Winter 2013 Studio Work
In a drawing: Conflate a diagram and an architectural plan. A failed experiment where the diagram is a work of literature: Hugh Howeyâ€™s Wool, which is used to generate the plan. A diagram being an abstracted symbolic construct describing/proposing a literal experience with spatial parameters and particular data relevant to the construction of that experience = a story.
pg. pg. pg. pg. 01 03 07 15 pg. pg. pg. 01 04 09
In a model: Conflate scale. Conflate abstract architectural modeling materials and their allusion to a signified site and actual building (i.e. sign and signifier) Conflate interior and exterior.
In a model: Place an object on a site. Make the juxtaposition referential and complex.
In a model: Allude to site specifically without the necessary inclusion of an object to establish a typical figure ground relationship. Here the literal fruits of the land are reconstituted, not through the process of decay and organic reconstitutions but through reincoded signification. They are synthetically packaged. That packaging alluding to the process and systems of agricultural domestication, commodification, and delivery that reconstitutes for us - the grocery chain consumers - nature as approachable, ingestible artifact, and literally to the packaging, shrink wrapped, waxed, stamped, and barcoded identifying its worth as arable land. The superposition of a topography makes us question not only the geometry of the objects in their proximity to platonic solids (a temptation that D.H. Lawrence alludes to in his poem Peach “why was not my peach round and finished like a billiard ball? It would have been if man had made it.” At scale they would have to be man made. 40 foot diameter apples. The apples then would be round and finished balls. At scale they would have read as ecospheres hovering above the organisms that shaped them, and a giant banana. The flat plain is similarly disconcertingly flown above an abstracted white square tile extracted from Superstudio’s grid, begs the question “does the topography allude to a 3-dimensionality that once was or is to be?” “Pleasant” writ large and inverted seems to connote something ominous, an inversion of an already suspect world with regard to the natural landscape labeling both the abstracted landscape graphic. Part of the sterility of the white plane, the domestication of the landscape’s products and their spoilage through a rescaled and modeled returned to and by an Edenic applied surface treatment.
In a model: Address all of the themes and assignments given so far this semester. In this time and historical perspective, we, all of us, can understand and feel the weight and import of the place and spaces that we occupy and the terms of contemporary modal models. In this time it is time to return to a future point of retrospective projective predictions in which the direction of our interests, our occupations, and our very selves - the corporeal, and the coeval constructs of our minds blooming about and out into space - should be, can be, and could perhaps try to move into and toward what and where they are located. In short: we might purport to ascertain the vector of our focused energies and the means of their containment and that containmentâ€™s accoutrements. The second law of thermodynamics and the natural tendencies of genes to exert biological pressures onto an inner sphere of an outer cube of influence tell us, that more than likely, what was once one object is now more. Therefore a group of several, namely those which now are the focus of our fixed re-interrogation, verily exposed to the veracity of our claims, conclusions, and suspected frames of knowing, shall surrender to our beliefs the apposite answers to the appropriate questions which (as we know) in turn determine the purview of their own response. Ladies and Gentleman, now...is a time. And what time that time is, can only be involved by and confronted with true and sincere engaged inquiry. Therefore, I propose the following: 1. We are the chosen of our own choosing. As such, our considerations are compounded by our self-circumspection and the entirety of what we believe is re-referenced from a point of view within what exists as who we are, both in and outside of a very real realm of our own understanding.
2. With this knowledge, not only can “being within the world” work, outside of notions involving the involvement of ourselves, but we can indeed withdraw to a safe distance away from what we leave behind and toward that active position at which the act of review is viewable at remove. We may, some of us, realize that unaccustomed territories of the aforementioned points may appear to prevaricate prior positions elucidated herein, which, once recognized, only lends strength to the necessary outcome of nested contingencies surrounding a sequenced and seemingly specious thesis. This is, though, only half so; in the sense of a double-negative entendre, which is to say, purely posited as an approach untoward only in the sense of its insensate formulation.
Midterm Evaluation Scheme 001 D
In summary, in the years ahead, and only secondly the seconds beyond those co-concurrent to the present moment - which are and is now the present of this presentation - Architecture must excavate the related lapses in its own abdication of those responses to and responsibilities regarding what is and is not itself and leverage a learned floccinaucinihilipilification regarding a selfregard for others who seek to expound upon the expansion of its boundaries, methods, methodologies and the purported purposes of its position.
A Elevation A
A Site Plan B
Now, to begin, it is a repeatable platitude that a home can be traced to a location by virtue of its proximity to a cortoid form or the entirety of the anatomical entity of an unnamed agent’s myocardium and vice versa. Whether these exist beside, within, atomically interposed, mutually dilute or conceptually co-solvent is not the basis of a presentation. How then can the location of the house be understood to be ascertained through means preceded by and forward to the aforementioned forms of significant inquiry?
Dimetric Projection View
Below your seats, each of you will find less seat, than exists above a datum drawn lower than a point below which less seat is present. So too, can a house be understood to vacate the “unheimlichkeit” of its absence and by doing so relieve itself and its site of the sensation of feeling what was felt before a future plain of present knowledge in which the extents of the horizon of our knowing can be seen for what they are, for in the end, only time will tell, and that time has passed.
In a model: Address all of the themes and assignments given so far this semester. with the design of a house The house should not be inhabitable, and site should be applied after the fact. At the end of architectural abstraction there are three options. The first is the pavilion. A sculpture that need only give the appearance of habitability to allude to how its form or fabrication methods might be leveraged in the built environment. The second is a proposal of pictures. These involve materials, geometries, programs and scales that are either too expensive or too idiosyncratic to be built but push the boundaries of representation or the boundaries of existing formal vocabulary. The third is a future project. One involving means, methods, and resources that may or may not be available at some future date but address an existing public interest and propose practical formal and construction logics towards design addressing that interest. Given the three themes for this studio being: interior/exterior, signifier/signified, and object/site; I chose a future project on the moon. The concept is simple: by 2020 three separate nations have proposed to land men on the moon. America has been developing the technology to build a long term moonbase for decades. This will be the first time in human history that architecture will be practiced on another planetoid. What will it look like, how will it be done, and how will the planet (read site) be legible in its form? In what stranger and more dire circumstances could the concepts of inside/ outside be ruminated upon?
Preliminary Plan Design priorities: Views of earth. Local materials. Physics of 17% gravity. Shielding from solar radiation and micrometeorite strikes. A scientific function in addition to habitation. The moon does not rotate on an axis. One side always faces the earth. This is termed “tidal locking” and gives rise to the label “far side of the moon” This means that views from the house will not change with regard to the orientation of the earth on the near side of the moon, but what continents/ weather patterns are present will change, as will background star patterns and the orientation of the sun. The layout of programatic space is one borrowed from the banal american ranch style home of the 1950s and 60s, which corresponds to the height of the space race as well as being a form upon which the distortion caused by the house’s context will be legible in bold.
Selenographic Map of Craters Under 2km in Diameter With IAU Designated Names Louise
28.5° N, 34.2° W 1.8 km diameter
30.7° N, 33.4° W 1.5 km diameter
28.2° N, 34.1° W 1 km diameter
22.4° N, 32.4° W 1 km diameter
22.4° N, 32.4° W 2 km diameter
27.8° N, 25.5° W 1 km diameter
27.8° N, 25.5° W 1 km diameter
25.1° N, 30.8° W 1 km diameter
27.8° N, 25.5° W 1 km diameter
22° N, 1° E 1 km diameter
26° N, 3.2° E 2 km diameter
27.7° N, 11.8° E 2 km diameter
18.5° N, 27.4° E 1 km diameter
18.9° N, 19° E 1 km diameter
19° N, 5° E 0.5 km diameter
19.9° N, 27.7° W 1.5 km diameter
14.6° N, 35.7° E 2 km diameter
14.6° N, 35.7° E 1 km diameter
17.3° N, 58.3° E 2 km diameter
In order to understand the environment of the house. I had to understand its siting. Since no map exists of consequence regarding the sitiing of a house on the moon, it made me reasses what a map is might be used for with regard to architecture.
29.8° N, 26.4° W 1.5 km diameter
18.6° N, 27.6° E 1 km diameter
23.8° N, 11° W 2 km diameter
18.5° N, 27.4° E 1 km diameter
Vera 26.3° N, 43.7° W 2 km diameter
90° 80° 70°
90° 80° 70°
A map describes orientation to the sun and prevailing weather patterns. On the moon it describes exposure to solar radiation, and orientaiton to the earth.
Curtis 14.6° N, 56.4° E 2 km diameter
Verne 24.9° N, 25.3° W 2 km diameter
19° N, 27.4° E 1 km diameter
28° N, 33.8° W 1 km diameter
A map describes topography and watershed. On the moon this is also the case with regard to topography.
24.6° N, 11° E 1 km diameter
A map describes proximity to landmarks and available resources. On the moon few landmarks exist save for the landing sites of moon mission and named topographic formations. As such I created a map that shows every meteor crater below 2 km in diameter and every moon mission that has purposefully impacted or soft landed on the moon.
Sita 4.6° N, 120.8° E 2 km diameter
20.3° N, 32.3° E 1 km diameter
28.5° N, 34.3° E 2 km diameter
Sampson 29.7° N, 16.5° E 1.5 km diameter
11° S, 6.3° W 1 km diameter
10.9° S, 6.2° W 1.8 km diameter
Bawa 25° S, 103.1° E 1 km diameter
Amontons 5.3° S, 46.8° E 2 km diameter
The scientific purpose of the house was determined to be a radio telescope for the following reasons.
11° S, 6.2° W 1.5 km diameter
Alan 11.8° S, 8.1° W 2 km diameter
1. The round shape of a meteor crater is the precise shape needed to form the dish of a radio telescope. 2. The vacuum of space is the perfect environment for the machinery used in a radio telescope reciever. 3. The moon has neither the atmosphere to distort the signal nor (on the far side) the background noise created by terrarian radio towers.
Jose 12.7° S, 2.1° W 2 km diameter
12.9° S, 1.6° W 2 km diameter
70° 80° 90°
Luna 2: Sept 12, 1959 - Impacted Sept 14, 1959 Surveyor 1: May 30, 1966 - Land June 2, 1966 Luna 9: Jan 31, 1966 - Land Feb 03, 1966 Surveyor 2: Sept 20, 1966 - Crash Sept 23, 1966 Luna 13: Dec 21, 1966 - Land Dec 24, 1966 70° Surveyor 3: April 17, 1967 - Land April 20, 1967 Surveyor 4: July 14, 1967 - Crash July 17 1967 80° Surveyor 5: Sept 08, 1967 - Land Sept 11, 1967 90° Surveyor 6: Nov 07, 1967 - Land Nov 10, 1967 Surveyor 7: Jan 07, 1968 - Land Jan 10, 1968 Apollo 11: July 16, 1969 - Land July 20, 1969 - Return July 21, 1969 Apollo 12: Nov 24, 1969 - Land Nov 19, 1969 - Return Nov 20, 1969 Luna 16: Sept 12, 1970 - Land Sept 24, 1970 Luna 17: Nov 10, 1970 - Land Nov 17, 1970 Apollo 14: Jan 31, 1971 - Land Feb 05, 1971 - Return Feb 06, 1971 Apollo 15: Jul 26, 1971 - Land Jul 30, 1971 - Return Aug 02, 1971 Luna 18: Sept 02, 1971 - Sept 11, 1971 Luna 20: Feb 14, 1972 - Land Feb 25, 1972 - Return Feb 25, 1972 Apollo 16: Apr 16, 1972 - Land April 21, 1972 - Return April 24, 1972 Apollo 17: Dec 07, 1972 - Land Dec 11, 1972 - Return Dec 14, 1972 Luna 21: Jan 08, 1973 - Land Jan 15, 1973 Luna 24: Aug 09, 1976 - Land Aug 18, 1976 - Return Aug 22, 1976 Chandrayaan 1: Oct 22, 2008 - Impact August 28, 2009 Yutu 1: Dec 02, 2013 - Land Dec 14, 2013 Ulysses 1: July 16, 2019 - Land July 19, 2019 - Return July 26, 2019
-7 km X
Thus a small crater at the edge of the near side that still retained views of earth and was still mostly free of radio interference and whose sun exposure ran east west was deemed the the perfect site.
Construction Logic The material chosen for the house is two-fold. The first are typical pressure vessles that would be brought up by rocket. The second are extruded lunarcrete pileons that function as both pilotis and as a thatched-together micrometeorite and radiation shield. These pileons are built using robots, lunar regolith, steam, and reinforcing fiber. The fiber serve as tensile reinforcing structural components as well as guy wires to stabilize the robot and pileon as the pileon is extruded out of the ground. The site can be read through these pileons through material as well as form. In 17% gravity an unbraced 40 foot tall, 6-inch diameter lunarcrete piloti can support 1000 pounds.
Formal and Cultural and Architectural Precedents There is a surprisingly rich pool of precedents to draw from with regards to the formal makeup of an extraterrestrial house. From the palace of a lunar king in a film from 1904 to a moon tower in an architetural thesis from 1958 (shown opposite) to cinema, television, and architecture at present, this a fairly well traveled system of architectural supposition and inquiry. Only recently have the forms arrising out of this inquiry evolved out of a strictly terrarian mindset. In the past these buildings were often baroque mash-ups of eastern or ancient formal types. As architecture continues to fascinate itself with modern means of fabrication, this mindset has also percolated into extraterestrial architectural proposals. 3d printing robots are now the standard.
The Architecture of Space Exploration
Doctor Who S03, Ep02 Smith and Joines 2007 Lebbeus Woods
La Voyage Dans la Luna Movie 1902 Georges Melies #84th greatest film of the 20th century #first film designated UNESCO world heritage site
Buck Rogers Flash Gordon
Serial TV 1939 Larry Crabbe
Movie 1940 Larry Crabbe Flash Gordon Conqueers the Universe
July 25, 1953 #4 of the 50 greates cartoons
Thomas Busemeyer Thesis
The Man Trap
DAAP 1958, Cincinatti Astro Architecture A Lunar Base
S01, Ep 01 1967 USA Star Trek
Episode 4 - A New Hope 1977 George Lucas
2010 Luis Quinones #PopSci Choice Award #2010 Best Thesis Selection
2013 James Leng #1st prize Suckerpunch competition
2013 ZA Architects
1980 Lebbeus Woods
Comics Jan 07, 1934
Knowth Lunar Map 3330-2790 BC Knowth, County Meath, Ireland #first known drawings of the moon
2040 Lunar Outpost
Star Wars: Episode 4 - A New Hope
Selenographia 1647 Johannes Hevelius Danzig, Poland #first lunar map with names
The Universal Selenography
Picture of the Far Side of the Moon
Illustrated History of the Lunar Surface
Titanium Map of the Moon
1834 Johann Heinrich von Madler Germany #first published large map of the moon
1959 Luna 3 Russia #first photograph of the far side of the moon
1971 Don Davis #most comprehensive illustrated topography
1994 Clementine International Consortium of Space Programs #first global photograph of the moon #first multispectral images
Daguerotype of the Moon
2008 Selene lunar orbiter spacecraft Japan #first HD photographs of the moon
1840 John William Draper New York, USA #first photograph of the moon
3D Printed Moon Base 2013 Foster + Partners Architects
Google Moon 2009 Google map and 3D views Google #40th anniversery of Apollo 11 #first public wayfinding system for lunar surface
Model Sign/Signifier The model is a result of folding the rectilinear plans into a cylindrical pressure vessel typology, resulting in a plan that seems to imply the presence of familiar programs and cicrculation types. The spire the house sits on is impossibly narrow and tall and only possible without wind loads or the full force of gravity. The huge cantilevers and spans of the horizontal conveyor shafts similarly communicate a feeble gravitational force. The shielding matts laid over the building communicate the need to shelter from something that the cylinders themselves are inadequate to defend against. Inside/Outside The house precariously hovers above a crater. Connected to its rim with gossamer thin conveyance tubes. It is both inside and outside the moon. Both inside and outside of an environment. An occupant is inside a straw of air that has been conveyed 240,000 miles, protected inside a matt of armor made of materials from barely feet away. Object/Site Here the object and site are clearly defined. A prefab imported house, with structural foundation footings and roof sourced locally - but on the moon. Itâ€™s orientation in space and strange symmetry with regard to the hole of which it is both a part and apart from make it exude a kind of discomfort with regard to its place. It is not just a foreign object on the ground. It is a foreign object on a pedestal. Apedestal in which the laws of physics regarding gravity and background long-wave radiation travel push and pull at the shape it must take.