans of the given building a new set of plans. The plans, from this, should be the generator of the building's new sectional and spacial conditions. Apply the same technique used to develop the plans to generate the elevations (albeit mediated by the findings in the sections), perspectives, etc. For these and other generative drawings, feel free to use the vast representational arsenal of the architect - not only from the given project but from his entire oeuvre; think of the possibilities of creating a project based on the surrealist technique of the "exquisite corpse." Additionally, keep in mind that the building has to the ground and its landscape.
So my understanding of this project is that we are making a Frankenstein of Le Corbusier. We are to take our plans and any plans of a Le Corbusier building, cut them up and re attach them, keeping in mind patterns and forms that we create, to create new plans and sections for a building. The catch is we don't know the site, or what it is we are designing for , like is this going to be school? a hotel? or a restaurant? We don't know.
So I did a few layouts, the first one, I just used the plans for the Maison Curutchet. I cut out rooms then reattached them to create new plans. But that isn't really what this project is about. We have to make patterns, not really paying attention to what we are making until the end, then look at the spaces that are created. So the next one I cut the plans into one inch strips and wove them together, trying to connect some of the lines, but in the end it didn't really define any spaces. So I tried again. This time I did a weaving of sorts, but not like a basket. I laid one strip down and placed the second so most of the lines and spaces connected, and so on and so on. Then by accident, the strips that were left over, the way I had them laid out, created another layout, and surprisingly, its actually my favorite out of them all.
