’10 Fall ‘08 - Fall orkDrawing Meaning, Academic WConveying LinesOscar TenaSpring 2011
1-6 Architectural Representation: Perception Fall 2008 Instructor: Maria Gray 17-24 Architectural Representation: Abstraction Spring 2009 Instructor: Nicole RobertsonWhat’s in a line? 39-40 Special Topics in Architecture: Drawing the Line Fall 2009 Instructor: Donald ShillingburgThere is a telling binary in architecture: the desire to designwith clarity using base linear compositions and the often 41-52 Architectural Design II Spring 2010 Instructors: Kadambari Bamore pressing need to escape the orthogonal for the sake xi, Karen Fairbanks, Mark Kroeckel, Joeb Mooreof creative expression. In creating this portfolio, I pose thequestion;What isn’t creative about a line?Whether curved or straight, thin or thick, dashed or solid, 65-68 Altschul Atrium Renovation Workshopthere are inescapable and ineffable feelings of security and Spring 2011wonder embedded in our perception of lines.Lines can even go so far as to strive toward the infinite orimaginary. They can represent the limits of our visual field toevoke depth and perspective on a two dimensional surface. bari BaxiOften, what lines express are things we cannot see from ourown particular vantage point, operating in an invisible realm.There is also a subtle and provocative interplay between 53-64 Architectural Design III Fall 2010 Instructor: Kadammanual and computer drawn lines. One often necessitatesthe other in iterative processes for study and analysis.Final rendered images benefit greatly from the guidance ofdiagrammatic or connective arrows and other constructiontype lines .Among the following projects, the role of the line indetermining form or drawing conceptual links between ideasrelates to a given design challenge. What one discovers inrevisiting these projects is what more there is to be learned 29-38 Architectural Design I Fall 2009 Instructors: Nicole Robertson, David Smiley, Peter Zuspanabout the implications of graphically edifying ideas.Lines allow us to edit // explain // experience // discover sometimes we just lose sight of it
1 Architectural Representation: Perception Instructor: Maria Gray 2 MoMA P.S.1 “Home Delivery” Inspired Space Precedent: micro compact house (m-ch) 2001 Richard Horden, Lydia Haack, John Hopfner, Tokyo Institute of Technology Area: 76 sq ft The linearity of thought often governs the process of architecture. Some studios work within the confines of a strict process-driven sequence of steps to deduce form. In Perception, we explored conceptual terms derived from surveying MoMA’s 2008 “Home Delivery” exhibition featuring life-size examples of modern home construction. Challenge: Work through common notions regarding concept terms derived from your visit to distort potential occupants’ perceptions of and relation to space. Derive a form which facilitates multifarious levels of interaction, isolation, participation, inactivation, etc... Learning about lines: In the scope of model production, it is vital to understand the implicit visual and physical mechanisms of a design as it creates or distorts certain perspectives views. In this space, one’s line of vision as it disappears into space through the transparency of materials is constantly interrupted by interactions with other people. This seemingly unrealistic relationship between the infinite and the tangible (in others) can only be expressed with the consideration of lines.
3 Architectural Representation: Perception Instructor: Maria Gray Architectural Representation: Perception Instructor: Maria Gray 4 MODULARITY MINIMALISM EXPANSION IMPRESSION REPETITION EXPANSION MINIMALISM MODULARITY REPETITION COMMERCIALISM interior experiences relate in the conception of individual and collective perceptions. limited spatial depth and narrow perspective conditions convey aspects of minimalism in respect MINIMALISM to modern living conditions. the nature of these rigidly designed MODULARITY modules almost contradicts the compactable flexibility of its REPETITION position in a place. the indeterminable range of experiences SIMULTANEITY EXPANSION and perceptions results in a “placeless” expression of minimalist and industrialized ideals. another precedent: Sequence Torque Torus Inversion Band by Richard Serra 2006 MoMA sculpture installation
5 Architectural Representation: Perception Instructor: Maria Gray 6
7 8 From 3D to 2D to 3D Architectural Representation: Abstraction it was observed that the degree of magnification caused by the Sometimes architecture involves contemplating the roles of smaller, everyday objects in our lives. Their micro-scale functionality and contributions double-curved glass of the magnifying glass is directly related to its distance away from its handle. In this case, the assembly of to task completion imply potential for investigation. For our own purposes, we delved into the mechanisms and inner workings of various trinkets. the height achieving device and disassembly of the object help to record the effect of the object’s structure. Employing methods of dissection, recombination, and documentation in a variety of media showed these objects in a new way that revealed their relation to architectural study. in 6 in. Instructor: Nicole Robertson 5 in. in 4 in 4 in. 3 in. in in 2 in. Challenge: Explore your object between in 1 in. dimensions. Create tech- nical pencil drawings of its anatomy to under- stand how it works. Import the tool into Rhino and distort it according to its functionality as an object of use. Physically export the model back into our environment in the form of a three dimensional constructInstructor: Nicole Robertson highlighting its trans- formation across virtual and spatial // material realities. x1 x 1.2 x 1.3 x 1.5 x 1.8 x 2.2 x1 x 1.2 x 1.3 x 1.5 x 1.8 x 2.2Architectural Representation: Abstraction Learning about lines: The relationship between built and digital models is as provocative as it is conceptually defying. Lines help to negotiate the transition between paper and computer by their portable nature and convenient reproducibility. The process of their transformation highlights both the delicate precision and wilful manipulation by the designer // space mediator.
9 10 Architectural Representation: Abstraction X 1.2 Instructor: Nicole Robertson drawing inspiration from the deconstructable nature of the magnifying glass, the X 1.8 apparent goal became to recombine its disconnected elements in some way. The primary issue of its function, that being scale, inspired the hybrid product of its analysis. Various enlarged or reduced parts connect in such a way as to reduce its conventional functionality.Instructor: Nicole Robertson X 1.5Architectural Representation: Abstraction X 2.2
11 12 Architectural Representation: Abstraction Instructor: Nicole Robertson VIRTUAL to REAL 2D to 3D Another thought: What would happen to the object after extracting it from the computer back into the physical world? Speculations arise about the effects of gravity and if they would further distort theInstructor: Nicole Robertson object in its new environment. As a virtual hybrid preexisting in the weightlessness of modelling space (represented in two dimensions on the screen), the prospect of introducing more spatial conditions provokes further manipulation. connective elements adapted for sealmess joining of individually scaled partsArchitectural Representation: Abstraction a model of the hybrid’s handlepiece demonstrates potential materiality for representations of its anatomy. This specific part serves as the module for detail and proportion analysis for its variety of scale interventions.
13 14 Architectural Representation: Abstraction Bringing the transformed hybrid from the computer required a certain degree of reduciton and simplification. The outer cage corresponding to the textured handle of the magnifying glass posed an informative challenge. A wire frame becomes the deformed shape’s structure. Flat bristol paper strips conform to their guides, conveying the curvilinearity Instructor: Nicole Robertson of the cage.Instructor: Nicole Robertson The process for expressing the defining characteristics began with lines. Their extrusion between visual realms relates the entire performative process of architecture from conceptionArchitectural Representation: Abstraction to production.
15 16 Disposable Pavilions site: west 117th street and broadway sidewalk // transitional node Architecture can embody dynamism. Trajectories through a space often provide a basis for analyzing more pragmatic details. This entirely public area of pedestrian traffic represents a space of high practical use. Situated between Barnard College and Columbia University campuses, what on its surface shows no significant institutional influence actually represents an important transitional node for the schools’ affiliates. It’s mere location presupposes a relation to everyday activity, and one can begin to peel away the layers of daily crossings and interactions to discover its implicit and // or unseen characteristics. Challenge: Using an everyday, inexpensive, and disposable object, construct a site- specific pavilion for the Manhattan streetscape. Address the circulation of moving bodies through the space to somehow confront or adapt to existing environmental conditions and traffic patterns. Learning about lines: A static representation of change over time is ultimately faciliated by the dynamic use of lines. Path lines recorded throughout the day are overlayed to show how densely charged the site is at the day’s end. What we gain from lines is an ultimate understanding of usage relative to movement in order to conceive possible interventions to express the sidewalk’s inherent, invisible dynamism. main entrances site other entrances street axis Architectural Representation: Abstraction Instructor: Nicole Robertson Architectural Representation: Abstraction Instructor: Nicole Robertson
17 18 One basis for analysis was to track paths traversed by various strangers. To imbue even more information into these lines, the amount of footsteps taken along a person’s corresponding path was recorded to gauge a general conception of the time that person spent occupying the site. The significance of the path lines not only became that they represented trajectories but also an n reflects personal ctio important change over time that se engagement with this area. ter t in ee str 0th 12 to ac ros sB roa dw ay, to Ba rna rd en tra nc ea t 11 7th west to east, east to west str ee stairs t in ter se ctio n to Ea rl H all, Co lum bia ca north to south, south to north mp us sidewalk crossing west to east, east to west crosswalk n tio ec ers west to east, east to west int sidewalk crossing ete str 6th a t 11 cen tra en ia mb olu north to south, south to north C sidewalk crossing to Architectural Representation: Abstraction Instructor: Nicole Robertson Architectural Representation: Abstraction Instructor: Nicole Robertson
19 20 GLAD SANDWICH BAG GLAD SANDWICH BAG 2 3 zippers 1 2 3 1 4 5 6 26 2 87 24 25 27 8 23 9 44 47 10 46 29 11 45 48 12 4 67 49 30 68 50 31 13 7 7 14 90 69 0 71 2 74 51 32 15 91 73 53 33 18 92 52 34 16 17 20 55 35 19 93 75 56 36 38 76 54 39 21 57 37 58 22 94 957 80 7 59 40 5 A sequence of 60 78 81 83 overlapping pathways 79 62 4 82 1 reveals the most densely 96 84 61 traversed areas of the sidewalk, 98 99 85 97 100 43 6 transitioning into the crosswalk 63 6 42 86 4 and the peripheral entrance to 65 Columbia campus. 87 66 7 88 8 9 embedded in the materiality of this product are qualities which contribute to analytical study transparency - more clear perception of density self-adhesion - additive structuring system translation to physical model flexibility - responds to environmental conditions choosing a flexible material capable previous page: the suggested area of each area of conveying and interacting with the idea corresponds to a specific grade of color density of travel density was the criterion. The series of 100 areas of grayscale shading results from visually left: the degree of aperture and vertical position follow the segmenting the overlapping pathway scheme. Each same hierarchical organization. segment, in turn, became an individual member of the model made of disposable plastic. areas of highest density (darkest) would have corresponding members that are biggest, closest to the ground, and most present in the midst of pedestrian traffic Architectural Representation: Abstraction Instructor: Nicole Robertson Architectural Representation: Abstraction Instructor: Nicole Robertson
21 22 C D A B A B A B C D C D Architectural Representation: Abstraction Instructor: Nicole Robertson Architectural Representation: Abstraction Instructor: Nicole Robertson
29 Architectural Design I Instructor: David Smiley Architectural Design I Instructor: David Smiley 30 La Ashokan Reservoir Pa lom Often times, modern urban interventions demonstrate a lack of cultural, social, political aS up erm awareness regarding general public issues. In New York City, there has been an increase Food for Thought: ark et in public interest regarding more economically and environmentally viable methods of local food processing and distribution. Simultaneously, through the proliferation of ol Rainwater Harvesting Education Center ho Sc the community garden movement in various neighborhoods throughout the city, h many more people now realize the potential benefits of urban farming. By Hig Croton Tunnel, 1893 30 million gallons per day engaging the space and politics of the city, a food and water conservation- i de tS C based education and community center brings these issues to the forefront of the s We a em d y ca t of A immediate public’s consciousness. rts nA s nia k rai Water Tunnel No. 1, 1917 520 million gallons per day i Challenge: By engaging the location’s surrounding context of public schools, local markets, and health Uk l 1 l 6 centers, create a hub of interaction and involvement with ideas of sustainable agriculture. Provide A 3 sufficient programming for various necessities, including classrooms, information booths, 10 q m 0th Str kitchens, a food bar, and an experimental garden maintained by community members. u ee Water Tunnel No. 2, 1936 550 million gallons per day i t Hopefully by engaging large groups under one common thread of activism and e l Richmond Tunnel, 1970 d e awareness this intervention would add social inequity and public health to the u s public consciousness. c t Water Tunnel No. 3 (stage 1), 1996 Learning about lines: New York City receives its water supply 1 9 via gargantuan pipelines extending to upstate reservoirs. 1 St. Rainwater harvesting devices utilize a similar Mic 7 ha el’s channeling system to acquire runoff from (usually) h urc Anticipated completion of all 4 Ep isc rooftop locations. By focusing the visual Ch stages of Water Tunnel 3, ~2020 < 1.1 billion gallons per day op al emphasis of the building around the community gardens with harvesting planes, lines acquire a Rondout Reservoir rainwater harvesting D new significance as symbols systems in NYC e of widespread efforts to l C a project a mindset of r sustainability. w Blo o y rar a om t 8 ing Lib r da o 5 le n e e u 4 New Croton Reservoir en A m Av A 1 i m q q l rda u m u e ste e i e s Am l d d e u u s Lake Gleneida c c t Jo t on Kensico Reservoir ’s W 1 es 1 tsid e 8 9 Fis 9 4 h 990 million gallons per day rate of leakage from Delaware Aqueduct 0 Ma 3 63 (scaled x 200) 25 million gallons per day s rke l1 Jerome Park Reservoir Wh o ole t ho enough for one person to eat 3 daily Fo od Sc 110 million gallons real dimensions of tank per day meals for 36 years sM blic 245’ x 245’ x 245’ (scaled x 200) ark et Pu real dimensions of tank 510’ x 510’ x 510’ Age 13 Age 49 1,912 gallons New York City Water Tunnel System to make food for a day