monograph_one[selected academic projects]

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These selected projects were designed during the early years of my BARCH program.

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monograph_one[selected academic projects]

  1. 1. MONOGRAPH ONE [1] SELECTED ACADEMIC PROJECTS BY EMMANUEL PIERRE JORDAN GEE SURFACE STRATEGY : SECTION STUDIES OF SHEARING FORCE INTEGRATED PULSE : SPACE OF INTERVENTION
  2. 2. SUBSTANCE AND TRUTH IN ARCHITECTURE: PROJECT DESIGN, AND ALLOW FOR ARCHITECTURE TO DERIVE MEANING. THIS IDEA TO MAKE SPACE DISTINCT AND TO STATE ITS PRECISE NATURE IS THE FUNDAMENTAL CONCEPT TITLE: THEORETICAL STUDIES OF THE DEFINITION OF SPACES THROUGH WRITING BEHIND ARCHITECTURE. IT THEN BECOMES THE COVER AND BINDING THAT CONTAINS SPACE. LIKE A BOOK IT CREATES THE FRAMEWORK AND LANGUAGE TO EXPLAIN THE CRITIC: JOHN HUBERT CHARACTERISTICS OF SPACE. THEN, IF SPACE IS AN INFINITE CONCEPT, IT CAN ONLY BE DEFINED THROUGH THIS FRAMEWORK. SPACE WITHOUT ARCHITECTURE BECOMES STUDIO: EVERYTHING AND NOTHING CONTAINED. BY CONTAINING SPACE THROUGH A DESIGN ARCH 131 FALL 2003 FRAMEWORK WE ATTEMPT TO MAKE SPACE EVIDENTLY READABLE AND DEFINED. PHASES: THIS STUDIO HAD THREE DESIGN PHASES INCLUDING SEVERAL CHARRETTES AND A CONCEPTION…MEANING…UNDERSTANDING…THIS IS A PROCESS TO ACHIEVE ORDER RESEARCH AND WRITING PHASE TO DEVELOP A PERFORMANCE SPECIFICATION WITHIN SPACE. DOCUMENT ON DESIGN. PROJECT 1: THE PAVILION OF LIMPID SOLITUDE, PROJECT 2: SPACE IS CONSTITUTED BY MANY INTERPRETATIONS. IT IS CONTINGENT WITHIN TIME, THE WRITER’S POST, PROJECT 3: THE WRITER’S COMPOUND BUT TIME IS UNDERSTOOD IN PAST, PRESENT, AND THE POSSIBILITIES OF FUTURE. TIME, ALTHOUGH EPHEMERALICALLY GRASPED WITHIN A DAILY ENVIRONMENT, CAN ONLY COURSE THIS STUDIO STUDIED THE RELATIONSHIPS OF PROGRAM TO SPACE AND LANGUAGE AS BE UNDERSTOOD WITHIN THE IDEAL REALM OF INFINITY. WHERE DOES TIME BEGIN AND A TOOL FOR DEFINING MOMENTS IN ARCHITECTURE. WE WERE TO USE THE WRITER AS DESCRIPTION: WHERE DOES IT END? SPACE IS SIMILAR TO TIME, IT CAN BE READ WITHIN A CONTEXT A BASIS FOR DESIGN AND THE DEVELOPMENT OF A COHERENT LANGUAGE OF SPACE. OF ENCLOSURE, BUT UNDERSTOOD AS TACTILE BOUNDARIES OF TIME. SPACE IN THIS CONTEXT, REVEALS IT’S ONLY RESTRICTION. AS HUMAN EVOLUTION PROGRESSES, MAN PROGRAM: THE PROGRAM FOR THESE PROJECTS VARY AS WE HAD SEVERAL DESIGN CHARRETTES. HAS BEEN ATTEMPTING TO EXPLORE THE ASPECTS OF CREATING SPACE WITHIN SPACE. WE BEGAN BY DESIGNING A PAVILION FOR A WRITER OR ARTIST. SEVERAL MASSING SPACE IS THE INFINITE WHOLE OF LIFE AND THE VOLUMES IMPOSING WITHIN IT. “THE STUDIES FOLLOWED, RESEARCHING LANGUAGE AND FRAMEWORK. THEN, A DESIGN FOR PARADOX IS NOT ABOUT THE IMPOSSIBILITY OF PERCEIVING BOTH ARCHITECTURAL A WRITER’S POST FOLLOWED USING THE MASSING STUDIES AS A BASIS FOR DESIGN. CONCEPT AND REAL SPACE AT THE SAME TIME BUT ABOUT THE IMPOSSIBILITY OF WE THEN COMBINED THESE PROJECTS INTO A WRITER’S COMPOUND CONSISTING OF FIVE QUESTIONING THE NATURE OF SPACE AND AT THE SAME TIME MAKING OR EXPERIENC- WRITER’S POSTS, HABITABLE AREAS, LOUNGES, AND A LIBRARY. THE LIBRARY BECAME ING A REAL SPACE”. THROUGH ARCHITECTURE, MAN HAS OCCUPIED THE “PHENOM- THE FOCAL POINT AND UNDERLYING LANGUAGE THROUGHOUT THE COMPOUND BY ENOLOGICAL SPACE”, AND CONTAINED IT WITHIN THE EDGES OF ITS PURPOSE. THIS DESIGN THE STACKS OF BOOKS AS A CONTINUOUS THREAD THROUGHOUT ALL THE IDEA OF DEFINING SPACE THROUGH THE ARTICULATION OF FORM WITH MEANING IS PROGRAMMATIC SPACES . WHAT ARCHITECTURE STRIVES TO BE. IT ATTEMPTS TO CREATE RELATIONSHIPS BETWEEN SPACES THROUGH A LANGUAGE OF DESIGN READABLE BY ALL OBSERVERS. “ARCHITECTURE AIMS TO REINSTATE THE TERM FUNCTION AND, MORE PERFORMANCE PARTICULARLY, TO RE-INSCRIBE THE MOVEMENT OF BODIES IN SPACE…” ARCHITECTURE HAS DEVELOPED INTO A MODERN MYSTICAL SUBJECTIVITY THAT STRIVES SPECIFICATION: -BERNARD TSCHUMI: ARCHITECTURE AND DISJUNCTION FOR “SUBSTANCE AND TRUTH”. IF SPACE IS CONSIDERED AS THE WHOLE OF LIFE (MEANING EVERYTHING AROUND LIFE), AND IS SUBJECTED TO THE FINITE CHARACTER- IN AN EFFORT TO DICTATE AN UNDERSTANDING OF ARCHITECTURE, MY STUDIES ISTICS OF THE EARTH, THE CONCEPT OF SPACE BECOMES INFLUENCED BY THE BEGAN BY RESEARCHING THE MEANING AND DEFINITION OF SPACE AND THE IDEA CONTEXT AND PLACEMENT ON IT’S SITE. SPACE OBSERVED THROUGH ARCHITECTURE, OF A “CONTAINER” THROUGH BOUNDARIES. WHEN SPEAKING OF BOUNDARIES, IS THEN ALSO ANALYZED AND READ THROUGH TIES LINKED TO HISTORY, CULTURE, MY INTENT IS TO UNDERSTAND THE POSSIBILITIES OF WHAT SPACE CAN BE AND ECONOMICS, AND POLITICAL IDEOLOGY. HERE, ANOTHER TYPE OF LANGUAGE IS BE DEFINED AS. THE NOTION OF ARCHITECTURE AND SPACE CAN BE VIEWED CREATED TO BIND RELATIONSHIPS OF MEANING TO CONTEXT. THE JUXTAPOSITION OF AS PARALLEL PARADOXES. THE FUNDAMENTAL IDEAS BETWEEN THE TWO OF SPACE, ITS PROGRAM, LANGUAGE, AND CONTEXT, THROUGH PHILOSOPHICAL AND THEM ARE NEVER FINITE. THEY ARE IN CONSTANT FLUX, AND ONE COULD STATE THEORETICAL MEANING CONVEYS THE QUALITIES AND ATTRIBUTES OF “ARCHITECTURE” THAT THEY ARE UNSTABLE UNTIL A FORM OF LANGUAGE IS DERIVED. WITH [CITY, SITE, CLIENT, AND OBSERVER], SO THAT IT CAN BE READ WITH BOTH OBJECTIV- RESPECT TO THIS PARODY, THIS INSTABILITY CAN ALLOW SPACE TO FORM INTO ITY AND SUBJECTIVITY.
  3. 3. PROJECT 2: THE WRITER’S POST
  4. 4. PROJECT 1: PAVILION OF LIMPID SOLITUDE PROJECT 3: THE WRITER’S COMPOUND THIS PAGE - PRELIMINARY DESIGNS ADJACENT PAGE - FINAL DESIGN
  5. 5. THE URBAN l THE CULTURE l THE THEATRE PROJECT TITLE: THEATRE OF THE ABSURD: CONGESTION_ FOLDED URBAN SPACE CRITIC: VERA PARLAC STUDIO: ARCH 231 FALL 2004 PROJECT 1 PHASES: THIS STUDIO’S PRELIMINARY PHASE WAS TO STUDY THE URBAN CONTEXT WITH RESPECT TO THE CONDITION OF SITING. THERE WERE PARALLEL STUDIES ON THE DESIGNS AND DEFINITIONS OF “PERFORMANCE SPACES.” THE SECONDARY PHASE WAS TO DEVELOP AN URBAN THEATRE. THIS STUDIO WILL STUDY THE URBAN CONDITION, SPECIFICALLY WITH RESPECT TO THE COURSE DEVELOPMENT OF A PROJECT WITHIN STRICT CITY LIMITATIONS. THIS PROJECT WILL DESCRIPTION: STUDY AND UNDERSTAND THE THEATRE AS A “PERFORMANCE SPACE” WITHIN AN URBAN CONTEXT AND TO DESIGN A THEATRE FITTING TO THE SURROUNDING SITE CONDITIONS. THE PROGRAM FOR THIS PROJECT IS A 300 PERSON CAPACITY URBAN THEATRE. THE PROGRAM: THEATRE WILL COMPOSE OF THE FOLLOWING: A MAIN PERFORMANCE SPACE, A SUB-STAGE ROOM, PRODUCTION MANAGER OFFICE, STAGE PRODUCTION MANAGER OFFICE, MEDIA ROOM, STAGE LIGHTING ROOM, TECHNICAL DIRECTORS OFFICE, FLY SPACE, GREEN ROOM, REHEARSAL SPACE, PROP STORAGE, FITTING ROOMS, ACTORS LOUNGE, OUTDOOR LOUNGE, CAFE / LOUNGE, GALLERY AND EXHIBITION SPACE, THEATRE AND EXHIBITION SHOP, MAIN LOBBY, AND ALL STANDARD BUILDING SERVICES. THIS PROJECT’S SITE IS COMPRISED OF THREE INDIVIDUAL LOTS FORMING A LARGE S I T E : T-SHAPED SITE. THE SITE FACES THREE DIFFERENT STREET EDGES [CHESTNUT, 20TH, AND SANSOM STREET], AND CAN BE LOCATED AT 1924-28 CHESTNUT STREET / 1927 SANSOM STREET / 107 S. 20TH STREET. PROJECT TRANSITION : ADAPTATION : URBAN THEATRE SPACE IN AN URBAN CONTEXT CONDITIONS OCCUR WITHIN THE NETWORK GRID, CREATING OR SUMMARY: IMPLYING RELATIONSHIPS THAT NEED AN UNDERSTANDING. IN MY INVESTIGATION INTO AN URBAN THEATRE DESIGN, I EXPLORED THE CONDITIONS OF A SITE LOCATED IN A DENSE URBAN CITY CLUSTER, CONTAINED BY THREE HIGH RISE APARTMENTS AND AN ABANDONED CINEMA. IN EXPLORING THE CONDITIONS I FOUND A REPETITIVE URBAN FRAMEWORK, A CONGESTION OF SPACE LAYER UPON ONE ANOTHER. AS REM KOOLHAAS SAID, THE METROPOLIS IS A CITY WITHIN A CITY; CONTAINED ENVIRONMENTS LAYERED WITHIN A FABRIC OF SPACE. THIS SITE, COMPRESSED BY THE URBAN FRAMEWORK HAS MOMENTS ILLUSTRATING SHEARS WITHIN THE SITE. THESE SHEARS IMPLY AN OPENING WITHIN THE URBAN CONGESTION, WHICH I USE AS A BASIS FOR DESIGN.
  6. 6. PROJECT THE SHIFTING GROUND : SHEARING FABRIC TITLE: A SCHOLARS RETREAT WITHIN THE MORRIS ARBOREATUM CRITIC: VERA PARLAC STUDIO: ARCH 231 FALL 2004 PROJECT 2 PHASES: THE STUDIO HAD TWO PHASES. THE FIRST PHASE WAS A CONCEPTUAL PHASE IN WHICH THE INTERVENTION STRATEGY WAS ARTICULATED. THE EMPHASIS OF THE SECOND PHASE WAS ON THE APPLICATION OF THE INITIAL STRATEGY, PROGRAMMATIC REQUIREMENTS, AND IMMEDIATE SITE CONDITIONS. COURSE IN THIS STUDIO WE EXPLORED THE IDEA OF BUILDING WITH AND WITHIN A LANDSCAPE. IMPORTANT FOR THE PROJECT WAS THE AWARENESS THAT THE “NATURAL” SITE DESCRIPTION: REQUIRES A DIFFERENT SET OF CONSIDERATIONS. IN THE NATURAL ENVIRONMENT, DYNAMICS OF TRANSFORMATIONS AND EMERGENCES ARE SOMETIMES SUBTLE AND SOMETIMES VIOLENT AND LESS CONTROLLABLE. AWARENESS OF SUCH FORCES ALTERS THE WAY WE CONCEIVE OF THE POSSIBLE SOLUTIONS (STRATEGIES). THE CONTINU- OUS TRANSFORMATION OF THE SURFACE OF THE GROUND, THROUGH NATURAL PROCESSES, CAN BE PROPELLED, THROUGH THE ACT OF DESIGN, INTO A WAY OF ENGAGING THE GROUND ITSELF. - PARLAC PROGRAM: THE CONTEXT OF THE PROJECT WAS A SCHOLARS’ RETREAT FOR MORRIS ARBORE- TUM. THE PROGRAM CALLED FOR AN INTERDISCIPLINARY ENVIRONMENT FOR FIVE SCHOLARS WITH PRIVATE ROOMS AND PUBLIC AREAS ACCESSIBLE TO THE USERS OF THE ARBORETUM. ORGANIZED AROUND TWO ASPECTS, PRIVATE AND PUBLIC, THE CONSIDERATION WAS GIVEN AS TO HOW TO MEDIATE THE THRESHOLD BETWEEN PUBLIC AND PRIVATE, AND OUTSIDE AND INSIDE. - PARLAC S I T E : THIS PROJECT WAS LOCATED IN THE MORRIS ARBOREATUM OF THE UNIVERSITY IF PENNSLYVANIA. THE ARBORETUM IS FOUND AT 100 E. NORTHWESTERN AVENUE IN PHILADELPHIA, PA ALONG THE WISSAHICKON VALLEY. THIS PROJECT RECIEVED AN HONORABLE MENTION IN THE BIANNUAL ARCHITECTURAL AWARDS: STUDENT DESIGN COMPETITION, “VITTETA: BEST AND THE BRIGHTEST.” THIS IS A FACULTY CHOSEN STUDENT COMPETITION FEATURING THE FOUR ACCREDITED DESIGN SCHOOLS LOCATED IN PHILADLEPHIA, PENNSLYVANIA.
  7. 7. IN THIS PROJECT WEBEGAN BY EXPLORING SURFACE TRANSFORMATIONS, THROUGH A SERIES OF PLASTER TABLETS, WHERE EACH NEW TABLET WAS A SNAPSHOT OF THE DECISIVE MOMENT IN THE CONTINUOUS TRANSFORMATION OF THE CLAY SURFACE. THE ARTICULATION OF THE INTENTION AT THE BEGINNING OF THE PROJECT WAS UNDERSTOOD AS THE ARTICULATION OF THE PERCEPTION OF THE SITE. THE CLAY TABLETS WERE WAYS TO ENGAGE THOSE PERCEPTIONS, AND GENERATE THE SURFACE STRATEGY BASED ON THE UNDERSTANDING OF THE SITE. IN THIS PARTICULAR PROJECT THE EXPLORATION OF THE SURFACE FORMATION GENERATED THE “PULSE” OF THE TRANSFORMATION THAT HELPED THE STUDENT TO EFFECTIVELY DEVELOP THE SPACE OF THE INTERVENTION. THE IDEA OF SHEAR, DERIVED FROM AN ANALYSIS OF A ROCK OUTCROPPING (IMMEDIATE SITE CONDITIONS), REVEALED THE AXIS THAT EFFECTIVELY ENGAGED THE PROGRAMMATIC ASPECTS OF THE PROJECT. THE “PULSE” WORKED THE SURFACE OF THE GROUND TO GENERATE FOLDS WITHIN THE FABRIC OF THE ARBORETUM. THE SHEARING BEGAN TO SHIFT THE LANDSCAPE AND DEVELOP THE THRESHOLDS OF PUBLIC AND PRIVATE, INSIDE AND OUTSIDE. - PARLAC
  8. 8. PERCEPTION OF THE SITE : SHEARING FORCE [CLAY TABLET STUDIES] SURFACE STRATEGY : SECTION STUDIES OF SHEARING FORCE SECTION PULSE : PHASE 1 SECTION PULSE : PHASE 2 SECTION PULSE : PHASE 3 INTEGRATED PULSE : SPACE OF INTERVENTION
  9. 9. URBAN C [RE]VITALIZATION: NAN ADAPTATION TOF ETHEI CGRETZ SBREWERY] PROJECT [INTERLA ING, PARASITIC, AD PROS H T PACE TITLE: CRITIC: ANTHONY TSIRANTONAKIS STUDIO: ARCH 232 SPRING 2005 [URBAN DESIGN STUDIO] PHASES: 2 DESIGN AND RESEARCH PHASES [DETAILED ANALYTICAL URBAN ANALYSIS AND THE DEVELOPMENT OF NEW RESIDENTIAL AND MIXED-USE UNITS] COURSE THIS STUDIO WAS AN EXPLORATION INTO THE NATURE OF THE CITY, URBAN LIFE, DESIGN, AND HABITATION BY FOCUSING ON A SPECIFIC SITE IN NORTH PHILADELPHIA: THE DESCRIPTION: NOW-ABANDONED GRETZ BREWERY. THE NEIGHBORHOOD SURROUNDING THE SITE WAS ONCE A REGIONAL HUB FOR EARLY AMERICA’S INDUSTRY, ONE DESIGNED FOR MASS-PRODUCTION. OUR DESIGN METHOD WAS TO BUILD BY ACCRETION THROUGH LINKED ALTERNATING URBAN ANALYSIS AND RESIDENTIAL DESIGN ASSIGNMENTS, WHICH ALLOWED US TO DEVELOP A HISTORICAL URBAN RESEARCH PHASE AND A DESIGN VOCABULARY FOR THE FINAL RESIDENTIAL / URBAN DEVELOPMENT. PROGRAM: THE PROGRAM FOR THIS PROJECT WAS TO FIRST DEVELOP A COMPREHENSIVE RESEARCH STUDY ON THE EXISTING SITE AND IT’S HISTORICAL IMPLICATION ON COMMUNITY AND NEIGHBORHOODS. WE THEN DESIGNED A [RE]DEVELOPMENT PROPOSAL FOR THE GRETZ BREWERY SITE, WITH 40 NEW LIVING UNITS, COMMERCIAL SPACE, A COMMUNITY LOBBY, THE “GRETZ ATRIUM” - BAR AND CAFE, LOUNGE / READING ROOMS, COMMUNITY MEETING HALL, EXERCISE ROOM, AND GREEN ROOF GARDEN. S I T E : THE PROJECT’S SITE IS LOCATED AT THE INTERSECTION OF OXFORD STREET, 4TH STREET , AND GERMANTOWN AVENUE IN NORTH PHILADELPHIA. THE PROJECT WAS TO INCORPORATE THE GRETZ BREWERY AND ANY SURROUNDING SITES WHICH WE DEEMED APPLICABLE. PROJECT THE DEPARTURE POINT FOR THIS PROJECT WAS A TWO PART RESEARCH PHASE INVOLVING [1] HISTORICAL TIES TO THE COMMUNITY AND THE EFFECTS OF DERELICT SUMMARY: SPACE WITHIN THE EXISTING URBAN FABRIC & [2] A “deconTEXTURALIZED” FACADE STUDY WHICH SEPARATED BUILDING ELEMENTS INTO THREE-DIMENSIONAL LAYERED TEXTURES, IN AN ATTEMPT TO UNDERSTAND DEPTH AND CHARACTER. THESE STUDIES THEN INFORMED A PHILOSOPHY AND PROCESS TO DESIGN FOR, WHICH STRIVED TO [RE]VITALIZE THE GRETZ BREWERY INTO AN ADAPTED ARTIFACT FOR THE COMMUNITY AND [RE]ACTIVATE THE SURROUNDING NEIGHBORHOODS.
  10. 10. THE DIALECTIC OF THE NEW HEGEL GRASPED THAT THE NEW IS ALWAYS CONSUMING ITS IMMEDIATE PRECURSOR AS ITS DEFINING OPPOSITE, MAINTAINING AND CARRYING IT ALONG LIKE A SHADOW. AND THIS SHADOW CARRIES A FURTHER SHADOW ETC., SO THAT A CULTURAL INNOVATION CAN ONLY BE IDENTIFIED AND APPRECIATED BY THOSE WHO ARE ABLE TO PLACE IT WITHIN THE WHOLE HISTORICAL EVOLUTION. SUCH APPRECIATION THERE- FORE BECOMES A RELATIVE, GRADED AND ULTIMATELY INFINITE ACT. “AND IT IS ESSENTIAL FOR THE CULTURE OF ARCHITECTURE TO INSIST THAT A NEW ARCHITECTURAL POSITION CAN NOT BE REDUCED TO AN ISOLATED FORM OR GESTURE, BUT - LIKE A SCIENTIFIC IDEA - INVOLVES A WHOLE NETWORK OF HISTORI- CALLY CUMULATIVE ASSUMPTIONS AND AMBITIONS.” [FRIEDRICH HEGEL] PATRIK SCHUMACHER 2000 FROM “IN DEFENCE OF RADICALISM - ON THE WORK OF ZAHA HADID,” PUBLISHED IN: CITY VISIONARIES, VENICE BIENNALE OF ARCHITECTURE, CATALOG FOR THE BRITISH PAVILION, CORNERHOUSE PUBLICATIONS, MANCHESTER
  11. 11. THESE DIAGRAMS ARE STUDIES OF THE GRETZ BREWERY DECONSTRUCTED OF ITS TEXTURAL ELEMENTS AND [RE]COMPOSED INTO A THREE DIMENSIONAL DEPTH & DETAIL STUDY. THE [RE]COMPOSED IMAGE IS SEEN HERE FLATTENED, BUT WAS ORIGINALLY A SERIES OF ACETATE PRINTS LAYERED IN SHEETS OF PLEXIGLAS. WHAT IS INTERESTING IS THE COMPOSITION OF ARCHITECTURAL ELEMENTS AND THEIR DEPTHS WITH RESPECT TO THEIR HISTORICAL PERIOD. THE BREWERY WAS COMPOSED OF SEVERAL BUILDINGS BUILT THROUGHOUT THE 20TH CENTURY AND EACH PERIOD HAS LEFT AN IMPRINT OR ARTIFACT OF IT’S DESIGN METHODOLOGY, AND HAS CREATED A THREE DIMENSIONAL COLLAGE OF ARCHITECTURAL HISTORY IN WHICH TO BE ADDED UPON. THEREFOR AN APPROACH WAS DECIDED THROUGH THIS STUDY WHICH WAS TO ACKNOWLEDGE THE DESIGNERS OF PAST PERIODS AND CONTINUE THIS TIME-LINE OF ARCHITECTURAL HISTORY, WHILE IMPRINTING THE CONTEMPORARY IDEAS OF TODAY.
  12. 12. [C] [B] [A]
  13. 13. FIGURE [A] IS AN INITIAL ANALYSIS MODEL LOOKING AT THE COMMUNITY, TRAFFIC PATTERNS, AND [RE]STRUCTURING POSSIBILI- TIES. FIGURE [B], [C], AND [D] ARE DETAIL IMAGES OF A LARGE MASSING MODEL, DERIVED FROM THE ANALYSIS AND FOCUSING ON THE GRETZ SITE SPECIFICALLY. THIS LARGE MASSING MODEL WAS THE DEPARTURE POINT FOR THE ARCHITECTURAL LANGUAGE AND ELEMENTS DEVELOPED THROUGH THE DESIGN PHASE. FIGURE [E] IS A CONCEPT SECTION / HYBRID OF BOTH THE EXISTING GRETZ SITE AND THE MASSING MODEL [D] [E]
  14. 14. l Interlocking Condition weaving space, interlacing space Contemporary Program 1,2, and 3 Bedroom Units (Rowhome Image) con·tem·po·ary: k n-’tem-p -,rer-ē adj. e e 1: coming into being during the same period of time. 2: SIMULTANEOUS [Simultaneity] in·ter·lace: ,in-t r-’l s vb. 1: to unite by or vary by alternation or inter-mixing: INTERWEAVE,INTERSPERSE l Hosting Condition parasitic space re-vitalized program 2 and 3 story altered row homes (existing, family oriented) street façade re-habilitated existing interior program w/ modified rear extension the “private house” hosts public space and circulation - (dispersion of private control to network system) host: ‘hōst n. 1: the larger, stronger, or dominant member of a commensal or symbiotic pair. re·vi·tal·ize: (,)rē-‘vi-t l-,iz vt. e 1: to give new life, revive, or restore something disused. 2: renewed attention to or interest in something. [façade character] par·a·sit·ic: ,par- -‘si-tik adj. e 1: An act of exploitation by living in, with, or on another in dependence. [un-privatized – theft of space] [needs for the community] consumer agenda political agenda l Hybrid Condition prosthetic space re-interpreted re-constructed program existing brewery conditions eternalized…in ruin - for display carved program for café and lounges circulating through machines east façade re-vitalized and plugged with main circulation hub and commercial space non-active facades demolished for interlacing units loft spaces w/ 1,2,3, and 4 person bedrooms hy·brid: ‘hī-br d n. e 1: an offspring of different breeds or varieties: COMPOSITE 2: something that has two different types of components performing essentially the same function. [existing decay as contemporary palette] pros·thet·ic: präs-‘the-tik adj. 1: an artificial device to replace a missing part. [lost character due to decay] [an addition and extension of the Gretz to the community re-connection of the lost node] Existing Urban Fabric

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