4. DS1121 01:2GB STUDIO ARCHITECTURES INTERVENTION
The Studio focuses on architecture role in the city through the typology of housing
in relation to eccentric deviation. As noted in the definition above, eccentricity has
a range of applied definitions all related to the deviation from a central or typical,
condition? For our purposes the central condition for eccentric deviation is the typol-
ogy of housing. Typology in architecture has a longstanding and contentious history.
This becomes contentious in contemporary discourse as the notion of essence is tied
to the ideal: the single, pure, and absolute expression of a form; which thus con-
jures up the specters of the renaissance and a theological hegemony of architectural
principles. Building types arose as a response to vernacular, programmatic, and/
or ritualistic uses and carry with them a collective memory and cultural understand-
ing of traditional built form. As a typology, housing has a rich genealogy that spans
from the pre-industrial revolution to today. From flats, tenements, and row houses
to apartments and lofts, urban housing is a generic program type that requires the
calibration of internal logistics. It must address issues such as unit-to-whole, private
vs. shared space, outdoor space, access to light and air, acoustics, repetition,
circulation, etc. In turn, the organization and articulation of these attributes contrib-
utes to the urban effects that are produced in terms of massing, porosity, legibility,
frontally, connectivity, etc. In a sense, it is a parametric problem of the utmost,
where local and global relations are intricately linked. This semester we will explore
conceptual, formal, and organizational deviations from the constricting demands of the
typology of housing with an eye towards the eccentric.
C PLB
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5. INTERLOCKING ECCENTRICITY
The emphasis of this project is to create a localized system that would generate an
eccentric housing complex. We focused on a localized system that would interlock
with one another, creating a center void. In which the void became an atrium that
would meander through the building allowing light to penetrate to all units. Through
the process of mirroring and rotating we were able to stack the units into a build-
ing. We created six typical unit types and provided amenities (park, outdoor pool,
roof top restaurant and bar).
We design this project in consideration that our project is an infill site. The use
of light to achieve aperture and walkway is a critical aspect to our design. Ad-
dressing this issue by creating an arrangement of four atriums surrounding the units
and the in-between spaces of the units were stitched with catwalks and landscapes
that proposes communal space and provide visual connection throughout the building.
We’re proposing that all units have their own formal entry through the atrium shared
by two to three other units. The exterior structure bands overlay on horizontal
strips of transparent and translucent glazing creating a moiré pattern that could be
experienced from exterior as well as interior.
9. VS2539 01:VS OF MARGINAL INTEREST
Architecture’s effects operate largely at the center of visual interest. It is in the
central cone of vision that perspective is created and in which architectural assem-
blies are imagined. One consequence of the sectional object, a long standing series
of investigations which seeks to confound the hegemonic dominance of objects by
making them an interior condition, is that the occupant is shafted from a privieged
position in the center of the interior space to its margins. This decentralization may
also find its parallels in visual field.
This visual studies study peripheral sectional conditions as a drawing problem.
Through a close examination of plates from Claude Nicolas Ledoux’s Architecture
consideree sous le rapport de i’art, des moeurs et de la legislation, students will be
asked to produce a series of increasingly complex investigations of marginal section
conditions. Great emphasis will be placed on the pysical attributes of the drawings
themselves; their scale, their coloration, and their materiality.
13. AS2394 01:AS ART MACHINES
Art Machines focuses on techniques of representation using the state-of-the-art
SCI-Arc Robot House. The seminar explores the role of maker, medium, and
machine underlying contemporary art and technology the seminar offers a hands-
on laboratory for experimentation with airbrushing, painting, spraying, and sputtering
on 2D and 3D surfaces in 4D real-time. Work in the seminar focuses on addi-
tive processes with multi-axial, multi-robot motion paths that explore and exploit the
aesthetic affect of anexact ari and particle drven formats.
Seminar participants will have access to Maya plug-in ‘Shave & A Hair Cut’ to
generate motion paths for fur and hair. Tutorials and exercises introduce students
to ‘Shave’, airbrushing, amsking, frisketing, and shading. Each team proposes and
produces a final project that may include the design of new end of arm tooling
actuated with Arduino that allow for muiltiple markers on one robot.
16. AS3122 01:DESIGN DEVELOPMENT GRADUATE
The course investigates issues related to the implementation of design; technology,
the use of materials, systems integration, and the archetypal analytical strategies of
force, order and character. The course includes a review of basic and advanced
construction methods, analysis of building codes, the design of structural and
mechanical systems, the development of building materials, the integration of build-
ing components and systems, fire/life safety and ADA planning, and the introduc-
tion of sustainability measures. The intent of this course is to develop a cohesive
understanding of how architects communicate complex building systems for the built
environment and to demonstrate the ability to documents a comprehensive architec-
tural project. Series of studio project will be selected to further explore evolution of
building design from concept to build form. Topics such as leadership, project deliv-
ery methods, and project cost control including lifestyle cost analysis will be covered
in order to introduce students to the larger social an economic context of design
documentation.
17. CHELSEA CENTER FOR PERFORMING ARTS
The design of CCPA requires the abilities to conduct design thinking skills, technical
documentation, investigative skills, ordering systems, accessibility codes, site de-
sign, environmental system, structural system, mechanical systems, building envelope
system, penalization, insulation, water proofing, fire and life safety system, egress,
materials and methods, construction techniques, detail development, cost estimating
and project delivery methods.
Generated Documents:
1 Cover sheet
2 Sheet Index
3 General Notes, Abbreviations & Symbols
4 Site Plan
5 Plan of Ground Floor
6 Plan of Outdoor Theater
7 Plan of Classic Theater
8 Plan of Multiform Theater
9 Reflected Ceiling Plan &
Fire Sprinklers & Lighting Plan
10 Life Safety Egress Diagram Plan
& Load Calculation
11 ADA Diagrams
12 ADA Diagrams Details
13 Air System Distribution Floor Plan
14 Primary Building Sections of
Entire Building Traverse
15 Primary Building Sections of
Entire Building Longitudinal
16 HVAC System Traverse Building
Sections
17 Primary Elevation of Entire Building
(North & South)
18 Primary Elevation of Entire Building
(East & West)
19 Structural System 3D View of
Entire Building
20 HVAC System 3d View of
Entire Building
21 Enclosure of Entire Building
22 Building Shell Breakdowns
23 3D View of Enlarged Chunk
24 3D Chunk of Voronoi Aperture
25 3D Chunk of ETFE Mullion Connection
26 Wall Sections
27 Details
18.
19. HVAC UNITS, TYP
HVAC UNITS, TYP
OUTDOOR AIR
DUCT, TYP
SUPPLY AIR
DUCT, TYP
EXHAUST AIR
DUCT, TYP
RETURN AIR
DUCT, TYP
CHILLER ROOM,
SEE SHEET A5.2 FOR DETAILS
BOILER ROOM,
SEE SHEET A5.2 FOR DETAILS
21. CS2121 01: CS URBAN CULTURE
This course of study presents students with a range of contemporary research
methods for understanding the complex, multivalent and dynamic set of systems and
pressures known as ‘the city’. In order to provide rigor and intensity- the urban
studies course is divided into 3 small seminars that align exactly with the sections
of the 2GB studio. Through various methods and theories - from market scenario
analysis to historiography-students are asked to formulate interpretations of urbanism
and apply these studio projects. Because SCI-Arc innately understands the shift-
ing nature of this discourse- the course in Urban Studies endeavor to represent the
most current paradigms and orientation.
22. Venturi defines the American City via the death of the pedestrian and the primacy
of the automobile. Even though buildings/monuments/signage might be adjacent,
they are all to be viewed at the speed of the automobile. One does not move
through close thruways in American like they might in Rome. Objects must be
separated along the linear passageway of the highway that connects them so they
can be absorbed before the introduction of the next one. These buildings and sig-
nage operate along an ideology of individualism; each does as it wishes, devising
whatever tactic deemed necessary to grab the automobile driver’s attention in order
to entice them to the product it has to sell within its decorated shed (or, more
rarely, its duck.) The only things giving a communal rhythm to the collection are
the evenly spaced streetlamps, deemed redundant for light but necessary for sanity.
ANIMATION ABSTRACT:
Fumihiko Maki writes that a group form evolves from a system of general elements
with recognizable spatial organizations with minor physical expression, the relation-
ship of the building forms to its adjacency; without a beginning or end creating an
extensive axial theme. However, Venturi; Learning from Las Vegas illustrate a fast
moving adult playground consist of a glamorous frontage and a large scale parking
garage behind it filled with bombarding billboards along an introverted strip.
Q: What is the discussion of how forms interrelate with Maki’s notions of collective
form?
A: Fumihiko Maki considers collective form differently, gives more lower-level con-
sideration to the individual elements, of which there are 3 kinds: Compositional
form, Megastructure, and Group form. Group form is a more natural development,
with individual pieces acting in interrelation to others. Compositional and megastruc-
ture, meanwhile, are more dictated results that don’t take nearly as much con-
sideration into neighboring components. Maki, considers the urban condition from a
lower-level perspective, and thus, breaks that system into these 3 specific types of
form. A key consideration to how the components interrelate to one another is the
element of time: Maki directly considers how time plays a role in systems evolving,
with old components being replaced by newer components. Allen, by taking a much
higher level approach to his analysis of fields, makes no reference to time.
Q: According to Venturi what are some urban inventions to Las Vegas?
A: VENTURI: an urban invention of Las Vegas is the bright, competing signs/
symbols (given greater importance than the buildings that they lead the consumer
to). He says, “If you take the signs away, there is no place. The desert town
is intensified communication along the highway.” Another invention is the strip. The
idea is a single strip containing a collection of objects that must be viewed as
moving sequences. By the sheer speed of their viewing, a separation between them
is understood as necessary so that they do not seem to meld together and become
incomprehensible. A third invention is the big, low space of the casino floor. For
pragmatic reasons, the activity on the floor needs to be easily viewed by a reflect-
ing mirror, a low space is easier to ventilate, and the bigness of the space allows
for a seemingly endless area absent from time (doesn’t have windows). The entire
city is a capitalist, individualistic paradise; the word ‘paradise’ being used loosely, of
course.
25. DS1120 01: DS 2GA ARCHITECTURES INTEGRATION / PURE PRIMITIVES
2GA studio will examine the potential of a large, single building within the intense
urban context of Manhattan. The central goal of the studio will be to manifest criti-
cal thinking as a developed architectural project. The integration of form, space,
structure, surface, environmental systems and materiality will be the means by which
explorations are made manifest. While conceptual arguments are important, it is im-
perative that students work directly with these systems of architecture to develop and
articulate them into a tectonic solution that is saturated with presence.
We also seek to build design intelligence. While on a way of working might be to
develop airtight conceptual strategies capable of withstanding the greatest scrutiny a
priori to the making of any physical manifestation of architecture, it is a bias of this
studio that those that those strategies and arguments will emerge from explorations
of formal architectural constructs. This is no way implies blindness. That is, we
believe that critical awareness will emerge and that conceptual thinking will become
strategic, sharpening arguments and driving solutions. We believe in a dialogue
between constructed experiments and emergent design intelligence, and it will be in-
cumbent upon every student to achieve a certain comfort level with moving between
the two. It is vitally important to understand that all design asks questions; choosing
which questions to ask and working on them as architecture is critical.
The Studio project will be a design for a live music and experimental performance
venue that contains two interior performance halls of different sizes and require-
ments, along with support spaces, an outdoor venue and public lobby. The site for
the project is immediately adjacent to the by the elevated park to the west, 10th
Avenue to the east, between W19th and W20th Streets. The nature of the site
suggests a more complex understanding of the movement of the public through the
building in section, from the elevated walkway of the High Line to the two different
corner conditions found at the ground level.
26. CCPA
The Chelsea Center for Performing Arts (CCPA) proposes an opportunistic
response to the eccentric urban conditions created by the New York City
High Line.
The project seeks to create a contextually significant piece of architec-
ture, interactions among the performers and audience members via activated
building sectors, and a community of artists, ranging from the professional
orchestra members to the novices receiving musical training.
To expand on the High Line, circulation extends towards the CCPA’s
outdoor theater and a lobby space where a vertical atrium opens onto a
variety of social gathering, lounge, bar, and lobby spaces.
Diagrammatically, the three stacked theaters are plugged into the verti-
cal atrium and cantilevered from the flanking egress cores. Back of house
spaces for performers hang underneath and small rehearsal spaces reside
alongside the theaters. A voronoi pattern thickens the facade, allocating
programmatic spaces for local conditions. Within these spaces, performers
rehearse, staff members conduct meetings in a dynamic environment, and
audience members await a performance within spatial apertures that frame
views of the city.
30. VS4120 01:ADVANCED COMPUTATION I
This class focuses on the architectural evolution and transformation of surfaces
becoming solids. In the last ten years, the discipline of architecture has perfected
design strategies that have transformed the way we manipulate the design of build-
ings, new tools for design have allowed architects to morph, twist, fold abstracts
surfaces into complex buildings, the dominating geometry has been that of the outer
layer of a building mass, it’s surface enclosure. This class intends to engage design
strategies that would allow for the further manipulation of the building enclosure by
assuming a thicken poche, one that will add a solid sense to the building mass. As
a way of moving away from thin, continuous surfaces, we will investigate techniques
that deal with mass, volume, material and color.
By means of the introduction of Grasshopper, we will implement very specific scripts
that will test the potential of carving mass, we will start by using a particular code
that produces five types of polygon packing, and each packing system contains two
or more polygon primitives to allow for variation. The code will pack inside a used
defined object, and after that we will boolean the mass to allow for smooth and
crystalline structures.
34. AS2387 01:AS MATERIALS LAB 1 GRADUATE PAVILION
The course serves as a research, design and prototyping platform for the develop-
ment of “League of Shadows”. Major material components of the project aims to
create nuance textile effects using a composite of various interlocking fabrics and
complex sewing mechanisms.
Projects consist of a series of physical experiments leading to a final mock-up pro-
totype. Prototypes will be fabricated utilizing digital CNC technology as well as varies
methods of fabrication of metal elements and materials assembly. Materials will range
from metal, textiles such as Spandex and Kevlar. Methods will shift according to the
particular needs of every group research project at every stage of its development.
37. AS3123 01:AS ENVIRONMENTAL SYSTEM II
This course focuses on advanced building systems and technologies with a special
emphasis on emvironmental systems, sustainability, performative archiecture, and inte-
gration of building sytems. The content includes passive and active building environ-
mental systems and design strategies and their integration and optimization with the
building site, orientation, envelop/facade, generative systems and occupant needs.
The seminar also covers building systems and services such as plumbing, electri-
cal fire, protection, vertical transportations and overall systems integartion. Through
a series of lectures, software tutorials, assignmnets, student presentation, advanced
systems, design strategies and architectural precedents will be explored and critically
analyzed using various qualitative and quatitative techniques including benchmarks/
rule-of-thumbs, prescriptive (building codes and standards), and dynamic building
performance simulations.
38.
39. Columbia University Harvard University UCLA
2001 Florncia Pita
1997 Marcelo Spina 1972 Eric Owen Moss
2007 Andrew Atwood
Elena Manferdini
2003 Ramiro Diaz-Granados
Sci Arc
2006 Ramiro
Diaz-Granados
1999 Tom Wiscombe
1984 Wes Jones
(linked w Peter Eisenman)
1999 Peter Zellner (linked w Rem Koolhaas)
1998 Marcelyn Gow
1986 Andrew Zago (linked w Thom Mayne)
Jason Payne
1994 Jason Payne1999 Hernan Diaz Alonso
(linked w Peter Eisenman)
Universidad Nacional de Rosario,
Argentina
1995 Hernan Diaz Alonso
1994 Marcelo Spina
UC Berkeley
1968 Eric Owen Moss
1980 Wes Jones (linked w Peter Eisenman)
Greg Lynn 1992-1999
East Coast West Coast
1978 Thom Mayne
Thom Mayne 1992- Eric Owen Moss 2002-
CS Prov Pract SCIArc Now
Marcelyn Gow & Peter Zellner
Fall 2012_Suky Ho
LINEAGES
PROV PRACT SCIARC NOW
83
40. CS1398 01:CS PROV PRACT SCIARC NOW
The main objective of this seminar is to stage a series of informed discussions re-
garding the diverse practices and discourses that make up the contemporary archi-
tectural milieu of Los Angeles and, in particular, SCIArc in its current manifestation.
The practices of a number of SCIArc faculties will be scrutinized in relation to other
practices taking into account shared lineages as well as diverse trajectories. The
seminar will be organized around several contemporary disciplinary themes. Students
will be expected to take an active role in identifying these themes and elucidating
them through selected readings and project presentations. These themes are intended
to outline research trajectories that students will pursue collectively throughout the
duration of the course in the form of in-class discussions and presentations. Each
student will be required to conduct ongoing research, culminating in a clearly formu-
lated argument that advances a specific position on one of the disciplinary themes
introduced in the seminar. This material will be presented in the form of a final
paper and analytic drawings. The research should be situated as a test case for
specific approaches to design and to modes of practicing.
I found that “Part to Whole” relationship remain compelling in the discussion of
contemporary architecture discourse weather it’s from using the pedagogy as a
representation of drawings, material exploration or as a structural magnification.
Jeff Kipnis calls West Coast Architecture “Part to Whole” due to weather condi-
tions allowing for expose structure and assemblies to be explore. By briefly examin-
ing seven SCI Arc faculties, exploring the idea of “Part to Whole” paradigm as a
technique in constructing their project. Where their academic linages primary came
from East Coast institutes now relies on the West Coast practice trajectories.
Eric Owen Moss pedagogy of breaking down his buildings violently into smaller
pieces and colliding them in such a matter that it creates a permanently unsettled
composition of a whole. Wes Jones takes on mechanical static and moving compo-
nents to find appropriateness to compose structure. Thom Mayne demonstrates part
to whole relation with his 2-4-6-8 house Part Drawings using exploded isometric
view to illustrate the parts assembles of the house. Hernan Diaz Alsono selects
different organic parts to assemble as whole with compositional aesthetic. Elena
Manferdini emphasis on vigorous tectonic experimentation and computer aided manu-
facturing techniques in patterning to create a compositional collage. Ramiro Diaz-
Granados interest in amorphous form to produce ambivalent figures and ambigu ous
effects derives as the part to his whole practice.
My emphasis is on Marcelo Spina in which he explores the idea of “Part
to Whole” relationship in the aspect of mathematics intuition and technol-
ogy innovation aesthetic to derive at pure effect which is very compel-
ling for discussion of contemporary architectural discourse. Looking into Ju-
juy Redux, Keelung Crystal and SCI Arc League of Shadows project at the
oblique, analytical drawings and affect of material tectonics, to understand P-
A-T-T-E-R-N-S radical approaches coexisting within a more complex whole.
41. and lintels into eaves, to express and complicate the readability of horizontal strata
producing effects of diagonal torsion. The repetition produces a linear transition from
mass to volume and from volume to surface, wherein a maximum visual and physi-
cal distortion is generated with minimum amount horizontal local articulations into
slabs of formal means”. Addressing the issue of the corner, P-A-T-T-E-R-N-S
simple approach of horizontal striations to a twisting point then flatten the twist to
become a slab gives the envelope a contemporary unique look. These challenges
were design to the be the part in which composes to a whole, “to en systems
without suffering their relentless and boring effects, therefore altering the homoge-
neous perception that typically emanates from the vertical stack of building gage
these seemingly repetitive elements.(P-A-T-T-E-R-N-S.net)”.
Contextual Diagram: Illustrates framing
of the natural environment, the luscious
green hills to the Keelung Crystal mass.
The hill has a unique depression almost
at its center while the Keelung Crys-
tal has a central atrium “the void” in
which reference the hill.
Perforated panels with luminance
Density multifaceted geometry along the
atrium. Aggregates dissolve any kind
of boundaries making the landscape as
much part of the architecture.
Coiling mass creates a gateway/atrium
Walkway traces the geometry trajectorieshorizontal
mass
volumesurface parapets to
slabs
A B Adiagonal torsion subtractive
In 1999, Marcelo Spina and wife Georgina Huljich created P-A-T-T-E-R-N-S,
a design research architectural practice based in Los Angeles. P-A-T-T-E-R-N-
S “seamlessly integrates digital technology with an extensive consideration of form,
novel tectonics and innovative materials. Aims to generate innovative spatial forms
that actively engage, enhance and influences the body, constantly challenging its
relationship to the built environment akin to the complexity of contemporary life.(P-
A-T-T-E-R-N-S.net)” Recipient of numerous professional prizes and awards. In
2004, firm was recognized as one of the 11 most progressive offices by Architectur-
al Record Design Vanguard issue. In 2003 they received third prize Young Architect
of the year Award and finalists for the Ordos Prize and the Lakov Chernikhov Prize.
In 2007-2011 Jujuy Redux project, is an eight-story, 13,500-square-foot luxury
apartment building located in the former industrial project consists of 14 small indi-
vidual units of 2 bedroom and 2 bathrooms each. The cast-in-place pre-stressed
concrete structure allow for a central core housing a district of Pichincha. The main
elevator, stairs and columns area connected to the core which stabilized the weight
of the building. A creamy, contemporary exterior is certainly in line with the modern
aesthetic and on-site facilities. Local codes restricted design possibilities, instead of
downplaying his design; he took the challenge “by turning parapets
44. DS1101 01:1GB DESIGN STUDIO FUNDMTL ARC II
The studio development of disciplinarily informed frameworks and sophisticated tech-
niques for design processes. Beginning with studies of overarching and/or emergent
organizational stratified manifested in significant architectural precedents- and following
contextual analysis, designing a residential house with intelligible organizational inter-
relations of form, geometry, programs and tectonics.
Begin with a phase of rigorous analysis of historic and contemporary projects in
order to cultivate expert comprehension and graphic communication of the systems
germane to their respective organization. This approach will expand analytic and
transformative design aptitude and build capacity to situate and discuss individual
design strategies and techniques against the backdrop of the architectural discipline
as well as boarder creative culture.
45. TWO FACES
This creates two different facades base the surrounding site, while maintain-
ing a sense of individual character. The site is exposed to the public on the East
(Edgewater Terrace) as well as the West (Silver Lake Blvd.) elevations. Differ-
ent characteristics’ between the streets were addressed in the project as well as its
relationship to Richard Neutra’s VDL house, which sits on the north elevation. The
East elevation is a quiet residential neighborhood. House is set back from property
displaying a yard. The neighborhood consists of one to two story homes possessing
a view of the mountains. The project responds site conditions by pushing the house
back towards Silver Lake Blvd., creating to create a yard and allowing for a ramp
entrance. The building height on the East elevation is two stories, aligning with the
VDL house. The East facade treatment responds to the site minimal sun expo-
sure. A transparent divulges the view of the mountains while still providing privacy.
Thin horizontal paneling with strips of operable transparent glazing gives the East
facade and individualistic look while tying back to the surrounding buildings. The
west elevation is a busy street which overlooks the reservoirs. The West elevation
gets exposed to two types of heat gain, direct sunlight and reflective light from the
reservoir. To address these issues, an opaque facade is used as a sound and sun
barrier. However, on the second floor, translucent bi-fold doors allow a view of the
water while keeping direct light out. The West elevation building height is three sto-
ries aligning with the VDL house. The West elevation is where the office entrance
and office parking and situated, below the residential part of the house.
49. VS4101 01:TECHNIQUES OF REP II
The course forms the continuation of Strategies of Representation 1 by expanding
on the conceptions of representational tools, emphasizing diagramming and spatial
representations, and incorporating site analysis, topography and three-dimensional
realizations. The program focuses on developing the precision of intentions in the
production of architectural drawings and instilling a critical sensitivity for the inherent
bias and interface of each deployed medium of representation.
52. AS2367 01:MATERIALS LAB II
The seminar entails the design and fabrication of a vertical support structural ele-
ment for the new mezzanine space which is being planned above the studios along
the north gallery area of SCI-Arc, just south of the cafe.
While this seminar is engaged in a hands-on exploration of material and structural
performance, it is understood that architecture and engineering have always had an
at times tenuous agenda. If pure structural engineering performance can be ar-
gued as having a primary emphasis on efficiency of material and manufacturing, it
has always been the case that architecture has had to confront a myriad of other
agendas; be they cultural, ideological, formal, or political – that in essence place
forces upon the built environment that are directly in opposition to the agendas of
efficiency, economy of means, or performability. In essence, the pursuit of architec-
tural concepts has always had to be both/and never either/or.
Lead teams will work with invited specialists in engineering and digital fabrication
designing and building prototypes-both physical and virtual.
55. AS3121 01:ENVIRONMENTAL SYSTEMS I
This course focus on understanding and applying the key technical principles of
environmental design for embodied energy, active and passive heating and cool-
ing, indoor air quality, solar orientation, day lighting and electronic illumination, and
acoustic; including the use of appropriate performance assessment tools using texts
and materials from architectural discourse, building science research, and case stud-
ies of significant buildings. Using foundational research developing approaches to
building systems by analysis/responds to ecological and environmental demands and
understand how to conceptually deploy then in a design project.
58. CS1317 01:VISUAL IMAGINATION
Visual Imagination is fundamental to the creative process. It defines the pre-visu-
alization process that occurs in our minds eye? It is the basis for creativity in any
field. Conversion of thought into ideas, into images, and then synthesizing images
into a coherent conceptual structure, that can guide our creative process will be at
the center of our discussions.
The Themes Unity? It’s all one thing. The interdependence of everything at all
scales Time - change, repeatability and scale. The opposition and identity of pro-
cess and order.
World View? The framework of ideas and beliefs through which we interpret the
world.
Cosmology? To place all that we know to exist within a single coherent framework.
Creativity? A mental and social process that is generative, expressed in words, im-
ages, and matter.
62. DS1100 01:DESIGN STUDIO FUNDMTL ARC PRPLS
This foundation studio introduces fundamental issues of Architecture. Through the
study of interrelationship of geometry, form, tectonics and materiality subjects are
continually developed and reconsider strategies for the production of Architecture.
The studio endows a range of fundamental working methodologies through generative
drawing, generative modeling, descriptive drawing and analytical diagramming. Expec-
tation of studio is to develop intellectual framework as well as productive techniques
for the development of spatial organizations and architectural form.
One primary goals of this studio is to instill rigor of creative work in architecture
and to see this rigor as both a cornerstone of professional life, and as a part of
an unbroken, though contentious and contradictory, architectural tradition.
1
2
3
4
5
5
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6
7
8 9
9
10
11
12
15
15
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66. VS4100 01:TECHNIQUES OF REP I
The course examines the theories and practices of representation and analysis of
architectural ideas. It is structured to introduce the primary and auxiliary tools nec-
essary to analyze and translate spatial concepts into two-dimensional representations.
Students generate descriptive work using planar, plan/section and axonometric pro-
jections as well as freehand and digital drawing tools while developing an under-
standing of the specific characteristics and application potentials.
68. AS3100 01:MATERIALS AND TECTONICS
This class introduces to fundamental structural principles with a strong emphasis on
materials, material properties and industrial processes. This course is an investigation
into the anatomy of material and its potential use in architecture. The goal of the
class is to provide students with a thorough understanding of materials, and of the
design methods, techniques and industrial processes by which they acquire meaning
in an architectural and building context. By means of direct testing and experimen-
tation, the class explores technical and rational manipulations of traditional as well
as novel materials, aiming to develop an expansive understanding of their physical
nature, environmental impact and possible reuse.
69.
70. CS2101 01:INTO TO CONT ARCH
This course introduces history of the discipline of Architecture in Western and non-
Western culture from the Vitruvian tradition, as instantiated by Alberti, to the begin-
ning of the “critical,” or postwar period. The course considers architecture as both
a profession and a discipline, and explores its relationship to the society, economy,
politics, and cultural developments of this time period. Theories of aesthetics and
space are covered, as well as the rise of the academy, the inclusion of landscape
and other arts in architectural studies, and the subsequent fragmentation—from the
Enlightenment onwards—of Classical ideals into broad questions of origin, type, form,
function and identity. Throughout the course introduced to a range of different pos-
sible histories of architecture- vernacular histories.
71. HOW TRANSPARENCY SPEAK
New Brutalism use literal transparency as a way to depict a statement while phe-
nomenal transparency is a way to evoke awareness. Due to struggle of government,
New Brutalism arrive with the intension is to expose the truth of political bureau-
cracy with the use of materials. The analogy of exposing structure, glass and flat
roofs relates to how the government should portray to the people. Representations of
literal transparency are expose structure but as phenomenal transparency relates to
how the government should not have anything to hide. The use of glass in literal
transparency is using the material is to allow light in but as phenomenal transpar-
ency wants to awake the people the government should be seen through, looked at
and evaluate the system. A flat roof depicts modern architecture but to phenomenal
transparency stating that all branches to the government are equal to the people.
Literal transparency is easy, hanging a curtain wall, letting a duct be seen, a flat
roof is nothing new, it’s only building adapting to technology using physical proper-
ties of a material to suit the environment it’s in. However, only skillful architects
are able to accomplish phenomenal transparency though the manipulation of light,
shadow, materials to awake the inner self with awareness of emotional experi-
ence. Phenomena transparency has depth not in a literal relation to distance but in
a psychological way of stimulating the mind of consciousness. For example Oscar
Niemeyer designed Brasilia, a new capital of Brazil which illustrates the progression
of the country by using primitive forms like sphere being split into two and two twin
towers planted on top of elongated rectangle wrap with curtain wall all suggesting a
phenomenal transparency of Brazil new government.
