3. architecture is the essence
of being, the element that
makes the world a better
place to live.
architecture is a tool, a
vessel “that contains the
body of things, relationships,
and geometries that form the
base-line of our experience,
language and thought.” --
Mark Blizard
architecture is the thoughtful
making of space. --
Louis Kahn
architecture should be
experienced not only
through the exposure of
spatial sequences but also
through the composition of
materials and their textures
5. ThalassotherapyCenter
ENERIF
The current call for the Arquideas Grant competition seeks to recycle the pre-existing structures of an old
development project located in southern Tenerife, transforming it into a thalassotherapy center. The proposal is to
create a thalassotherapy physical health center, using the pre-existing structures and keeping in mind its
relationship with the surrounding area.
PROJECT DESCRIPTION
6. The Arquideas grant 2013 competition
proposed a series of program elements
consisting of administrative area, restaruant,
main area, multi-use space, thalassotherapy,
technical area and water tanks.
Office/lobby spaces are placed at both street
and car access points on the site. Massage,
algae wrap, showers, mud bath and pond are
placed in an order that felt suitable for
someone who would go through all process of
the available thalassotherpy treatments I have
chosen. A resident could start with a relaxing
salt water bath, then enjoy a heavenly
massage followed by an invigorating algae
wrap or mud bath, proceded by washing off
with a cool shower. Lastly, a fresh water pond
to cleans and refresh the body after
experiencing thalassotherapy treatments.
7. Originally, each module is a separate entity
with identical layouts, but to transform the
structures into a thalasotherapy center, a
sense of connection needed to be present. I
believe this because thalasotherapy is
connected to the body and its senses. This
connection is part of the process to heal the
body just as the connection among structures
would heal the abandoned architecture.
Originally, each module is a separate entity
with identical layouts, but to transform the
structures into a thalasotherapy center, a
sense of connection needed to be present. I
believe this because thalasotherapy is
connected to the body and its senses. This
connection is part of the process to heal the
body just as the connection among structures
would heal the abandoned architecture.
8. ADMINISTRATIVE
SALT CAVES
RESTAURANT
MULTI-USE
PARKING
RESIDENCE
POND
MUD BATH
SEAWEED WRAP
MASSAGE
SHOWERS
A
G
F
E
D
C
B
H
I
J
K
POOLL
ADMINISTRATIVE
SALT CAVES
RESTAURANT
MULTI-USE
PARKING
RESIDENCE
POND
MUD BATH
SEAWEED WRAP
MASSAGE
SHOWERS
A
G
F
E
D
C
B
H
I
J
K
POOLL
N
0m 5m 10m 25m 50m
A
A
1
2
3
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6
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D
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IJ
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Seaweed body wraps alone are powerful but when you add minerals, dead sea mud, special clays and herbal
ingredients then you get the most powerful body wrap available. The villas and therapy structures within my design
are wrapped with the same idea. Applying a tensile system with cloth transforms what we considered interior and
exterior spaces. The wrapping creates spaces between the building structures, which act as potential meeting
places. The tensile cloth system displays the same attributes as sea weed: flexible, various colors of green, and
manipulatable.
CONCEPT
L
L
9. geographygeography climate
history
We can’t pinpoint the date of the discovery of
the islands now known as the Canaries, but we
can say with certainty that they were known, or
at least postulated about, in ancient times. In his
dialogues Timaeus and Critias, Plato (428–348
BC) spoke of Atlantis, a continent sunk deep into
the ocean floor in a great cataclysm that left only
the peaks of its highest mountains above the
water. Whether Plato believed in the lost
continent’s existence or had more allegorical
intentions remains a matter of conjecture. In the
centuries since Plato’s death, those convinced
of the existence of Atlantis have maintained that
Macronesia (the Canary Islands, the Azores,
Cape Verde and Madeira) constitutes the visible
remains of the lost continent.
architecture
While elements of major European architectural
trends did filter their way into Tenerife, the island
has never stepped back from its own island
tastes. From pastel-colored Canarian houses
with their traditional balconies to elegant
chapels, shore-side castles and even cave
homes, Tenerife's architecture without a doub
tmaintains a flavor of its own. Many of Tenerife's
towns and cities boast perfectly conserved
historical quarters; the quaint, distinctively
Canarian architecture has earned many of these
towns awards, distinctions and even World
Heritage protection from UNESCO.
culture
Easter in Tenerife is unforgettable - even if you
are not religious, you can't help getting caught
up in the tradition and solemnity of the
celebration.
During the week, the streets are filled with people
as processions of elaborate ‘tronos’ – some
weighing up to six tons – are carried slowly
around the towns, accompanied by sacred
songs and a slow drum beat. The processions,
organised by religious brotherhoods or
‘cofradias’, are followed by ‘nazarenos’, dressed
in coloured tunics, cone-shaped hoods and
masks reminiscent of the Ku Klux Klan in the
USA. However, the strange headgear has no
sinister significance as the cones symbolise a
rising upward, bringing the penitents closer to
the heavens. If you want to see a little slice of
‘real’ Spain on your Easter holiday, the
processions are a ‘must do’ event. Followed by
some tapas and a glass (or two) of local wine,
the experience will leave you feeling privileged
and satisfied that sun, sea and sangria is not all
that this beautiful island has to offer.
research
geography One of the most wondrous aspects of the
beautiful island of Tenerife is its climate. The
weather is glorious, that is why the largest of the
Canaries has earned the reputation of being one
of the best year-round holiday hotspots. The sun
shines for more days of the year here than most
other places in the world – just one of the
reasons people visit from January to December.
Of course the weather depends on the time of
year that you travel and the specific places you
visit. The south is always the warmest and
sunniest with the least cloud, and the west
enjoys more than its fair share of great weather,
too. The north is also very warm, although there
can be more rain and cloud in this part of the
island compared with the rest.
10. Your journey begins by transitioning
to a lower elevation. A transition into
a world of relaxation and tranquility.
N
N
The Tenerife Thalassotherapy Center is
not only a place to escape, but to
engage with others and form new
friendships through activities like yoga.
1view
22view
1
2
12. Relaxing pool side with your loved one.
N
The fresh water pools are connected
by a bridge way, transitioning you from
the first floor of the northern pool to the
second of the southern.
N
3view
4view
3
4
13. From the space between, the view of
the Atlantic Ocean combined with the
essence of a pond, brings nature to the
senses.
N
Your journey ends with a grand view
of the city and Atlantic Ocean. A view
to be shared with a loved one or close
friend.
N
5view
6view
5
6
17. Rainwater harvesting and the people of the community are the sources of what gives the garden life. The heart
gives humans life and without it we cannot survive. The same can be said about water for a garden. Therefore, the
rainwater harvesting system is the heart of my design. A cistern is placed where the gardens metal sculpture use to be
and is acting as the heart that gives life to the community garden fruits, vegetables, herbs and trees.
CONCEPT
ainWaterHarvestingCompetition
QUA
18. The community garden serves as a place
where people can come together and plant
fruits, vegetable, herbs, and trees. A place
were people of all ages can interact in the act
of growing; both in sustenance and as a
community.
Water gives life, the heart gives life; without
these elements the garden and humans would
cease to exist. Gardening is brought about
through the engagement of humans with the
land. The act of pumping water generates
interaction with the cistern system and thereby
adding an additional process to gardening,
therefore giving the gardener a greater sense
of accomplishment.
19. PROJECT DESCRIPTION
Roots of Change is an organization focused on the establishment of community gardens where there is a lack of easily accessible
fresh produce. AGUA is sponsoring this competition to help the East side of San Antonio and further its mission of bringing environmental
awareness to the community in which it is located. The primary goal is for designers to submit a proposal for rainwater catchment and
harvesting in order to reduce the volume of storm water runoff while providing a means of irrigating the landscape and the produce being
grown by the community.
HEART OF THE GARDEN PERSPECTIVEBALCONY PERSPECTIVE
recycled materials
Cypress Metal ScrapsCorrugated Al PVCConcrete Steel Tubes Cedar
20. Planters
Planters
S. Mesquite St.
20’ 60’40’0’
SITE PLAN
N
10’
Commerce Street
Planters
Cistern
Tool Shed/storage
Mobile Planters/
Movie Night
Healing/Herb Garden
Orchard
Roof Structure
Handicap
Planters
Gutters
Gutters
Gutters
Gutters
Tool Shed/
storage
Community Sculpture
CisternCistern
Commerce Street
CisternCistern
Mobile Planters/Mobile Planters/Mobile Planters/
Movie Night
Healing/Herb GardenHealing/Herb GardenHealing/Herb Garden
Gutters
Gutters
Community SculptureCommunity SculptureCommunity SculptureCommunity Sculpture
22. S. Mesquite St.
20’ 60’40’0’
SITE PLAN
N
10’
Commerce Street
Planters
Cistern
Gathering
Space
Tool Shed/storage
Mobile Planters/
Movie Night
Healing/Herb Garden
Dance
Floor
Orchard
Roof Structure
Planters
Handicap
Planters
Gutters
Gutters
Gutters
Gutters
Tool Shed/
storage
Community Sculpture
CisternCistern
Planters
23. WATER HARVESTING SECTION
roof structure - corrugated metal roof
supported by cedar wood members
and metal connectors
planters - modular design
for planting fruits and
vegetables
cistern - heart, source of
life for the garden and
place of engagement
24. 0’ 10’ 20’ 40’ 60’
tool shed/storage - made of
recycled PVC pipes
planters - handicap
accessible
28. 721
gr,130912,letterform
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stem
counter
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terminal
arm
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purpose: articulate, indicate, and signify
the anatomy of the typeface. its
idiosyncrasies and identifying
characteristics should be identified,
named, and noted
issues: explore the formal attributes of
both the letterform and counter-form of a
specific sans serif typeface. demonstrate
the following skills: kerning, leading,
figure/field, hierarchy + scale, the field of
the page, and letter-form + counter-form
29. Senior Adult Child
Italy + Africa $18 $22 $12
China + South America $15 $20 $10
United States + Asia $20 $25 $15
Jessica Antola: Gerewol
Kares Le Roy: Thaipusam
Chris Sorensen: Chinese New Year
Sivan Askayo: Carnival of Venice
Felipe Dana: Brazil, Carnaval
Frank Solis: San Antonio Fiesta
Photographers
Gerewol: application of face paint
Thaipusam: preparation of satvik food
Chinese New Year: dragon dancing
Carnical of Venice: making venetian masks
Brazil Carnaval: engineering of float design
Fiesta: how to make tissue paper flowers
Workshops
Exhibits
Africa, Niger: Gerewol
Asia, India: Thaipusam
China: Chinese New Year
Italy: Carnival of Venice
South America, Brazil: Carnaval
United States, San Antonio: Fiesta
Festivals are an artifact of a
community’s culture. MCL’s mission is
to strenghen relationships among
mankind by providing the experience
of engaging in festivities celebrated by
countries around the world. Festivals
allow us to rejuvenate our souls and
look at life with the sense of joy. We
hope you will join us along the journey
of embracing cultural literacy and learn
the value of diversity. It is time to unite
and establish connections among
cultures. Lets bring people together to
engage the traditions, beliefs, values,
customs, and aspirations of cultures
around the globe. Now is the time
embrace the festivals the world has to
offer. Join us at the San Antonio
Museum of Cultural Literacy for fun,
food, and the experience of a life time!
200 E Market St
AANANTONImuseumofculturalliteracy
Februaryebruary 8, 2016
mmm
gd,131029,p5,family,mcl,2
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EAfrica, Niger: Gerewol
Asia, India: Thaipusam
China: Chinese New Year
Italy: Carnival of Venice
South America, Brazil: Carnaval
United States, San Antonio: Fiesta
HowardRheingold:TheNewPowerof
Collaboration
DavidBinder:TheArtsFestival
Revolution
MarkPagel:HowLanguageTransformed
Humanity
Festivals are an artifact of a community’s culture.
MCL’s mission is to strenghen relationships
among mankind by providing the experience of
engaging in festivities celebrated by countries
around the world. Festivals allow us to rejuvenate
our souls and look at life with the sense of joy.
We hope you will join us along the journey of
embracing cultural literacy and learn the value of
diversity. It is time to unite and establish
connections among cultures. Lets bring people
together to engage the traditions, beliefs, values,
customs, and aspirations of cultures around the
globe. Now is the time embrace the festivals the
world has to offer. Join us at the San Antonio
Museum of Cultural Literacy for fun, food, and the
experience of a life time!
LJessicaAntola:Gerewol
KaresLeRoy:Thaipusam
ChrisSorensen:ChineseNewYear
SivanAskayo:CarnivalofVenice
FelipeDana:Brazil,Carnaval
FrankSolis:SanAntonioFiesta
PGerewol:applicationoffacepaint
Thaipusam:preparationofsatvik
food
ChineseNewYear:dragon
dancing
CarnicalofVenice:making
venetianmasks
BrazilCarnaval:engineeringof
floatdesign
Fiesta:howtomaketissuepaper
flowers
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Viewer discresion advised exhibits may contain nudity. Children under the age of 13 must be acompanied by an adult. If you have any questions or concerns you can contact MCL offices at 210-285-8873, 210-CULTURE.
Lectures
Howard Rheingold: The New Power of
Collaboration
David Binder: The Arts Festival Revolution
Mark Pagel: How Language Transformed
Humanity
purpose: design a poster promoting an
exhibition of photographic works +
accompanying workshop + lecture series
for the San Antonio museum of cultural
literacy
issues: transformation: 2d - 3d, the cube
as the field of poster and as 3d object,
integration of parts and whole, figure +
field, hierarchy of type, clarity of the whole,
and content + form
31. Architecture
MarkA.Blizard
Land
Culture
Practice Only a wayfarer born under unruly stars would
attempt to put into practice in our epoch of
proliferating knowledge the Heraclitean dictum that
men who love wisdom must be inquirers into very
many things indeed.
--J. T. Fraser
Architecture
gr,130919,p2,tiled,grids
mmm
has been understood as
both a search for an ideal
and the practical resolution
of contested space. The
practice of
untangles differences and
maintains distinctions
between inside and
outside, one material
element and another, earth
and sky, and self and
world. Matter and thought
are brought into order
simultaneously in the
intelligible pursuit of an
idea and the sensible
“sorting out” of things. The
question, “what makes a
good building?” has been
answered by practitioners
and theoreticians alike
since Vitruvius proclaimed
firmitas, utilitas, and
venustas. In fact, as
Hanno-Walter Kruft has
pointed out, the whole of
western architectural
theory from the
Renaissance to the present
has been a dialogue with
Vitruvius. Even the
revolutionary mantras and
manifestos of the early
twentieth century do not
fully escape the resolute
echo of Vitruvius. Amidst
the definitions and
polemical discourse, I offer
a few belated fragments,
drawing together a range
of sources and voices.
Taken together, these
suggest a very different,
non-objective
Architecture
Architecture
is a vessel that contains the
body of things,
relationships, and
geometries that form the
base-line of our language
and thought. Within this
vessel is held our memory
and desire – not as fixed
entities or images, but as a
flux of possibilities. Yet,
architecture remains stable
to the extent that it provides
us with a place to dream
and to remember.
as the coincidence of land,
culture, and practice,
places us between idea
and matter, the past and
the future, and among the
things and social
constructions that populate
our being in the world.
is the body of successive
artifactual layers that place
us within society, culture,
the environment, and the
cosmos. In moving through
these layers, we sort out
the world and take on an
identity. In this, architecture
seeks to define the order
and the negotiated union of
self and world. Practice
organizes the relationship
between humans and their
environment. The very
grain that structures self
and world is meaningful.
Meaning is a narrative that
is posited and concretized
through practice. The
artifact – the trace of this
process – carries the
fundamental values and
beliefs of a culture. Where
we are in the world is set
among artifacts and in the
landscapes that we inhabit.
gathers us in the world to
the extent that it forms an
agreement in the joining of
land, culture, and practice.
is the apparatus by which
we conceive the world. The
tools that guide us in our
search are relatively few:
our body, which is also to
say, our mind; the cultural
web of artifacts and
knowledge, language
which serves as a container
and conduit, and the
dialogic practice of making
and thinking. With these,
we attempt to make sense
of the world that confronts
us; to find the order and
knowledge that permits
stone to become a wall or
the land a garden.
is a web of connections
that extends outward from
its artifactual center. It
forms a fabric that is
coincident with our being in
the world.
This book suggests that we
consider to be a practice –
an art of knowing. As such,
it is wrought with artifacts,
which are the focus,
means, and ultimately, offer
the structure of knowledge.
Artifacts are the means and
materials of our thought
and practice. We think
through them. Making is a
cultural act, an engaged
pursuit of the artifact. It
provides the process and
methods by which we
practice. The practice of
architecture is an art that
gathers all of culture into a
meaningful web. Through
the practice of architecture
we build culture. In
practice, the architect
shapes land and matter
and weaves them into a
cultural artifice – one that is
coextensive with land,
culture, and practice.
We assemble things into
constructions. At first these
are rudimentary: a wall, a
beam. Later they become
more complex, yet serve
the same purposes and
engender the same ideas
and search for order
between: a city, a text.
We wrap language around
things, weaving a fabric
that is at once intelligible
and sensible. We take
things apart and probe
beneath their surfaces,
searching for their hidden
structure.
gathers land, culture, and
practice in response to our
understanding. of being in
the world.
is not an object, and
therefore, cannot be
framed by the limitations of
categorical knowledge or
the extent of the drip-line.
Neither is architecture to be
defined as a process
except to the extent that
making and thinking are
coincidental and reciprocal
with the artifact.
Architecture
Architecture
Architecture
Architecture
Architecture
Architecture
one that is not defined in
accordance with
measurable rules.
Architecture
Architecture
searches to fill that open
region between idea and
matter, memory and desire,
and our selves and the
world.
Architecture
Architecture
purpose: design a poster containing all
text provided
issues: study the formal attributes and
permutations of text. include words, lines,
blocks, and columns. establish
hierarchical relationships between parts of
the given text. the graphic design should
inform our reading of the text. consider the
column grid + kerning, leading, letter-form
+ counter-form, figure/field, hierarchy +
scale, use of color, and the field of the
page
32. gr,131119,final,exam mmm
U
CoA
UTSA
Urbino
spring 2013
general information
q + a
schedule
courses offered
cost
Urban Fabric and Video Analysis
spring2015
Focus
First Meeting
mark blizard
curtis fish
ITALY
engage the unknown
for any questions you may have please contact
professor Robert Baron at
robert.baron@utsa.edu or the office of the dean
purpose: design a poster for the spring
2015 study abroad program in Urbino, Italy
issues: use one photo or a series of
photos that represents the urban fabric of a
city
