POPUP

F A R M E R ’ S M A R K E T E D I T I O N

INSPIRATION

S

PROBLEM At certa in t imes throughout the day

the owner of a standard pop-out tent may have

to be outs ide of the structure in order to benefit

f rom the shade i t prov ides due to the posi t ion of

the sun. Also the current tent wi thout proper

anchor ing to the ground is at r isk of fa i l ing with

strong winds.

CONCEPTS Incoroporat ing s imi lar techniques

found in oragami prov ides a less complex

method and more economical act ion of

col laps ing and expansion. Tr iangulat ion

prov ides the addi t ional st ructura l st rength

needed to uphold against st rong winds and as lo

ut i l izes angular p lanes that prov ide consistent

shade and protect ion.

GOALS To develop a new pop-up tent that

mainta ins structura l integr i ty independent ly,

succeeds in prov id ing consistent protect ion and

shade, acheives mater ia l economy, competes

with the pr ice of the standard pop-up tent, and

inc ludes mater ia ls that are both readi ly

ava i lab le and eco-fr iendly.

MATERIALS

MATERIALS

(7)

2”x6” boards

approx. $7 ea.

= $49

(24)

3.5” door hinges

approx. $23 per 12 pk.

= $46

(6)

1’ - 3/4“ round dowels

approx. $2 per 36”

= $4

OR

(6)

1‘ - 1/2” PVC pipe

approx. $6 per 6’

= $6

(6)

5’ 9“ - 3/4” square dowels

approx. $3 per 36”

= $36

125 sqft

eco-friendly dropcloth

approx. $5 ea.

=$10

OR

125sqft alternative fabric

TOTAL = $145 - $147

SHADES

customer area

40

4’

6’

30

1

23

4

5

6

7

8

1. ROOF

2. GLASS PANELS

3.TOP FRAME

4. MIDDLE FRAME

5. LOWER FRAME

6. 2ND LVL FLOOR

7. HIDDEN FLOOR

8. FLOOR

9. JOINT DETAIL

9

4

87

52

7

8

2

5

PREL

IMIN

ARY

DESI

GN

FINAL

DEV

ELO

PPED

DESI

GN

CONN

ECTIN

GM

ASSE

SEN

HANC

ING

PER

MEA

BILIT

YFIN

ALAR

RANG

EMEN

T

DESIGNED BY CHARLES AND RAY EAMES, THE EAMES HOUSE STANDS AS AN EPITOMY OF BOTH MODERN AND INNOVATIVE DESIGN. THE PROJECT WAS INITIATED THROUGH A COMPETITION HELD BY ARTS AND ARCHITECTURE MAGAZINE TO DESIGN A SMALL DWELLING THAT COULD HAVE THE POTENTIAL TO BE EASILY CONSTRUCTED AND ASSEMBLED. THE COMPETIITON CALLED FOR A DESIGN REVOLVING AROUND NEWLY ACQUIRED MATERIALS AND TECHNOLOGY DEVELOPPED AS A CONSEQUENCE OF THE WAR. THE SITE WAS SITUATED ALONG A STEADY SLOPE AND FACED THE GLORIFIED BEACHES OF CALIFORNIA. THE INITIAL PROPOSAL CANTILEVERED FROM THIS SLOPE AND FACED THE BEACH. AFTER A SHORTAGE OF MATERIAL, HOWEVER, CHARLES AND RAY HAD FURTHER TIME TO DEVELOP THEIR PERSONAL HOUSE/STUDIO UTILIZING THE SAME MATERIALS ORDERED FOR THE PREVIOUS DESIGN. USING LARGE QUANTITIES OF GLASS AND TUCKING IN THE BUILDING PARRALLEL TO THE LONG SLOPE CHARLES AND RAY EAMES ACHEIVED A INTIMATE CONNECTION WITH THE SURROUNDING SITE.

TAKING A LEAD FROM CHARLES AND RAY, THIS PROPOSAL REVOLVED AROUND THE CAPABILITIES AND ARTICULATION OF THE FRAMING SYSTEM. SIMILAR TO THEIR PROPOSAL WE WANTED A DESIGN THAT WAS BOTH SYSTEMATIC AND EASY TO ASSEMBLE. AFTER ACHEIVING A MAIN CORE WE SOUGHT THE OPPORTUNITY TO COMPLIMENT THE EAME’S DESIGN INVOLVING THE INCLUSION OF THE SURROUNDING ENVIRONMENT AS WELL AS FINDING A SOLUTION THAT WOULD OFFER THE BENEFITS LOST IN THE PRELIMINARY DESIGN.

EXPL

ODE

D AX

ONE

MET

RIC

EXPL

ORI

NG F

RAM

ING

MET

HOD

ASSE

MLIN

G C

ORE

SCHE

MAT

IC D

IAGRA

MS

OF

ALL

MO

VING

CO

MPO

NETS

SECT

ION

PLAN

MEMBER LABELING MEMBER CONNECTIONS INTENDED MOVEMENT PARTIALLY COMPLETED ACTION FULLY COLLAPSED PANES HIDDEN FLOOR MOVEMENT COMPLETED FLOOR RELEASE

EAMES HOUSE

4

3

SECT

IONA

L ST

UDIES

1945

1948

B

B

A

A

SECTION AA

SECTION BB ELEVATION STUDY

HOUSE WORK

EVAN ARRIAZA JOSEPH WHITT

P R O G R A M

D E V E L O P M E N T

1960

1955

1950

1945

194019

35

1930

1925

P R O C E S S

VARIOUS ASPECTS OF THE SITE WERE EXPLORED CRITICALLY AND TRANSLATED INTO ANALYTIQUES SUCH AS THE TWO ABOVE. TWO PARTICULAR CONDITIONS PORTRAYED ARE THE DICHOTOMY OF THE SITE BETWEEN ORGANIC AND ORTHAGONAL URBAN PLANNING WHICH IS REFLECTED THROUGHOUT THE CITY (LEFT) AND THE GROWTH OF THE HARBOR ALONG WITH ITS EFFECT ON THE SITE (RIGHT).

A COLLECTION OF THESE ANALYTIQUES WERE THEN OVERLAYED DIGITALLY TO PRODUCE SEVERAL DISTINCT COMPOSITIONS. THESE COMPOSITIONS CAME TO BE PRODUCED IN VARIOUS WAYS AND OFTEN, BUT NOT ALWAYS, INVOLVED SOME PARAMETERS. THIS ONE, FOR EXAMPLE WAS CREATED BY ALIGNING THE CENTER POINTS OF THE PIAZZA AND MAINTAINING THE ESTABLISHED AXIS BUT TOTALLY DISREGARDING A FLUSH SCALE. SEVERAL OF THESE COMPOSITIONS WERE CREATED AND THEN ANALYZED AESTHETICALLY AS WELL AS THEIR ABILITY TO MAINTAIN A SOMEWHAT

DIRECT REFERENCE TO THE SITE.

FROM THE COMPOSITONS CERTAIN LINES OR CURVES WERE EXTRAPULATED. THESE LINES OFTEN WERE A COMBINATION OF THE MOST PREVALENT GESTURES OF THE COMPOSITION AS WELL AS THE MOST TELLING OF THE INDIVIDUAL ANALYTIQUES. ONCE FOUND THE LINES THEN WERE DELINEATED DOWN TO THEIR MOST PRIMITIVE FORM AND FURTHER EXPLORED THREE DIMENSIONALLY. THE RESULT OF THIS PROCESS WAS THEN A SET OF MODELS THAT REFLECTED ALL SIX ANALYTIQUES, TWO DIFFERENT COMPOSITIONAL OVERLAYS, AND A FURTHER INVESTIGATION INTO THE MEANING OF EACH LINE. THE MODELS SERVED AS A BASIS FOR THE DESIGN PROCESS

OF THE SITE

IMPORTANCE OF THE SITE: GREEN SPACE AND A VIEW

PEDESTRIAN VS. VEHICULAR CIRCULATION

CREATING A TIMELINE FOLLOWING THE PROGRAM AND THE LEVELS OF THE SITE

CREATING A CIRCULATION REFLECTING THE TIMELINE

INITIAL SITE MASSING: ENTIRELY SLOPING ELEMENTS AND VISUAL MONUMENTALITY

SECONDARY SITE MASSING: FLATTENING OF PLANES AND SUBTLEVISUAL IMPACT

FINAL SITE MASSING: TILTED PLANE CONNECTING LEVLES OF SITE AND MAINTAINING PRESENT CONDITIONS

AXIAL ENTRANCE COMPLIMENTING THE DISTANT VIEW WITH THE INSERTED MEMORIAL

FACADE DETAIL ALLOWING ENTRANCE OF SUNLIGHT AND FRAMING AN INTERNAL VIEW

IN ESSENCE THIS PROPOSAL IS CENTERED AROUND THREE KEY ASPECTS: 1) CREATING A CIRCULATION THAT MIMICS THE ESTABLISHED PROGRAM THROUGH ELEVATIONAL PLAY THAT CONSISTS OF A DESCENT INTO FACISM, CLIMB OUT OF WAR, AND ASCENT INTO PEACE, 2) MAINTAINING THE PUBLIC INTEGRITY OF THE UPPER LEVEL PIAZZA AND ARTICULATING THE LOWER LEVEL IN A WAY THAT ADDS TO THE EXPERIENTIAL QUALITY OF THE SITE AND FINALLY, 3) RETURNING THE WATER THAT WAS TAKEN FROM THE SITE BY APPLYING A TYPOLOGY REMNISCENT OF LIGHTHOUSES, LATER ARTICULATED INTO THE WAR MEMORIAL.

RISE PAUL MACKNIGHTYUXIANG JIANGJOSEPH WHITT

THE PROGRAM OF THIS DESIGN WAS FORMED IN ORDER TO LAYOUT A TIMELINE OF BEFORE AND AFTER WWII. THE FIRST MUSEUM WILL BE DEDICATED TO THE WORK OF ITALIAN FUTURISTS AND SEVERAL PIECES OF FACISTS PROPAGANDA (LEFT). THEN THE VISITOR WILL ARRIVE TO THE WAR MEMORIAL AND ELEVATE THROUGH A SPIRAL STAIRCASE IN A DARK CYLINDER LIGHTED BY INTERNALLY LIT, THIN, HANGING PIECES PROJECTING NAMES ONTO THE WALL. THE PEACE MUESEUM WILL REVOLVE AROUND THE ECONOMIC BOOM EXPERIENCED IN ITALY AFTER THE WAR AND INCLUDE PIECES OF ADVERTISEMNT (RIGHT).

S I T E P L A N

P L A N S

L E G E N D

S E C T I O N S S K I N D E T A I LEXISTING SITE: THIS SITE IS LOCATED AT THE TIP OF A WIDE, TREE-LINED AVENUED CALLED VIA CORSICA.THE TOP LEVEL PIAZZA OFFERS A NICE VIEW INTO THE HARBOR AND IS COMPLETELY OPEN WITH A THIN PERIMETER OF BENCHES AND TREES. THE BOTTOM SITE IS DARK, OVERGROWN, AND ALL-TOGETHER UNDESIRABLE. THE ENTERITY OF THE PLACE IS SURROUNDED BY NOISY CAR TRAFFIC AND HAS BEEN RELATIVELY FORGOTTEN. THIS IS A PLACE THAT ONCE WOULD HAVE BORDERED THE SEA AND PENETRATED THE SURROUNDING WALL.

LEVEL 5

LEVEL 4

LEVEL 3

LEVEL 2

LEVEL 1

LE

VE

L 5

LE

VE

L 4

LE

VE

L 3

LE

VE

L 2

LE

VE

L 1

I N T E R I O R

A

A

A A

A

A

B

B

B

B

C

C

C

C

D D

D

D

SECTION B

SECTION C

SECTION D

SECTION A

S E C T I O N S123

4

5678

91O

1112

131415

1

2

3

4 5

6

7

8

9

1O

11

UTILITY CLOSET

MULTIMEDIA ROOM

RESTROOM

OFFICE

GALLERY

11

12

12

13

13

14

14

15

15

15 15 15

15

WAR MUSEUM

PEACE MUSEUM

VIA FIODOR

CORSO AURELIO SAFFI

VIA CORSICA

GALLERY SPACE

MAR MEMORIAL

PLAYGROUND

REFLECTION POND

PUBLIC PIAZZA

16 ENTRANCE

16