SKIN DEEP

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AMY'S WORK

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AMY'S WORK

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Save as Draft

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2008-05-29T00:02:00.000-07:00

trip and sleep

2008-05-05T19:40:00.000-07:00

assignment 5

2008-04-26T20:07:00.000-07:00

assignment 5: mid-review thursday may 1

Design an extension to the Center for Movement and Dance in the parking lot adjacent to the existing building. The program is to include:
• 4 open workshop rooms, approx. 1500 s.f. each, ceiling height min. 12’
• 1 black box auditorium, no floor rake, 30’ ceiling height, 3000 s.f.
• 1 outdoor roof or courtyard space for performance or gathering, open-air, any size
• Entry/Reception area any size
• Restrooms & Circulation core (stairs & elevator)
• 2 - 4 Mechanical/Vertical Parking Towers – footprint approx. 25’ x 25’ (height tbd) with separate car access and egress from the street and clear pedestrian path to & from tower
• Connection path to existing building

Materials due for the mid-review:
concept models and skin studies
site analysis materials
2 perspective drawings: 1 from within, 1 from without
1/16" scale model
1/8" scale plans & sections

2008-04-24T09:21:00.001-07:00

http://picasaweb.google.com/young929.c/Boston

Parking Lot Photos

2008-04-16T14:22:00.000-07:00

I've uploaded some photos of the new site for you viewing pleasure.

N8

http://smg.photobucket.com/albums/v323/vdubjettaman/parking%20lot%20site/

final review work: afternoon session

2008-04-06T21:38:00.000-07:00

here is the work of andrea, amy, bige, christine, miles, and nate

final review work: morning session

2008-04-06T20:18:00.000-07:00

here is the work of jenna, jenny, ariel, daisuke and heidi.

assignment 4

2008-04-06T20:11:00.000-07:00

assignment 4 pin-up tuesday april 8

Read the essay ‘Rain in the City’ by Jill Stoner and the essay ‘City’ by Beatrice Colomina.

As you will find, both of the readings are deeply interested in the role that language plays in the conceptualizing of the city, and architecture’s place within it.

Our next project is to explore the building skin within the larger context of an ‘outside’. At first glance, the specific context of our site is downtown Providence, at the base of a hill, next to a canal. It is the more specific, idiosyncratic or individual context that you are now to define.

Do this using language, not as a creator but as an inquisitor. Search for a fragment of language: a quote, a poem, an excerpt, that expresses, in someone else’s words, the essential idea of ‘exteriority’, ‘outside’, ‘from without’ that you want to explore for the coming weeks. What defines ‘outside’? is it:

the city
nature
land
sky
through doors
water
openness
visibility
weather
cars
walking
crime
etc. etc.

Then build part of an enclosure that defines for you an inside from an outside, as clarified by the language fragment you have discovered and chosen.

Use a material that has significance to you in terms of the way it can be manipulated to generate different qualities, i.e. texture, surface, depth, thinness, openness, opacity, etc.

Use the material. Manipulate it, and in working with it, generate the relationship between the ‘inside’ and the ‘outside’ as your chosen language defines them.

assignment 3-1

2008-03-13T18:58:00.001-07:00

assignment 3-1: due tuesday, march 18

Read David Leatherbarrow and Mosheh Mostafavi’s essay “Window/Wall” from Surface Architecture

Use Arches, Fabriano Artistico or Utrecht cold-pressed 90 or 140 lb, 22” x 30” watercolor paper.

First, draw a schematic wall section through at least 2 walls of the building at 1/2" = 1'. Use the vertical orientation of the paper. Choose locations that are of particular importance to your scheme. You will determine now how deep you define your skin to be at these locations. Is it thick enough to inhabit?

You may consider a new wall at the interior of the building to be part of it’s reconfigured ‘skin’. You may also consider the thick interior walls dividing the three buildings to be part of the ‘skin’, just as the body has interior membranes that define its internal organs.

This wall section should be a focal point of your conceptual approach to the building. It requires you to be specific to what is there (which you know in detail; it is documented in the drawing set). It begins at the line of the roof, ends at the foundation, and includes any floors connected to it. Consult the RCP drawings for accurate accounting of the floor joists and their direction. You are of course free to propose an entirely new skin, but you must reconcile how the floors that bear on the current skin are then supported.

In other words, be materially specific and conceptually clear.

Then, consider how the wall section can be the generator of the plan. How is the Center for Movement and Dance organized by its skin? Do not be afraid to be simple.

Develop plans for each of the floors of your scheme at 1/8” = 1’ and arrange them on the page. You may arrange all the plans on one (or more ) page(s), or you may leave space for future sections to be drawn in projection adjacent to the plans. Consider the future of the drawings.

Finally, be prepared to discuss how the wall sections have generated your plans, and to describe your process for arriving at a programmatic organization.

assignment 3

2008-03-06T20:24:00.001-08:00

Sigmund Freud’s study, Vienna. Detail of the mirror in the window near his worktable.

“To live is to leave traces.
On the interior these are emphasized.”
-Walter Benjamin, Paris, Capitol of the 19th Century

assignment 3: mid review thursday march 13

Read Beatriz Colomina’s essay “Interior” from Privacy and Publicity, Architecture as Mass Media

Consider the existing building and all that you now know of it: its history, its materiality, its idiosyncrasy. Taking cues from your response to the first assignment and from the material study of your detail drawings, consider how the building could house a new use as a Center for the Study of Movement and Dance.

Consider how the building might work as a whole, through a reconfiguration of its ‘skin’ to create new spatial arrangements organized by access to light, air and view. You may reconfigure the building in dramatic or incremental ways, depending on the idiom of your process and inquiry.

To begin, draw a diagram of the building in both plan and section to show how you would modify or reconfigure the enclosure of the building. Use the diagram to demonstrate your attitude towards the interior spaces, their organization, and the presence of light, air and view. Take into account entry to the building, circulation through the building and large open spaces with ample wall surface for the movement studios.

To follow, build a diagrammatic model that shows the skin’s reconfiguration with attention to the interior spaces of the building.

Then build a diagrammatic model at a larger scale of the condition at the edge of one or several of the newly configured interior spaces.

The program of the Center is as follows:

Entry Area / Reception
Dressing Rooms / Showers / Restrooms (M & F, 3 toilets, 3 sinks, 3 showers each)
Vertical Circulation (Stairs & Elevator)
Open Administration Space

Square footage is per your own design parameters, and is open to an interpretation of the boundaries between programs…

2008-03-05T12:35:00.001-08:00

hey guys i checked out the Peter Zumthor Kunsthaus Bregenz book
and it has the diagram of the project we were talking about...i also have scanned a few other of his diagrams from the library if you are interested. So no need to look for the Bregenz book, we have it here in studio
bige

field trip

2008-03-04T17:36:00.001-08:00

assignment 2

2008-03-04T17:24:00.000-08:00

“some of the qualities and charm which belong to their work is of course the effect of grouping later additions and of what someone has called the reclaiming touch of nature, softening hard lines and giving undulation and ease to surfaces which must at first have been much nearer geometrical planes…”
-Norman Isham from Early Rhode Island Houses

assignment 2 : due tuesday march 4

part 1
Working as a team of 11, document the building at 3 – 9 Steeple Street.

Using your site research, photographs and documents provided, draw a complete set of documents for the building. All sheets are to have a consistent title block. All drawings are to be at a scale of 1/4” = 1’. All full size sheets are to be 22” x 34”. Half size set is to be 11” x 17”, (at 1/8” = 1’). Site plan to be at 1/16” = 1’. All drawings (except details) are to be in Autocad. Use consistent line weights throughout (limit to 4).

part 2
Working individually, document one idiosyncratic detail of the site, to scale, in a numbered drawing. The detail drawing can be at any scale you deem appropriate. The detail should communicate an intrinsic aspect of the building and its history to the rest of the class for purposes of the rehabilitation. Presume your detail to be a highlighting of some aspect of ‘the reclaiming touch of nature’ (or perhaps of inhabitation) i.e. the material history of the building. If necessary, take creative license with this drawing in the pursuit all the detail’s particularities. How do you communicate the idiosyncrasy of this detail?

Velux Links

2008-03-03T19:53:00.000-08:00

Check out the following links to browse cut sheets and technical data on skylights, doors and windows from Velux. Tim O'Neill will be on hand tomorrow to show us around what Velux is all about.
http://www.velux.com/About_Velux/Product_ranges/
http://www.velfac.co.uk/
http://www.rationel.co.uk

lots of pics for you all to enjoy...

2008-03-01T11:11:00.000-08:00

There are 166 images i uploaded for everyone. a lot of them are detail pics, try to figure them out.

http://smg.photobucket.com/albums/v323/vdubjettaman/Steeple%20Street%20Pics/

studio birthday

2008-02-28T20:04:00.000-08:00

more photos

2008-02-28T15:51:00.000-08:00

more photos uploaded to photobucket today
from 02.28.08
includes photos from the 4th floor, heidi's, jenny's, jenna's, bige's, basement of 3 steeple street...

http://s17.photobucket.com/albums/b68/christinetan/steeple%20street/?albumview=slideshow

new rivers & steeple ground fl.

2008-02-27T21:13:00.000-08:00

http://picasaweb.google.com/young929.c/NewRiversSteeple

neat

2008-02-27T18:51:00.000-08:00

1958

art in ruins

2008-02-27T08:12:00.000-08:00

http://www.artinruins.com/arch/stillinuse/steeplest/

The Dress Shop photos

2008-02-26T21:32:00.000-08:00

http://picasaweb.google.com/djsuzuki/TheDressShop?authkey=qfuEj79tCxU

for your use, guys.

D.

Steeple Street photos

2008-02-26T21:28:00.000-08:00

http://picasaweb.google.com/djsuzuki/SteepleStreetLoft?authkey=Qms_VZAelWI

let me know guys if you can't view it.

D.

at work

2008-02-26T20:25:00.001-08:00

photos, photos, and more photos...

2008-02-26T17:20:00.001-08:00

i'm including a link to my photobucket account of images taken today at our site. included are some from the basement of new rivers and exterior elevations of the building.

look here:
http://s17.photobucket.com/albums/b68/christinetan/steeple%20street/?albumview=slideshow

Norman Isham

2008-02-25T18:00:00.000-08:00

Everyone should take a look at this book. It is by the architectural historian Norman Isham, who was fascinated with early colonial architecture here in Rhode Island, and restored many of the homes that were still standing when he was around. It is also in our RISD library; it is in a special binder as it is very old, and you can only read it there. It's a beautiful book though, so go page through it. What I like most is how carefully he writes about construction techniques, and how painstakingly he draws framing diagrams.

our site:

2008-02-24T21:21:00.001-08:00

built by joseph congdon in 1792, and added to in (at least) three different eras that followed, this building at 3 - 9 steeple street is the oldest standing industrial building in downtown providence, and in sincere need of rehabilitation.

we will visit the building on tuesday, february 26th, touring the spaces of two restaurants and a cafe that occupy the ground floors. we'll measure and document those spaces, and begin to piece together the plan and section of the building.

dress warmly tuesday, and bring tape measures and clipboards..

assignment 1

2008-02-24T21:15:00.001-08:00

assignment 1: due tuesday february 26

Read the essay ‘The Dialectics of Inside and Outside’ by Gaston Bachelard.

Build part of an enclosure that defines for you an inside from an outside.

Choose a material that has significance to you in terms of the way it can be manipulated to generate different qualities, i.e. texture, surface, depth, thinness, openness, opacity, etc. Identify the scale at which this material is working.

Use the material. Manipulate it, and in working with it, discover or generate a relationship between the ‘inside’ and the ‘outside’, as you define them.

Articulate in writing the various qualities you are interested in, and how the material you are working with manifests them. Remember that this example can be specific to one idea, and may not encompass the entire range of possibilities that the concepts inspire.

If so inspired, you may make several enclosures that evoke different ideas of ‘inside and outside’.

You may work with up to three materials in relationship to one another.

welcome

2008-02-20T21:19:00.002-08:00

inside and outside in the palace of the winds, jaipur india.

it was built in 1799, the same decade as our site.

Welcome to our studio. We are looking at the enclosure of buildings, from within and from without. We will be helped along our way by the Danish window & skylight manufacturer Velux, providing us technical expertise and support all semester. Check them out here.