Yek.Port R7

YEK.PORTYEK.PORT//INSISTENT. COMPULSIVE. QUEER. //INSISTENT. COMPULSIVE. QUEER.

YR. 08-10MAY 2010

R7.0

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YEK.PORTYEK.PORT//INSISTENT. COMPULSIVE. QUEER. //INSISTENT. COMPULSIVE. QUEER.

YR. 08-10MAY 2010

R7.0

Architect. Lucero Richard

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Milan. Cathedral

\är-k -tek-ch r\.Defi nedDefi ned

Art & Science Of Building.Art & Science Of Building.Formation Or Construction Resulting From Conscience Act.Formation Or Construction Resulting From Conscience Act.

A collaboration between both hemispheres of the human mind to cre-ate structure and habitat that is appealing and performative. Using methods that are a derivative of the compilation of knowledge and experience that is unique to the individual and employing these skills to derive a solution that is more than just a solution; appealing to a certain aesthetic based on an arbitrary value system and infl uences both con-scientiously and unconsciously. (Not limiting practice to only structure and habitat but in all aspects of the individuals life as different manifes-tations by way of employing processes and methodologies that leave a resultant characteristic evident when all is considered.)

e e

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\1A.08-09\ FA

\1B.08-09\ SP

\2A.09-10\ FA

\2B.09-10\ SP

DS 1010 01: 1A STUDIO. MATERIAL STRATEGIES

VS 4010 01 : VISUAL STUDIES. FABRICATIONS AND DELINEATIONS I

CS 2010 01 : CULTURAL STUDIES. FIELDS AND PRACTICAL

AS 3010 01 : APPLIED STUDIES. INTO TO PHYSICAL

DS 1011 01: 1B STUDIO. CONCEPTUAL STRATEGIES

VS 4011 01 : VISUAL STUDIES. FABRICATIONS AND DELINEATIONS II

CS 2013 01 : CULTURAL STUDIES. HUMANITIES I

CS 2012 01 : CULTURAL STUDIES. HISTORY OF ARCHITECTURE I

DS 1020 01: 2A STUDIO. FRAMEWORKS. SITES AND CONTEXT

VS 4020 01 : VISUAL STUDIES. TECHNOLOGIES OF DESCRIPTION

CS 2020 01 : CULTURAL STUDIES. HUMANITIES II

CS 2021 01 : CULTURAL STUDIES. HISTORY OF ARCHITECTURE II

AS 3020 01 : APPLIED STUDIES. INTRO TO CLIMATE AND ENVIRONMENT

DS 1011 01: 2B STUDIO. FRAMEWORKS. PROGRAMS

VS 4011 01 : VISUAL STUDIES. TECHNOLOGIES OF DESCRIPTIONS II

CS 2013 01 : CULTURAL STUDIES. HUMANITIES III UG

CS 2012 01 : CULTURAL STUDIES. HISTORY OF ARCHITECTURE III UG

AS 3021 01 : STRUCTURES. FORCES AND VECTORS UG

WK WKPO 02: PORT 2B

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\Assign.04\.\Assign.04\.SectionalSectional

Based On A Cropping Add Dimension Through Giving Elements Based On A Cropping Add Dimension Through Giving Elements Various Heights And Stack The Sections To Create A Model With Various Heights And Stack The Sections To Create A Model With Dimension.Dimension.

Using various heights based on the apparent dis-tance relative to the composition develops a model where the outcome is not completely conceived and results in a model that has a descriptive quality that complements the drawings and leaves room to be further interpolated.

Model. Sectional Cardboard

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\Compression.03\.\Compression.03\.GatheringGathering

Using Hand Drawn Lines Refl ecting Imperfections Of The Pervious To Create A Gradient Using Hand Drawn Lines Refl ecting Imperfections Of The Pervious To Create A Gradient Of Effects Through Drawing As A Basis For Dimension And Space Through Folding .Of Effects Through Drawing As A Basis For Dimension And Space Through Folding .

First starting with a simplistic hand drawing and using this as a de-parture point in developing a paper model with spacial properties by using cutting and folding operations to enable the drawing to be con-fi ned within a box of a specifi c size that has a foot print that is a third of the drawing. Creating voids and distributing the material by weav-ing and grouping and overlaying pieces and parts without detaching it from itself. Using the box then as a means of generating elevation drawings.

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Model. Unfolded Steps Notated

\Assign.06\.\Assign.06\.TriangulateTriangulate

A Crop Taken From Previous Projected Onto The Sides Of A Cube To Be Used A Crop Taken From Previous Projected Onto The Sides Of A Cube To Be Used As Reference In Constructing A Triangulated Model.As Reference In Constructing A Triangulated Model.

Taking various vertices from multiple sides and faces and using the resulting triangles to create a form that would have a relationship to the aperture. Using this as an opportunity to create within the form varying degrees of enclosure for added complexity.

Model. Armature

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\Assign.07\.\Assign.07\.CombineCombine

Using The Unit Developed Previous And Another Individuals And Using The Unit Developed Previous And Another Individuals And Combining These To Create A New Unit That Could Attach To Its Self Combining These To Create A New Unit That Could Attach To Its Self To Create A Field.To Create A Field.

Given the relative large size and simplicity taking the opportunity to use and combine with another unit that was the smaller and more complex to create a singular unit that would offer a greater variety of confi gurations with its complex structure.

Model. Painted Rotated

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Drawing. Inverted Voronoi

\Assign.09\.\Assign.09\.Dotted CirclesDotted Circles

Extracted Voronoi Drawing That Directly Relates to The Previous Extracted Voronoi Drawing That Directly Relates to The Previous Model and Using Dotted Circles to Show Relationships.Model and Using Dotted Circles to Show Relationships.

Eight Hours of Dotting Circles and Acquiring Carpal tunnel Syndrome. Arduous but Compelling. A Draw-ing not to ever be forgotten.

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\Bucky Fuller.01\.Dymaxion Deployment Unit (1940)

The Dymaxion Deployment unit was part of a larger idea/ program Richard Buckminster Fuller had been developing since 1927. It was summer when driving through country side that he noticed 100s of identical grain-storage bins on farms. All produced by but-ler manufacturing company of Kansas city. The grain-storage bins were very popular because of their superior design and quality. Fuller realized he could easily adapt these as shells for small pre-fabricated housing. He estimated that with mass production that the unit could be produced for as little as $1 a sqft.

During the development while under construction the owner of butler walked into one of the units while it was lifted in the air found that the unit was actually quit cool even though its made of steel and the outdoor temperature was near 90. It took bucky and his engineers to realize what was causing the phenomenon. This air conditioning was the result of a larger opening on the underside and a smaller opening atop that caused the hot air within the unit to rush from the bottom to the top as it its temperature rose.

Developed For The British In The 1960’S And Later Used By Americans For Various Purposes As Base Structures In The South Pacifi c. Many Have Since Used The Reminisce Of The Units And Convert/ Update Them As Homes.

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Greater Los Angeles. HS #9 Brentwood HM Palisades HM

\Fieldbook.01\.Material

Exploring Construction Sites To Gain Knowledge About Material And Building Methods.

Visiting sites to observe fi rst hand construction pro-cesses and techniques and how different methods result in different fi nishing results that often cost no more or take more time yet have signifi cant differ-ence. Learning different technologies to improve effi ciencies in residential as well as various welds in heavy steel plate structure.

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\Assign.10\.Corner

Exploring Methods In Constructing Structure That Turns The Corner. Going From A Floor Wall Condition To A Ceiling Roof Condition.

Using a voronoi fi eld, triangulated fi eld bisected to create a tesselation, and extruding faces from this as a ceiling condition that would start to form a ceiling and select a few voronoi that would become extru-sions that would become and grow as support and become a wall and fl oor.

Model. Museum Board Corner Condition

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Mock Up. Full Scale Cardboard in JigModel. Scaled Museum Board in Jig

\Comp.03\.Jig

Using Angled Planes to Create Complexity in a Linear System to add Dimension.

Creating a jig as a substrate for a Voronoi and then using this to create a structure that carries both the characteristics of Voronoi and of an irregular Plane. Also employing this in scale and as a full mock up construction system.

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Model. Scaled Museum Board

\Comp.04\.Model

Winning the Competition with a Model Based On the Idea of Modu-lating Light and Separation Space with Dual Purposes.

A portion of the Structure Goes into the The Sky Light to Modulate the Light via material thickness and orientation and then proceeds to create a counter and eat space.

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\Comp.05\.Full Scale Mock Up

Using the Same Technique on the Scaled Model at Full Scale. Com-pleted and Realized.

Using a Large Wood Jig to create a Full Scale Card-board Version of the Proposed Project using Wet Tape as a binder and Cardboard hangers to create a Seamless install.

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Model. Full Scale Competition

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\Final.01\.Model Development

Using the Same Technique on the Scaled Model at Full Scale. Com-pleted and Realized.

Using a Large Wood Jig to create a Full Scale Card-board Version of the Proposed Project using Wet Tape as a binder and Cardboard hangers to create a Seamless install.

Model. Rhino Site and Installation

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\Final.02\.Lighting

Applying Translucent Materials to a 3D Model and Affi xing Light and Rendering.

The Lighting was one of many studies that took place during the development of the Final Installation Project.

Model. Rhino Render Light Study

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\Final.03\.Anchors

Laying Out Anchor Points and Calculating and Distributing Stress Along the entire structure

Working with Instructors and a Structural Engineer Help Determined Locations for the Eye Bolts and Cable Locations so that the Structures Does not Move in any direction very much and will not Tear its self apart.Installation. Anchors Hardware Connections

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\Final.05\.Outside

Evidence Beyond the Walls of the Institution. Looking Outside In One Can See a Red Jewel. From with in Framed Ruby Views.

The Previous Year Installation was the First to be No-ticeable from the exterior but this Draws the eye with its rich color from a place that’s usually is deprived of color.

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Armature. Nylon Outlined Volumes Acrylic Plates

\Assign.03\.String

Taking The Rubber Band Sections and Stacking them Side by Side in an Acrylic Form.

Using the Same Grid previously as well as the same forms to then use string to connect the sections and create volumes based on an individual interpretation of the previous forms to develop volumes and their inherent relationships to one another in three dimen-sions.

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Armature. Rubber band Sectional Volume Series

\Assign.02\.Rubber

Using a Regular Grid and Rubber Bands to Develop Spaces through Multiple Sections by Simple Manipulations on two dimensions.

Starting From Rather Basic Geometries and Relation-ships and slowing moving and altering points of the Figures to create more intricate and Interesting forms and relations that pull apart and separate more push through one another.

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Model. Museum Board Volume Cube From All Sides

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\Assign.05\.Onion Box

After several Iterations the Onion box is the Result of taking the Sim-plistic Geometry of a Box and Creating Various Volumes.

Starting with a basic box and Using an Idea about splitting a face into bands and sections and then through section shifting/ moving and opening and closing various parts to create several Volumes that effect each side and creates unique faces all around. A drastic departure from the fi rst study.

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\Japanese.02\.Bass Wood

Looking at Japanese Modern Homes as a Case Study in Small Dwellings and Deriving Plans and Models.

The Aura House is by FOBA and is a Three Story Residence/ Offi ce Space that sits in an Alley Width Parcel. The Idea was that because this “House” was in the City that The City Can and Does Provide the Occupant Everything the Owner Needs, Entertain-ment by the theatre, Bathing by the Gym, and so on and so Forth. Therefore this residence Lacks Any Amenity and Is merely a meeting Spot and a place to sleep.

Drawing. Plans Section Elevations

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Drawing. Inverted Rhizome

\Collages.02\.Drawn

Overlaying Mixed Media Collage on Rhizome Drawing.

Rhizomes as a fi eld in densities that are correlating with the densities within the Collages and Paintings. The overlay shows both the formal relationships as well as the Relative Densities.

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\Assign.09\.Roof

The Roof is to have a structure built over it in order to provide Patrons a place to retreat from the city and for the museum have a reception area

Made by using a series of section planes that articu-late along a set of “joints” to create enclosure, open-ing, runway, seating, theatre and screen.

Model. Soldered Welding Rod Roof Structure

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Model. MDF Site Museum Board Exhibition Sectional

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\Final.10\.Sectional Model

The Rear of the Museum Receives the two larger exhibits, Series Of fi ve and the Tall Dinosaur.

The Series of Five was developed through the idea of starting from a whole, A solid block and excavat-ing the 5 spaces that each exhibit will inhabit. Each conforming and creating a ramping circulation that will eventually lead to the adjacent exhibition of the Tall Dino which will have roof Access to the Recep-tion Roof Area.

TURMERIC: Produce. Export. Consume.

\Tempural.01\.\Tempural.01\.Paradise CoveParadise CoveMaking Observations at a Pier and Drawing a Diagram with Temporal Qualities. Making Observations at a Pier and Drawing a Diagram with Temporal Qualities.

A Family is visiting the pier and over a period of time the parents remain in a singular location as the children toss a football back and forth,. Moving around to catch and throw. The diagram shows these relations and movements and uses a dashed line to show movement through air and the cones above relate to the fi eld and direction of view.

Paradise Cove. Pier Restaurant

Diagram. POV Movement Over Time

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13

90

10

30

25 40

75

UNITED STATES

MIDDLE EAST

INDIA

CHINA55

TURMERIC: Produce. Export. Consume.TURMERIC: Produce. Export. Consume.

99

40 33

33

OrganicPersonal.

SubsistenceCommunity.

CommercialExport. Retail Production

FarmingSoil: Loamy/ Alluvial.v Frost Free. Well Drained. 39-78” Water (~20x)Plant: Sept-Oct. Rhizomes 5-7cm. Ridges 30-45cm Apart. Plants 15-30cm Apart. Plant Sets 1-2 RhizomesHarvest: 9-10 Months Lower Leaves Yellow. Stems Dry and Fall Over

Small RetailFarmers Market. Specialty Store.

Medium RetailSuper Market. Health Store.

Large RetailCommercial. Wholesale. Internet.

Land

Infrastructure

Market

Preparation

Consumption

Waste

Air Rail RoadTransport ExportImport

% %

Food ColoringBeverages. Baked Goods. Dairy Products.Dressing. Cereals. Gelatins. Broth.

Asian Food IngredientCakes. Dumplings. Curry. Milk. Pickled.Sprouts. Raw.

Pesticide / PackagingOrganic Ant Deterrent. Biopack Pest SheetsPackaging: Cereals. Grains. Pastas. Beans.Nuts. Dried Fruit. Spices. Coffee. Chocolate.

CosmeticsSkin Creme. Skin lightener.Hair Growth Deterrent. Sun Screen.

MedicinalAntiseptic. Antibacterial. Dietary Supplement.Inflammatory. Irritated Bowel Syndrome. Pain Killer.Hidradentitis Suppurativa. Anti-Venom

Medical ResearchAlzheimer's. Pancreatic Cancer.Arthritis. Liver Disorders.

MALAYSIA

CENTRAL AMERICA

THAILAND

JAPAN

SOUTHERN EUROPENORTHERN AFRICA

Diagram. Turmeric Distribution

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\Assign.02\.\Assign.02\.TumericTumericPicking a Food/ Spice and Researching Its Life as a Food Cycle. Going from Consumption Picking a Food/ Spice and Researching Its Life as a Food Cycle. Going from Consumption to Waste, Production, Transportation, Market and Prep.to Waste, Production, Transportation, Market and Prep.

Researching and occurring basic knowledge of the food land Dia-graming its travel routes and volumes. Depicting in such a way that the information is legible and condensed to a singular area without the need of much text.

SCAL

E: 1

" = 2

0'-0

"

A

SECTION: A-A

A

B

SECT

ION:

B-B

C

SECT

ION:

C-C

SCALE: 1" = 20'-0"

CLIMATE ZONE 4: SAN JOSESOIL: LOAMY. HOT DRY SUMMERS HI: 109º . COOL WINTERS LO:19ºAVG. 15" RAIN/ YR. FROST: 11/07 - 04/01

C

CROPS: IPOMOEA BALATAS (SWEET POTATO) : PERENIAL GROWN ANNUALY, 30-39" WATER, 11 HRS SUN, NO PESTICIDE, HARVEST 100-150 DAYSCHENOPDIUM QUINOA (QUINOA) : ANNUAL, <10" WATER. FULL SUN, MAINT. ONLY INITIAL WEEDING, HARVEST WHEN LEAVES FALL TYPHA LATIFOLIA (CATTAIL) : PERENIAL, 1'-2' STANDING WATER, FULL OR PARTIAL SUN, NO MAINT., HARVESTWHEN SPIKE BURST

SCALE: 1" = 20'-0"

SCAL

E: 1

" = 2

0'-0

"

B

ASSIGNMENT 3.0 CONTOURS

2A STUDIO RICHARD LUCERO

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IRRI

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ION

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TAIL

SCAL

E: 1

" = 1

0'-0

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\Assign.04\.FarmscapeUsing Topographic Map Previously Generated and layout a Farm Program and Detail.

Laying a Two-Way Road and altering the Natural Landscape to accommodate Program. Laying out Crops with in the basin which is stepped for drainage and Protection from the high winds. Quinoa is planted in the Lake near the mesas to take advantage of versatile cattail.

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There are 3 rooms that could be sub-divided and used as needed.The main living area is above grade and is an oval dome with 3windows that are 180º wide. These provide plenty of light and exposure to much needed southern sun. Underground are twolarge rooms that each have a large light tube to bring in radiantheat and light throughout the day via a tube with a highly reflectivesurface. Keeping warth in the structure is done by keeping most thelivable space underground and inclosing it in thick concrete envelopesthat absorb heat and light through out the day and radiate it at night, Theoval shapes of the exterior structure are designed and aligned in such a waythat high winds will move around it efficiently.

Circular Stair Case

COLD.LINE. DETAIL

Ground Line

180° Over Head Window For Views and Southern Sun

Exterior Steel Skin, Offset 1’Interior Concrete Walls

Bamboo Raised Floor, Ht. 1’

Interior Concrete Wall 2’ Thk.

Dbl. Pane Insul. WIndow (2x)

Concrete Sub Floor 2’ Thk.

Connecting Tunnel

\Presentation.05\.Cold Dropping Developed Models into landscape and creating detailing.

Light tubes that emerge from the ground in order to provide light to a double walled subterranean space enables great insulation and natural light. Tube connect structures as a vast network in order to create communities.

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\Enviro Climate.03\.Notre Dame Malibu

Norte Dame Paris is taken with a Classical Sense. The Cathedral itself is almost second to the trees in the foreground. The Horizon only exists as the outline of the forefront trees and that of the cathedrals towers. Nothing indicating Location or Orientation is pictured. Contrast this with the Malibu Mountain which is taken in a more Clas-sical Format. There is a foreground with several trees that could be identifi ed with some low shrubs and plain grass areas just pass these trees. There’s a middle ground of two mountains in the distance with a valley between them that allows a view of distant mountains that are fading to white.

The boundaries in both images are fairly clear; more so in the cathedral then the mountains. The cathedral is bright stone-work and off blue roofs and towers stand out and loud amongst the darker blue sky and the woody leafl ess trees in the foreground. The fact that there are no other structures beyond trees make the cathedral seem very object like with a complexity of form. The mountains could be considered monotone in that it is mostly composed of greens and yellows. The fore and middle ground almost blend into one another, a result of the tree line and mountains having similar tone. Compared to the cathedral the mountains are far from object like and feel and look more like fl at sections placed behind one

What Type of imagery is being used and how does this compare and contrast?

another than a physical 3d form.Water is absent from both images but light is quite plentiful. The mountains have considerable more light that tend to wash out the background and middle ground. Whereas the cathedral seems to be more balanced and the side fac-ing is gathering enough light to highlight the many details of its construction. The cathedrals large masonry compo-nents as well as intricate stone lace are very apparent as well as an abundance of ornamentation which is a stark con-trast to the serene absent of structure and detail in the landscape with has more curvature.

Model. Soldered Welding Rod Organization Infrastructure

\Final.01\.Infrastructure An idea that through a grid 3D infrastructure would enable a plug in attribute to any need.

Creating a wire frame based on the spacing of individual plots and then offset this and bisecting with the topography enable this system to create a varied grid that shows the topography and land features without a mass.

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\Final.03\.Topographic Platforms Site Model with Platform Distribution and Topographic Changes.

A Real Representation of the Visual Impact of the Regularity and Scale the platforms can have on the site.

Model. Platform Distribution

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\Lithograph.01\.Pig Using a method of reproducing images that enabled people to be inspired by sights at a time only the Extremely Wealthy could travel.

Craving Vinyl Block and creating various eyes enabled the Print-ing Block to have versatility that allows the image to produce different effects. Also creating a digital version through Rhino as a comparison in technique and representation.

Model. Rhino VRay Vector Overlay

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\Litho vs Rhino.03\.Representation

Lithographs and Woodcuts alike have the wonderful advantage of being able to pro-duce the same image in mass quantities for numerous years. They last if properly main-tained for easily over 100 years. Production is straight forward but the printing can be loving pains.

Craving is rather simple and at times just annoying. Laying down lines in the hard linoleum pad on wood enabled good detail-ing. However, fi ne lines are a pain. Initially using a tool that you pull you can get good solid lines though getting a really fi ne line or detailing was more diffi cult. Not so much in creating it on the linoleum but getting that fi ne detail to show up in the printing pro-cess. Excavating took a rather bit of time to leave space for white areas but the result worth it. Working on smaller pieces of the linoleum block and working by its edges you soon realize how brittle the medium is. It can come off in chunks if one isn’t careful. The real nice thing is that it is rather easy to go back and make corrections as long as you are mindful in starting more conservatively. Though what is fi rst thought as excessive isn’t really, exaggeration is needed in order to obtain the right detail.

I can imagine that depending on the pur-pose one is better than the other. As far as illustrative purposes I think lithographs have a certain aesthetic and appeal that is far more ideal than a render from Rhino. People tend to appreciate and connect with methods of representation that are closer to the hand of man. Rhino Model-ing and rendering is far too clean in a matter or speaking and can come off as something that is fake and too perfect; it lacks character. My lithograph people thought was funny and my Rhino Ren-dering people thought it was cool. Two completely different reactions to the same subject being represented. I prefer people getting a laugh over “its cool” and getting asked how did you do that”.

Neither is truer than the other. Both can be made with extreme detail; it becomes a matter of the skill and mastery of each production method. The lithograph is limited in use as it’s only able to be printed media where as the rhino model can produce many images and could also be used to produce a physical representation though tooling and molding techniques. The Rhino Model has more potential a production sense where as will only be a form of printed media.

What are the advantages and disadvantages of these two forms of representation.

GRID PLAN

PROGRAM

LEASED PARCEL

SCALE: 1" = 1200'-0"

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ROAD

TRAILSLIFT

N

\Final.04\.Diagrams Infrastructure. Distribution. Circulation,

The Grid Infrastructure. The Distribution Of Program Throughout the Site. The Main Forms of Circulation Type.

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N

N

\Final.05\.Site Drawings At Two Scales. 5 Foot Topography Lines and 1 Foot Topography Lines.

Two Levels of Detail showing the Topography as one a more Presentation of Position and The other as the literal translation and impact of the Platforms on the site.

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N

N

N

N

N

THE "PLUG-IN" FARM

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\Final.06\.Site Renderings Showing the Site as a Surface with Platforms as a section and Plan.

A Graphical Early Interpretation of the Project before the Land was sculpted.

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Model. Rhino VRay Site Path Platform Conceptual

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N

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N

\Final.07\.Enlarged Plans Plans of Two Program Parcels.

Detail Program Layout would be regular among other similar type parcels but may be positioned differently.

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N

N

THE "PLUG-IN" FARM

\Final.08\.Section Section Through 3 Levels of Platforms.

A Detail view of structure and foundation as well as path for the platforms and how they work from one level to another.

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N

THE "PLUG-IN" FARM

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Context. Rhino VRay Model Site Photograph

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\Final.09\.Composite Composite of Platform Rendering and Site Photograph.

Using a rendering as well as texture and effects to blend one into the other to give an impression of the type of aesthetic achieve with these platforms protruding from the earth.

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\Viollet-Le-Duc.03\.Structural Rationalism

Eugene-Emmanuel Viollet-le-duc wrote 11 books; some of which were composed of multiple volumes. They dated from 1840’s to the 1870’s. These books contained his ideas on what he thought were the best historical examples of good architecture and how material should be put to use. He also discusses how plan and construction methods are equally important and should have a correlation and response to one another. Materials in his opinion should refl ect its own methods of procurement and each material should have its own set of building methods unique to it. Mixing materials and construction methods that are true to the materials, organized and respondent to the plan and function of the building will result in Viollet-le-duc’s opin-ion a building of worth that does not have any superfl uous structure or ornament and it will function as it needs to and will be appealing to the senses.

The French Gothic Architecture for Viollet-le-duc represents a building methodology that was representative and an achieve-ment given their lack of resources and there desire to create large spanning monumental spaces. The lack of timber for framing and the queries for large stone resulted in a construction method that was pure and simple structure that supported its self with out the need of heavy thick walls. Thus creating a skeletal type struc-ture that would be in close alignment to its purpose and rational (fi g . 6).

What are the advantages and disadvantages of these two forms of representation.

For Viollet-le-duc this method of construc-tion was closer aligned with the Greeks rather than the Roman primarily because the ornamentation was incorporated and built into the structural members as part of its construction rather than an after thought or application of material in addi-tion to the structure without any reason-ing. What was rather inelegant about the french method of construction was the need for extra support during the con-struction process for the vaults while they set, which was years. This was the sort of barbaric type of construction and unnec-essary work that the Greeks would never bring themselves to do. In Contrast to the Romans the French did not play as close attention to the planning and the structure. The Romans had a thick and heavy build-ing system that resulted in a well insulated building that would not be affected by weather and outside conditions of the area; where as the French Gothic with its relatively thin walls and skeletal structure resulted in the easy transfer of the cold and wet conditions of the winter and the hot and humid conditions of the summer. Though structurally elegant it was not suited to most climates.

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Diagram. Song Intro Structure Notes Hz Register

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\Assign.01\.Analyze Take a genre of music, Jazz, and a specifi c song to analyze its structure to then break it down and Diagram.

The Bad Plus is not a tradition Jazz band. I can be said other traditionalist Jazz Musicians do not care for them the very least. The Tempo and Melodies and Over All Structure are quite unique and are quite complicated. Taking only 30 seconds and break-ing down each instrument into separate parts and then break that down into repetitive sub structures and Color Coding and syncing it all graphically in Three Dimensions.

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\Composite.01\.CollageCreating A Performative Device That Is Integrated With The User. Using A Fashion Shoot, Concept Vehicles And Old Bits From NASA.

A fl ight suit that is integrated into a tailored bespoke Dior Hom-me suite with a plasma blade attached at the wrist. The modern fashionista is not all just good looks but deadly quick fl ight ma-neuverability and a blade that can cut anything at speed.

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Composition. Hedi Slimane Photo Shoot Japanese Concept Helicopter BMW Mech Decommissioned NASA Components

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\Structures.01\.NotesNotes On Current Examples, Physical Attributes And Calculations.

Noting the behavior and structural attributes of basic structures. Wood and steel construction details. Calculating beams and spans. Sizing steel and solid sawn lumber.

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\Assign.07\.SectionsAs Contemplating Which Style Shall We Choose The Question Also Comes To Which Section Shall We Choose.

Determining which section best describes the project is usually the most important decisions when contemplating the drawings and model. The most interesting aspects in a project are usually only seen in section which might be the only way to really know what a project is doing. To help with this decision splitting the whole model into eight seems logical in determining which are best pursued.

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Model. Perspective Descriptive White Sections

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\Garnier Ain.01\.Socialism

Creating Architecture for a new society that has yet to come into existence and developing architecture to solve problems yet to be realized or solved. Develop-ing and orientating city planning to take into considerations that are beyond pure functionalism and become more human-istic. Camillo Sittes was one of the fi rst to be opposed to functionalism and state that planning empty space should be just as important and diligently planned as the built structure. It is a necessity of the city. He also states that cities need a balance between the monumental and the pictur-esque, a balance between straight lines and wavy lines. It was through a prag-matic approach of urban development that only a few took seriously and those that did were recognized and rewarded. The Mayor of Brussels fi rst to implement these ideals. It was then further taken on

Comparing Two ideas about dwelling for the working class and their ties to socialist thought while using similar ideas about organization and ways of living.

by the Likes of Tony Garnier in his Idea of Cite Industrielle and Gregory Ain and his Mar Vista Tract. Each takes ideas of low cost residential living with emphasis on the humanistic accommodations and open communal green space with streets lined with trees and individualized units; ensuring light and ventilation. These units are also regulated and manipulated through a housing typology as a way to introduce and maintain an economy as well as individuality. Common humanist goals both fall under suspicion of social criticism as they carry intrinsic themes of socialism embedded in these said ide-als. It is through these architectures, one drawn and one built, that a discourse be-comes evident through ideas of organiza-tion, economy, and ideal solutions for the worker and common man.

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\Composite.03\.FinalRefi ning The Previous Version And Rendering With Material In Multiple View Points Showing The Work.

Using various perspectives that mimic the standard drawing views while also overlapping the each rendering to give depth and importance while using coloration fi lters to give the already Gundam aesthetic an ever greater animated Anime feel.

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Drawing. Material Render Composition with Vector Overlay

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Open ProgramOpen Below to Court

20'100'

PerformanceEntrance / Lobby1119 sqft

PerformanceDecending Theatre4200 sqft

+1'-0"


+2'-0"

PerformanceRestroom / Janitor Closet216 sqft

PerformanceStorage100 sqft

B

SupportOffice196 sqft

+2'-0"

CC


SupportLobby / Information552 sqft

50'

B


SupportRestroom / Janitor Closet141 sqft

+2'-0"

PerformanceListen Boxxxx sqft

PerformanceAssending Theatre2400 sqft

Ground Level

SupportConfrence Room192 sqftSupport

Electric / Mechanical215 sqft

SupportStorage73 sqft

10'

AA

SupportOffices312 sqft

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Open ProgramOpen Below to Court

20'100'

PerformanceEntrance / Lobby1119 sqft


+1'-0"


+2'-0"

PerformanceRestroom / Janitor Closet216 sqft

PerformanceStorage100 sqft

B

SupportOffice196 sqft

+2'-0"

CC



50'

B


SupportRestroom / Janitor Closet141 sqft

+2'-0"

PerformanceListen Boxxxx sqft

PerformanceAssending Theatre2400 sqft

Ground Level

SupportConfrence Room192 sqftSupport

Electric / Mechanical215 sqft

SupportStorage73 sqft

10'

AA

SupportOffices312 sqft

\Final.01\.Ground FloorFloor Plan Of The Ground Floor.

Coming from amoeba and Arclight the lobby and offi ces are just north or the sound box is straight ahead which allows you to hear what being played below. Further ahead you descend into the theatre or head above to hear what’s playing in the sound tunnels. Coming from ground works straight ahead is a stage that ascends and projects out onto the street. The center is open below where two studios are and the surrounding is green space for lunch. North of this is the black box theatre from whish you can see performances from outside without being able to hear as well as see those on the balcony.

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\Final.02\.Residential LevelFloor Plan Of The Residences On Level Three.

The residences are primarily entered from one side that is ac-cessible from the lifts. A center ramping circulation bisects the residences and connects some units to others and the numerous outlets and common spaces at the ends. The outlets are ment as a way of playing and projecting music from within without worry and as places to sit and converse with unobstructed views north south and west. Larger double residences are on the ends and smaller single residences are in the middle. Doubles have kitch-ens and singles do not. All have sleeping lofts atop there rest rooms. Common rooms have book shelves billiards and other recreational activities and plenty of seating.

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Level 3

Double ResidenceLoft Sleeping1015 sqft

ResidenceFoozeball Lounge360 sqft

ResidenceLounge360 sqft

ResidenceReading Area112 sqft

Double ResidenceLoft Sleeping1015 sqft

Single ResidenceLoft Sleeping320 sqft

+33'-0"Single ResidenceLoft Sleeping240 sqft

Single ResidenceLoft Sleeping161 sqft

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Level 3

Doub

le Resid

enceLoft S

leeping

1015 sqft

Resid

enceFoozeb

all Lounge

360 sqft

Resid

enceLoung

e360 sq

ft

Resid

enceR

eading

Area

112 sqft

Doub

le Resid

enceLoft S

leeping

1015 sqft

Single R

esidence

Loft Sleep

ing320 sq

ft

+33'-0"

Sing

le Resid

enceLoft S

leeping

240 sqft

Sing

le Resid

enceLoft S

leeping

161 sqft

20'

PerformanceVenue Approach

SupportDinning

Section APerformanceBar

SupportLobby

PerformanceEntrance

PerformanceDance Floor

PerformamceRestroom

10'

ResidencialBillards / bar

PerformanceStage

Open ProgramAdditional Eating

Open ProgramCentral Circulation

PerformanceBalcony

Residential Lounge

Open ProgramGreen Roof


50'100'

SupportMechanical / Eletrical

Open ProgramCirculation

20'

PerformanceVenue Approach

SupportDinning

Section APerformanceBar

SupportLobby

PerformanceEntrance

PerformanceDance Floor

PerformamceRestroom

10'

ResidencialBillards / bar

PerformanceStage

Open ProgramAdditional Eating

Open ProgramCentral Circulation

PerformanceBalcony

Residential Lounge



50'100'

SupportMechanical / Eletrical

Open ProgramCirculation

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Level 3

Doub

le Resid

enceLoft S

leeping

1015 sqft

Resid

enceFoozeb

all Lounge

360 sqft

Resid

enceLoung

e360 sq

ft

Resid

enceR

eading

Area

112 sqft

Doub

le Resid

enceLoft S

leeping

1015 sqft

Single R

esidence

Loft Sleep

ing320 sq

ft

+33'-0"

Sing

le Resid

enceLoft S

leeping

240 sqft

Sing

le Resid

enceLoft S

leeping

161 sqft

Op

en Prog

ramP

ractice Outlet

200 sqft

Doub

le Resid

enceLoft S

leeping

615 sqft

Level 4

Doub

le Resid

enceLoft S

leeping

605 sqft

Doub

le Resid

enceLoft S

leeping

605 sqft

+49'-0"

Sing

le Resid

enceLoft S

leping

215 sqft

Residence

Billards / B

ar528 sq

ft

Resid

enceLoung

e528 sq

ft

Sing

le Resid

enceLoft S

leeping

215 sqft

Doub

le Resid

enceLoft S

leeping

615 sqft

Op

en Prog

ramP

ractice Outlet

94 sqft

Open ProgramReception

PerformanceStage

10'

PerformanceListen Box

Section A

PerformanceSeating

PerformanceStage

PerformanceFloor

20'

PerformanceEnterance

PerformanceAsending Theatre Entrance

PerformanceBar

PerformanceSound Tunnel Entrance


PerformanceStage

SupportExhibition

PerformanceBackstage

50'

Double ResidenceLoft Sleeping

100'

Open Program Outlet


PerformanceBackstage

\Final.03\.SectionsSections of the Performance Venues.

The Interior Black Box Performance Venue with Full Bar and Bal-cony. Large Stage and Room to Skank. Can Descend from the Residential Blocks Interior Ramping Circulation into the Theatres Balcony. The Exterior Venues Range From Sunken to Elevated Theatres. Club/ Bar Resides Under and Behind. Above Lies Two Tunnels can be Viewed From Above and Heard From Below.

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SupportLobby


SupportOffice

20'

Open ProgramCatwalk

Section C

Open ProgramReception

10'

SupportKitchen

Open ProgamGreen Roof

100'

SupportStudio Two Control

SupportStudio Two Iso One

50'

SupportStudio One

Residences

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PerformanceDecending Theatre Seating1800 sqft

PerformanceStudio One Control231 sqft

PerformanceDecending Theatre Backstage473 sqft

-16'-0"

Open to Atrium

PerformanceUnderground Venue Floor / Stage2273 sqft

PerformanceStudio Two Control245 sqft

PerformanceStudio Two Iso One374 sqft

PerformanceUnderground Venue Bar365 sqft

Level -1

PerformanceStudio Two Iso Two55 sqft

-14'-0"

PerformanceUnderground Venue Backstage513 sqft

PerformanceStudio One Iso Two115 sqft

PerformanceStudio One Iso Two72 sqft

PerformanceStudio One Iso One607 sqft

PerformanceDecending Theatre Stage1270 sqft

\Final.04\.Studios Green Roofs

Floor Plan Of Sun Level That Includes Club Studios And Theatre Stage And Courtyard. Sec-tion Through Studio Space Circulation Tower Residential And Common Spaces.

The studios are large with thick angular walls for acoustics. Main Iso room is large enough for a full ska band and is ideal for drums and horns. Besides the ground fl oor all the roof tops are green roofs and open for practicing and conversing performing or eating. Three eleva-tor shafts make it easy navigating levels. Residences have double height ceilings to enable sleeping loft space. Common space is large enough for receptions and events or addition practicing and eating spaces. Full kitchen and dinning available for residences and public.

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\Final.05\.Site Context

Composite Of Rhino Vray Renders And Site Photographs During The Day And At Night.

The usually hustle and bustle of the everyday on sunset is evident dur-ing the and the musician on the triumph lugging a guitar is classic. The building sits large when compared to the buildings behind but is a nice middle ground when compared to the fi lm school to the east and cnn building to the south west. At night the streets are quite and the same goes for the building. As if just completed and waiting for the mania that ensues when a show is going on and people are partying and jam-ming all night long.

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Composite. 10PM Photo Rhino Night VRay Render

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Model. Eighth Museum Board Bass Wood Foam Core

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\Final.06\.Sectional Model

Sectional Model The Cuts Through The Interior Residential Ramping And The Black Box Theatre Venue.

This sections show the most diffi cult part of the project. The sectional drawing adjacent to the model aids in clarifi cation between the two. The louvers were built and articulated the same as in the drawing. Physical representation being the most effective generally this was worth the week spent building.

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\Final.07\.Full Model

Sixteenth Inch Scale Model Made Of Plastic Styrene.

Full model made of white styrene plastic. Looks similar to the white model renders from early development. Kept relatively simple considering the scale and the fi rst time working with the mate-rial. Very diffi cult to keep completely neat and clean but works wonderfully.

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Model. Sixteenth Styrene

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YEK.PO

RT

YR. 08-10

MAY 2010

R7.0

RIC

HA

RD

LUC

ERO

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Yek.Port R7

Documents

Transcript of Yek.Port R7