Kadian_Abhishek_Portfolio

Statement

Abhishek Kadian is a practitioner architect. He is currently advancing his graduate studies at the Southern California Institute of Architecture as a Master of Architecture II student.

Before he joins Sci-Arc, he received his Bachelor of Architecture from reputed government engineering and technology Institute, India. After completing his undergraduate degree. He worked for three and half years as started the role of Junior Architect to Project Architect. During his tenure, he was able to get hands-on experience on various award-winning residential, recreational, and educational projects.

He perceives that through technology, we can build the buildings and infrastructure that would support the historical principle of sustainability.The master program by Sci-Arc, help him develop deep knowledge and expertise related to innovative technologies.

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FEY WILD

Course Name: Design Studio - I

Instructor: Jeremy Kamal

Partner: Kaustubh Kulkarni //Aleksandra Lapshina

Welcome to the Feywild. To the uninitiated, the Feywild refers to a fictional, parallel, plane of existence. One that is formed and fueled by wild magic and the dreams of its inhabitants. Apropos this, our design for the school tries to take the form of a child’s dreamscape. We wanted to create a space of almost magical energy formed from the chaotic strands of a youthful dream.

The project comprising roughly 100,000 SF of new building area, will be the home of the New Diamond Ranch Arts & Sciences Elementary School, and it will include areas for a kindergarten, and afterschool daycare as well as leisure, art, music, and sports facilities. On purpose, the available site is much larger than the program, affording each section as well as every student, to conceive of the building’s architecture in many different and maybe diametrically contrasting ways: from a scattered compound-like village of small parts, to a large aggregate whole. Regardless of the architectural and formal approach, it is expected that all projects will introduce and involve open space as well as landscape as part of their architecture.

Graphical representation of student sitting on the chair

3D rendered chair design

3D rendered chair design

Graphical representation of chairs within classroom

Fluidic Chair

The fluidic chair design is a free-flowing, fluffy and soft chair that helps students to sit comfortably, and the chair takes the shape of the student body.

A school design starts with the design of the chair. for students, room and the move out to the building, the site, the city. Taking the reference to this method of close up and zoom out, is the movie ‘The Power of ten’ created by Charles and Ray Eames in 1977.

A graphical representation of the classroom setting

A detailed and zoomed-in view of the chair shows the growth of artificial plants from the chair itself.

Our school consists of three primary classroom clusters tied together by the local pathways. Within each cluster, there are seminar halls, breakout spaces, libraries, play areas, personal use pods, and other such functions that enhance a student’s experience while engaging their minds and imaginations.

A graphical representation of Classroom design

A zoomed-in view of graphical representation of Classroom design

These clusters are then tied together at the site level using our main pathways that bend and loop across the site. Their purpose is also to encourage the relationship between the students of various age groups and their relationship with the school. Other structures onsite include the administration block and the central multipurpose structure.

A rendered view of Exterior setting within interaction of clustter

A rendered top view of Second Classroom setting.

A rendered front view of Second Classroom setting.

A process started with experiment and exploration to make a clear distinction between our built spaces through both the changing complexity of form and the simplicity of color schemes. While ensuring the distinction between indoor and outdoor spaces is minimized. The outdoor spaces of our school played a major role in achieving both our tenets and concept.

In terms of the landscape, one can find localized biomes, breakout spaces, amphitheaters and student-managed gardens that dot the site. Some definitive geometries can be seen scattered across our site. The first element, the dream stones are a procedurally generated geometry that can be found at various scales across the interior and exterior spaces of the site, enclosing covered spaces or functioning as planter boxes or seating.

The bumps you see manage pedestrian traffic on site by creating pathways in the spaces where they are absent. Functionally, they too serve as seating and planter boxes across the ground level. On our built structures, the undulated surface area is exposed to the sun to reduce HVAC loads.

The main axis of the existing school bleeds into our site and retains its priority to create a pedestrian thoroughfare. Connecting the schools together functionally.

A rendered view of circulation spaces

As in school, a set of base tenets for ourselves were created. To encourage inquiry and exploration as a medium of learning as opposed to coddling the students. Architecturally, it is meant to shift and morph tangentially with the growth mindset. The school excites and enriches the positive moments of discovery, friendhood, and learning; that leaves a lasting impression. To enable such moments by rewarding the student with a hidden bit of architecture, a spot for friends, or views that stretch out into the world around us.

A design derived through a careful application of chaos to string our tenants together. You will find as we move through to the higher grades, the forms grow more complex, more calculated. The shapes are designed to grow organically around the moments we are trying to celebrate. The intent behind the chaos is to cohesively merge these forms to grow with the students.

The Feywild’s etymology is fictional of course but through this design, we intend for the students to experience its magic regardless.

MASK/TERRAFORM/ OVERLAID

Course Name: Visual Design-I

Instructor: William Virgil/Kumaran Parthiban/ Rachael Mccall

Partner: Wei-Hung Chen//

1

. The Masks We Wear: “We Wear the Mask” is a lyrical poem by Paul Laurence Dunbar, about the lives of African Americans after the Civil War. Exploration the themes of concealment and misrepresentation through the design of a physical mask. In the poem, the mask is a metaphor for human duplicity and concealment. The mask must be worn both to engage in duplicity and to protect the interior self from the untrustworthy eyes of the rest of the world.

2

. Terraforming or terraformation (literally, “Earthshaping”) is the hypothetical process of deliberately modifying the atmosphere, temperature, surface topography, or ecology of a planet, moon, or other body to be similar to the environment of Earth to make it habitable by Earth-like life.

3

Overlaid: Taking on the work from the previous two projects, project three will focus on post-production and compositing. This project will work with layering and dynamics in form, multiple opacities within materials.

MASK/EMPOWERMENT

Course Name: Visual Design-I

Instructor: William Virgil/Kumaran Parthiban/ Rachael Mccall

Partner: Wei-Hung Chen

We Wear the Mask

BY PAUL LAURENCE DUNBAR

We wear the mask that grins and lies, It hides our cheeks and shades our eyes, This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. Why should the world be over-wise, In counting all our tears and sighs? Nay, let them only see us, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!

The idea behind developing the mask is to show women’s empowerment over the period. Previously, women are not allowed to speak and wear according to their desires. They usually had to cover their face with a drape of cloth. Now, in today’s era, a woman has come out so strong and fearless in dealing with problems and criticism.

Showing a transition through our mask- the right side of our face shows a woman who covers her face with a drape of cloth, and the left-hand side shows- a fearless and bold appearance.

Application of Kara Walker design images used as alpha’s to start developing a mask.

Image: various mask design by using the different alpha images.

Women Empowerment

“I raise up my voice not so that I can shout, but so that those without a voice can be heard. We cannot all succeed when half of us are held back”. by Malala Yousafzai

Images of 3D printed mask

Rendered image of mask showing front face.endered image of mask showing front face.

Through our masks, we want to show women’s empowerment, and how fearless women are in the current time. Ready to take their own decisions for their future development.

Southern California Institute of Architcture- 2021

CONVALESCENT MACROCOSM

Course Name: Visual Design-I

Instructor: William Virgil/Kumaran Parthiban/ Rachael Mccall

Partner: Wei-Hung Chen

In this section, exploration of a small but essential part of worldbuilding environment design and actively transgressing its principles to create fantastic immersive landscapes. Rather than creating a sense of grounded realism, we will work in the realm of non-logic, with flexible rules and the unknown. the mask from the previous exercise will act as a ground for the new world. We will play with the fundamentals of motion design, simulations, and procedural methods to grow, multiply and alter elements of the landscapeForm, Materials, Lighting & Camera.

A terraform landscape starts with the gathering of reference concept art world and along with the collecting of the assets created during Mask development. So, in a later stage, we can use those assets to develop the world.

An early design process of landscape design by scattering objects through the medium of Octane Render.

Showing a collection of objects used in the production of Terraform Landscape.

We create an alternative small world after everything gets ruined by external forces. This world represents a small living community built with advanced technology. The whole community survives by achieving help from new technology.

A rendered image showing scattering of different objects

With the intervening of the rocks and plants, the community starts to live coherently with nature. In the process of time, the natural environment becomes dominant in this world. On the top of the stone, on the bottom of the building, all the corners in this world represent the coherent merging between humans and nature.

OVERLAID

Course Name: Visual Design-I

Instructor: William Virgil/Kumaran Parthiban/ Rachael Mccall

Partner: Wei-Hung Chen

Taking on the work from the previous two projects, project three will focus on post-production and compositing: imbuing, concealing, and revealing new layers and visual narrative in the work. This project will work with layering and dynamics in form, and multiple opacities within materials, as well as focus on masking, sequences, and adjacencies in post-production software. The work will oscillate between 2D and 3D worlds, the virtual, augmented, and real. As much as postproduction and overlaying is a process of refinement, there are always opportunities in filtering for percolation, over-flow, and escape.

Challenging the smooth slickness of spline and polygon modeling of the 1990s and early 2000s, this project will operate within the current post-digital context, investigating ideas of precise and intentional unruliness, mixing rustication and delicacy, and how formal legibility is affected by layering, filtering, rips, wrinkles, peeling, and fuzz.

Using of rippling effect over the mask component to create the fluidic texture.

In this session, we start exploring the post-production( After Effects) tool by using our previous mask and terraform subparts, to create a unique representation by overlaying the subparts over each other. Through that we can able to create different effects such as ripple and business.

Rendered image with a overlay of mutilple image over it

Over lay of mask subpart over render image of mask.

Rendered image with a overlay of wavy texture.

A rendered image showing scattering of different objects Southern California Institute of Architcture- 2021

Right: New updown world by overlaying of existing terrafrom landscape design.

Southern California Institute of Architcture- 2021

A course start with the precedent research, teams will draw (to scale) facade and roof sections and corresponding elevations (vertical and horizontal) identifying and annotating each intervening material, sub-system, mode of attachment, component, etc. To draw it to scale and inventory every material layer and component that makes up such an enclosure system.

Each case study will lend itself to different kinds of details that capture the critical junctures of its enclosure system. It is important that the details capture the breath of the project rather than a single localized condition. Each moment in the building might foreground the work and collaboration with certain consultants; the impact of a particular technology; identifying such areas in which the architect has to act constrained by technical, economical or aesthetical demands will help identify the material possibilities of such construction systems.

Course Name: Advanced Materials & Tectonics-I

Instructor: Mathew Melnyk

Partner: Lexin Liu //Wie Zhu // Arthur Modine//

CLIENT

Completion

GFA

Architect

Structural HVAC Emmer

Novartis 2009

209, 903 sqft / 19,500 sqm

Gehry Partners, LLP

Schlaich Bergermann and Partner

ADZ- Aicher De Martin Zweng

The main building skin is largely made of curved, shingled glazing and forms a facade cavity around the five office floors creating a single air volume.

The concept for this building satisfies exceptional comfort requirements and the client’s low energy target of 300MJ/ m2 per year (83kWh/m2yr.) including heating, cooling, as well as the total electricity consumption for building operation and use. Meeting these targets required the development of new solutions.

Sun protection is provided by triple glazing with fritting and an additional 275 specially designed textile sun shades with low-e coating, each spanning the total height of a facade section. The sun shades are automatically controlled based on the orientation of the section.

Semi-transparent photovoltaic modules were developed and integrated directly into the glazing structure. 85% of the roof surface are covered with photovoltaic cells. The electricity yield compensates for the entire energysun demand of the building’s artificial lighting.

Fresh air is supplied through the raised floor and exhausted via a central atrium to the heat recovery system.

ALUMINIUM SECTION

WEDGES IN EDGES

TRIPLE LAYERED CERAMIC FRITTED GLASS PANELS

EDGE SPACER AND SEAL

ALUMINIUM BOX SECTION

GLASS MULLION SECTION

STAINLESS STEEL BAR WITH RETURN AT VERTICAL MULLION

INSULATED PANEL WITH PAINTED ALUMINUM CLOSURE

L- SECTION FOR FIXING TWO ALUMINUM PAINTED CLOSURE

GLASS MULLION SECTION

WEDGES IN EDGES

STEEL MEMBER TO SUPPORT GLASS

HORIZONTAL STEEL MEMBER

ALUMINIUM BOX SECTION

EDGE SPACER AND SEAL

STAINLESS STEEL BAR WITH RETURN

ALUMINIUM SECTION

INSULATED PANEL WITH PAINTED ALUMINUM CLOSURE

INSULATED PANEL WITH PAINTED ALUMINUM CLOSURE

L- SECTION FOR FIXING TWO ALUMINUM PAINTED CLOSURE

TRIPLE LAYERED CERAMIC FRITTED GLASS PANELS

VERTICAL STEEL MEMBER

GLASS MULLION

Glass Railing with Stainless

Wood Venner on MDF Board

Stainless Steel Rail Track

Stainless Steel Grill

L-Channel

T-Channel

Raised Access Floor Panel

Diagonal Bracing

Cooling System Piping

Hat-Channel

Gypsum Board

Pedestal

Conceret slab

Acoustic Ceiling

Hanging Wire

Hold-down Wire

Hat-Channel

Clear Glass

Suspended Ceiling

Crystalline Silicone

We are asked to undertake your transformation systematically. You are asked to begin by adopting a material technology that triggers a change in the logic of articulation of your case study. This could mean altering the logic of panelization and pattern and/or the logic of openings or fenestration, glazing, and enclosure. This new set of formal and geometric ideas should yield a novel set of material and technological associations. What implications do these pose for the construction,fabrication, and assembly methods of such systems? It is expected that this altered design scenario will inevitably force you to question certain building efficiencies as well as decisions of aesthetic, formal, geometric, and material order.

The pertinence of your material and aesthetic intervention with respect to the original precedent will be a problem you will need to embrace at each scale level. Students therefore must demonstrate the ability to make informed decisions at the tectonic level that impact not only aesthetic effects but also performance demands, ssembly/installation logics, maintenance, and economy. Following is a workflow we would like each team to follow.

Envelope Tranformation: Tranformation of Novartis 15 building designed by Frank Gehry

Course Name: Advanced Materials & Tectonics-I

Instructor: Mathew Melnyk

Partner: Lexin Liu //Wie Zhu // Arthur Modine//

Crystalline Silicone

Envelope Tranformation: Tranformation of Novartis

15 building designed by Frank Gehry

Reference buildings

1. Galleria

Architect: OMA

Executive Architect: Gansam

Contractor: HanwhaEngineering & Construction corp.

Facade consultant: VS-A

Model maker: Edelsmid Emile Estourgie

The building takes its unique form from the geometric relationships between the allowable envelope and the sun’s path. The curtain wall unit is co, poed of central diamond-shaped panels tilting downward, surrounded by four triangular pieces that are perpendicular to the slab to achieve standard joints. The complex facade features highperformance glass with low reflectivity creating an original and iconic aesthetic effect.

Architect: Studio Gang

Executive Architect: HM White

Contractor: Arup

Facade consultant: Sullivian Group

Lighting Consultant: Fisher Marantz Stone

2. Solar Carve

Low-E Coated Triple Glazing

Steel Mullion with Painted Aluminum Finish

Steel Supporting member for Mullion to Structural Beam

Horizontal Steel Mullion Type A with Painted Aluminum Finish

Painted Horizontal Steel Beam

Painted vertical Steel Beam

Painted vertical Steel Beam

Steel Mullion with Painted Aluminum

Horizontal Steel Mullion Type A with Painted Aluminum Finish

Low-E Coated Triple Glazing

Steel Mullion with Painted Aluminum Finish

Horizontal Steel Mullion Type B with Painted Aluminum Finish

Horizontal Steel Mullion Type C with Painted Aluminum Finish

Detail B

Detail A

Low-E Coated Triple Glazing

Glass Mullion

Edge Spacer and Seal

Steel Mullion with Painted Aluminum Finish Glass Mullion Support member

Detail C

The Inevitable Doomsday

Course Name: Theories of Contemporary Architecture

Instructor: Erik Ghenoiu // Marcelyn Gow

“No one knows about that day or hour, not even the angles in heaven nor the Son, but only the Father” (Matthew 24:36)

Though initially starting as a Christian belief, Doomsday1is a concept that is very familiar to us, which predicts a dystopian scenario that brings about the end of humanity. It has been floated across various mythological or even theorical studies that forecasts a reality where the humanity would face it’s inevitable end. Talks regarding the “End of the world” is no longer limited to fringe fanatics but a common discourse that needs to addressed today. These claim got some traction through the “Doomsday argument”2 conceived by the astrophysicist Brandon Carter around fifteen years ago. This concept may be hard to accept as a whole but on a much grounded note, today we are seeing multiple unprecedented global events that have raised concerns regarding the future of the earth as we know it. Threats of global catastrophe is normal news nowadays- pandemic, nuclear war, asteroid impacts, but the most gravest amongst all, climate change. We have been studying about its environmental effects for several decades and the impending danger that we face as a result, but we fail to see the bigger picture. Climate change is the tip of the iceberg, as the main danger comes from a much larger concept, the end of nature.

Nature is a term that is commonly associated with greenery or environment, but it’s a far more complex ecological structure that ties together interdependent lifeforms and other non-living things. In a wholistic sense, nature encompasses all life forms and the physical/ material world around them, ranging from subatomic to a cosmic scale3 It could also be understood as the general non artificial area that has not been altered by human activity or which persist despite human intervention i.e. the natural world. Though nature encopresis of everything outside the human realm, it is upon this balance between us and the unclaimed earth’s property that the fate of humanity hinges upon, as it corroborates our society, our economy, our very existence. The oceans, rivers, soil, and forests provides us with the air we breathe, water we drink, and food we eat, everything that we humans require to sustain our existence. Any attack or imbalanced caused to the natural world directly affect humanity as a whole, and oxymoronically humanity has always been the biggest threat to nature.

American environmentalist Bill McKibben’s “The End of Nature,”4sheds a light on society’s unchecked materialism and hunger for natural resources which would one day lead to humanity’s demise. According to him end of nature means the end of nature as a force independent of man which is being dominated in two ways. Firstly, the pollution produced by human societies has reached the levels of global irreversible impact. Secondly, the economic angel to this would be the instance of using the greenhouse effect to promote personal agendas by some countries. Today, international bodies hold debates that set no intrinsic value on natural preservation as their primary focus, leading to the formation of many pseudo environmentalists. This was clearly the case, when Donald Trump (45th United States President) in 2017 left the Paris Agreement,5 (which was designed for nations around the world to collectively tackle the growing dangers towards the natural world) for economic reasons. This was a major setback in the fight to preserve nature as United States being the one of the largest contributors to the global greenhouse gas emissions (around 15% annually) stopped even acknowledging it. So not only does humanity’s indifferent attitude serve as the key contributors to nature’s demise but also the lack of morality makes it impossible to find an unified solution that would actually be in the best interest of natural preservation. This stems from the underlying fact that, humans as a species have entered into the age of Anthropocene.6It means that humans as a species have worked their way through time in becoming the most influential species on the planet, having a significant and a potentially irreversible effect on the surrounding natural world as they please. The requirement of modern life is urbanisation, the causality of which is inevitable natural decay. The process of urbanisation shares an intricate relationship with the development of the Anthropocene age, a development that we all rely on in our daily lives. It translates to a grim reality that humans can have an adverse effect on nature in an intentional and an unintentional manner.

Concept art showing the doomsday event

Concept art showing the doomsday event by "Gerd Altmann"

The intentional side is evidently displayed in the conversation of environmental degradation and other man made calamities. The signs of global warming, Co2 emissions, acidification of oceans ,and end of the wilderness as a whole have significantly transformed our planet. The invention and usage of nuclear weapons has deeply penetrated into several biological levels, permanently damaging the ecological balance. Timothy Morton who is an philosopher and ecologist, aptly highlights this humanistic trend in her book Hyperobjects: Philosophy and Ecology after the End of the World7 as “nonhuman beings” and supported her claim by introducing the concept of “Hyperobjects”. He describes hyperobjects through an ecological thought as objects so massively distributed in time and space that it transcends spatiotemporal specificity, such as global warming and radioactive plutonium. To prove her theory on creation of hyperobjects, she has used the example of Styrofoam and traced its entire life cycle from its creation. She also describes how the rate in which humans have impacted nature over the years is exponentially accelerating on a pace that has increased by double or triple over the last decade. She terms this period as the “Great Acceleration.” Ultimately drawing to the conclusion that we have entered a new phase as a species, where the end of nature and human extinction are closely intertwined and most likely inevitable.

The climate threats posed to the planet have been recognized and examined for decades now and yet it is only recently that the anxieties of population explosion and globalization have been significantly associated with the causes of environmental degradation. Although global fertility rates have maintained a downward trend over the past few decades, progress on climate action has still been slowpaced. And even in the overly optimistic case of fertility rates dropping to levels below replacement, population growth is still expected to have a sharp rise as people live longer in this age of modern medicines and youngsters mature to reproduce at the same time. Hence, although the per capita footprint and emissions may decline, this projection of population will still contribute to a threatening increase in emissions. It is responsible to be alarmed by the anthropogenic contribution to concerns of climate change and pollution which has been on a sharp rise in the recent decades but also every micro-managerial effort to counteract the effects on climate are at this point subdued by the overwhelmingly irreversible impact of environmental ignorance in the past.

Above: Reference Images which showing the land exploitation, accumulation of garbage, and burning of wood.

Geneva, site garbage accumulation

India, crop residue burning

"Doomsdayers have many ideas about when and how the world will end" by Arijus Auruskevicius

6. Oxford English Dictionary, 2nd ed. (Oxford: Oxford University Press, 2004), s.v. “Anthropocene.”

7. Timothy Morton, Hyperobjects: Philosophy and ecology after the end of the world, 2013.

Our home has teetered off the point of no return and in this cynic’s opinion, we had it coming. Information is only as useful as the person who is using the provided knowledge. Blunt instruments such as woke capitalism that attempts to sell products through the facade of green or feel-good practices that release the serotonin of contribution will not save this planet.

In the age of the Anthropocene, we are witnessing a mass culling of the biodiversity of this planet which is set to multiply exponentially as more of us arrive to find a home here. Holocene extinction is not just a problem for the ones we share this planet with but will upset the food chain we rely on. As we continue to argue the politics of preserving the earth, the atmosphere continues to deteriorate, sea levels continue to rise and freak weather has become commonplace. As we continue to pretend we care, the world we leave for the future will be a truly hostile one. And they, will rightly, question not only our intelligence and our initiative but also our morals.

As social species, we are programmed to play the game of appearances. We have designed a society where the ability of one to afford a good life pivots heavily on the opinion of society. It is unfortunate that we treat this coming catastrophe as a tool of marketing to sell more products. Unfortunately, the politician can only care about the climate when he needs the vote of an environmentalist. Unfortunate that, to some, being an environmentalist is no more than a fad used to be accepted. Unfortunate that as an individual there is little one can do to affect enough change and unfortunate that we cannot come together. Though not in the way that the Mayan’s predated, but if humanity does not change its course, the end of nature will be the reason for our realistic doomsday.

A reference concept image of the Sahara desert by use of the artificial tool to convert barren and into green land.

Plastiglomerate, Kelly Jazvac's plastiglomerate stones

Bibliography

Bostrom, Nick. Investigations into the Doomsday Argument, Department of Philosophy, Yale University, 1996.

https://www.anthropic-principle.com/preprints/inv/investigations.html.

Ducarme, Frédéric. What does ‘nature’ mean?, Couvet, Denis, 2020.

http://billmckibben.com/end-of-nature.html

McKibben, Bill. The End of Nature, Random House, 1989.

http://billmckibben.com/end-of-nature.html

Morton, Timothy. Hyperobjects: Philosophy and ecology after the end of the world, 2013.

https://www.upress.umn.edu/book-division/books/hyperobjects

Oxford English Dictionary. 2nd ed. Oxford: (Oxford University Press, 2004), s.v. “Doomsday”

https://www.oxfordlearnersdictionaries.com/us/definition/american_english/doomsday.

Future !!

“HYDROGENASE”

Algae farm recycling CO2 for biohydrogen airship, designed by “Vincent Callebaut Architects”.

Between engineering and biology, Hydrogenase is one of the first projects of bio-mimicry which draws its inspiration from the beauty and the shapes of the nature, but also and especially from the qualities of its materials and its self-manufacturing processes.

COUNTER-AGENT

Course Name: 2GBX Generative Morphologies

Instructor: Jackilin Hah Bloom,

Partner: Freeland Livingstone

The studio will take on the project of a 150,00sf BIO-TECH building in El Segundo of Los Angeles County. As the life science industry thrives during the current public health crisis, Los Angeles aims to be a bio-tech hub, third only to Boston and San Diego. The studio will consider the interests of multiple stakeholders that make up this unique and evolving building type. Students will design a building for an organization that gathers groups of interdisciplinary constituents to perform research around particular technologies, policies, and ideas. As a consequence, the building may not necessarily be gauged by its efficiency of program or self-similarity of users but will represent a diversity of intercorrelated stakeholders.

During this semester we engages in a comprehensive building project while asking some foundational disciplinary questions: what is the form of contemporary participation to the construction of scientific knowledge? How can architecture offer a space where an expanded agency can be effective? How can we design an architecture that facilitates a network of stakeholders and allows them to work together? Can architecture promote awareness and active communication regarding technological investments? Specifically, can a BIOTECH facility act more like a parliament of negotiations, rather than a branded lobby for a shared workplace?

CHARRETTES

In this session, we start Using Artificial intelligence to train a GAN to produce Images of actors. As an individual I selected Robot as a rigid and mechanical form to mutate with the Fungus organic matter, as in result a mix blend mechanical squishy design was produced.

CHARRETTES

To produce an environment, As an individual, selected house farming as a natural green matter and Assembly hall as a building form to mutate together, as in result a mix of destructive design elements was produced.

Project Site

The site of the project is located in the city of El Segundo of Los Angeles County. Situated south of LAX airport and just inland of the Pacific coast, El Segundo is known as the aerospace capital of the world, but has expanded into industries of defense, bioscience, information technology, energy, and creative media. The area of the lot that our studio will work on is approximately 185,00sf, at the corner of Nash St. and E. Grand Ave.

Front Elevation

In an era of increased globalization, the natural and technological adaptations of humans to the planet are in constant fluctuations as mass populations move around the planet. Continual migration and habitat changes in human populations have propelled once localized epidemics into global pandemics. A virology research center is established in El Segundo, California to counteract increasing viral outbreaks within Southern California.

Movement of flying pods in horizontal and vertical directions. These are isolated biolabs and can be easily transported from one place to another. These pods highly used fro remote area to provide emergency help quickly.

Actor - Bat

Actor - Rat

Actor - DNA

Actor - Human Skeleton

At the scale of genetic coding, human interactions with viral agents occur within the research center’s main advanced laboratory. This is where DNA and RNA sequences are contained, studied, and manipulated. The research center expands it’s agency through deployable micro laboratories that serve as research, testing, and vaccination sites spread across southern California. In a large assembly, interactions with viral agents happen at the scale of terrestrial lifeforms. In a collective attendance, exchanges happen between viral agents, humans, and actant species susceptible to zoonotic viral transmissions.

Assembly hall

The research center is largely public, with public observations through the height of the building. The ground level is mostly a vegetated area with a central exterior assembly. Through escalators, individuals ascend to an elevated public plaza within the grid structure where the research center presents itself. In this exchange between human and viral agents, individuals can observe the facility through an arrangement of suspended flexible labs within the lattice and the labs within the end masses.

Southern California Institute of Architcture- 2021

ALTER / NATURE

Alter|Nature explores the visual phenomenon of codependency of physical, digital, andbiological in bio-diverse environments. Atoms, Bits, and Genes will redefine objects in theAnthropocene area in terms of the arrangement of objects and the agreement of parts.Spatial organizations and power structures collapse in a single instance, where one definesthe other and vice versa.

“Alter|Nature” aims at the creation of Trans-Habitats, temporal and physical spaces where organic and inorganic elements find ecological logics of distribution, symbiosis, and hierarchies. Starting from the understanding that nature is created as a process of ceaseless morphogenic modulations, “alter|Nature” explores the aesthetic of the event and of the ritual.

Course Name: 2GBX Visual Studies

Instructor: Andrea Cadioli

ALTER

Course Name: 2GBX Visual Studies

Instructor: Andrea Cadioli

The course begins with the creation of a catalog of 3d models of organic, inorganic, and ideal objects. Then collect, curate, and classify .obj from ready-made platonic shapes and photogrammetry 3d scans.

We generate arrangements with the objects around spherical volumes. Through the use of scripts and procedural design, create assemblies of light, color, mechanical and random movements in Unreal Engine. The simulated ecologies are represented with stills and constructed perspectives

Creation of organic form with complex shader materials and its composition.

NAture

In the second part of this first assignment, we use the same workflow to curate a shared catalog of digital materials. Physical materials are synthesized in albedo, normal, roughness, height, and ambient occlusion maps and reconstructed as Physical Based Rendering materials. The combination of the two catalogs will be used to explore materiality in between familiar and uncanny, digital and physical legibility.

The compositions of Project 1 are reorganized as landscapes surrounding the generated ecology. The arrangements reverberate on the site creating a playground of entities behaving and relating to each other. The world is enhanced through new senses of procedural sounds and machine vision.

Course Name: 2GBX Visual Studies

Instructor: Andrea Cadioli

UNIVERSAL DESIGN

Abstract

In this article, I want to explore the circulation system for universal users. What could be the design strategies that contribute to the design of Universality? A look back at the impact of building accessibility during this period. In terms of circulation, what defines the circulation of architectural spaces? How circulation systems play an important role in architecture. How it creates solutions and at the same time creates problems for different users. View the elements of the human body towards the building and its role of perception that would help in dealing with and shaping the architectural space within the universal design problem.

Course Name: Theories of Contemporary Architecture 2 Instructor: John Cooper // Marcelyn Gow

Introduction

Introduction

“Disability sits in a peculiar position in architecture and urban design.” Consideration of “disability as a concept” and “disabled people as a constituency” as a broad term and terminology, which makes it separate from “social or cultural politics.” In terms of architecture, disability nowadays is accommodated in space through guidelines and regulation and only a few examples are able to see where disability is called for inclusive design/universal design such as “Rolex learning Center” by “Sanaa.” As we can change how we provide disabled people in buildings, it has changed over time. As we look over some ancient buildings where it is predominantly not from one user, those are more or less for every user. Such as Semut, the mortuary temple of Queen Hatshepsut. This ancient monument focuses on the circulation system as a key design element of the building, extending up the axis center of the site via a ramp.

“Disability sits in a peculiar position in architecture and urban design.” Consideration of “disability as a concept” and “disabled people as a constituency” as a broad term and terminology, which makes it separate from “social or cultural politics.” In terms of architecture, disability nowadays is accommodated in space through guidelines and regulation and only a few examples are able to see where disability is called for inclusive design/universal design such as “Rolex learning Center” by “Sanaa.” As we can change how we provide disabled people in buildings, it has changed over time. As we look over some ancient buildings where it is predominantly not from one user, those are more or less for every user. Such as Semut, the mortuary temple of Queen Hatshepsut. This ancient monument focuses on the circulation system as a key design element of the building, extending up the axis center of the site via a ramp.

But with the change of time and the advent of technology, Disabled people’s accessibility regulations are getting shorter and shorter. In the built environment, there are many places where disabled people face contention, conflict, and dramatic antagonism space such as including steps into shops and public buildings, no access available to public transport, and missing color coding and induction loops

But with the change of time and the advent of technology, Disabled people’s accessibility regulations are getting shorter and shorter. In the built environment, there are many places where disabled people face contention, conflict, and dramatic antagonism space such as including steps into shops and public buildings, no access available to public transport, and missing color coding and induction loops

Another example: A recent article by “city lab” explained how technology helps in speeding up construction and design but still neglecting the needs of disabled people who are unable to live in the coming intricate or complex design.

Another example: A recent article by “city lab” explained how technology helps in speeding up construction and design but still neglecting the needs of disabled people who are unable to live in the coming intricate or complex design.

Interrelation of circulation with Human Body

Interrelation of circulation with Human Body

“In architecture, circulation refers to the way people move through and interact with a building”.

“In architecture, circulation refers to the way people move through and interact with a building”.

Circulation is an integral part of any architectural space. Explore and experience the architectural space if there are any circulation channels available.

Circulation is an integral part of any architectural space. Explore and experience the architectural space if there are any circulation channels available.

A Circulation is a tool or essential element of the space that connects “space between space” and its direct link with the human body.

A Circulation is a tool or essential element of the space that connects “space between space” and its direct link with the human body.

“Bodies not only move in but generate spaces produced by and through their movements. Movements-of dance I sport, war-are the intrusion of events into architectural spaces.” It is a vast concept that also describes the movement of the body through space and time which explains that the body is the primary center of sense, the movement in space. This eventuality leads to an unexpected unfolding, and a new form of architectural space. What’s more, a connection between the movements in Architectural space through Circulation is similar to the movement of blood in the human body through veins.

“Bodies not only move in but generate spaces produced by and through their movements. Movements-of dance I sport, war-are the intrusion of events into architectural spaces.” It is a vast concept that also describes the movement of the body through space and time which explains that the body is the primary center of sense, the movement in space. This eventuality leads to an unexpected unfolding, and a new form of architectural space. What’s more, a connection between the movements in Architectural space through Circulation is similar to the movement of blood in the human body through veins.

Through the human body, one can examine and study how a single cell and unit perform uniformly and also show how it performs in sync with other cells or organs in the human body. In relation to the previous text, in architectural space, everything connected through a circulation system that provides access. Correspondingly, in the human body veins provide body flow through the body.

Through the human body, one can examine and study how a single cell and unit perform uniformly and also show how it performs in sync with other cells or organs in the human body. In relation to the previous text, in architectural space, everything connected through a circulation system that provides access. Correspondingly, in the human body veins provide body flow through the body.

So, architectural space should be designed in such a way so that everyone can access the building, either normal or abnormal people. That’s why Universal design is important.

So, architectural space should be designed in such a way so that everyone can access the building, either normal or abnormal people. That’s why Universal design is important.

Piano Renzo, Centre Pompidiuo, 1977

Temple of Hatshepsut, Aerial View

Piano Renzo, Centre Pompidiuo, 1977

Temple of Hatshepsut, Aerial View

Why Universal Design?

Everyone is different in terms of physical appearance and traits such as “people who are left-handed and right-handed- and difference of their age, size, and functional capacities.” guidelines which are represented by the “National Authority in universal design” to be followed by every architect designer while designing the building to understand the needs of disabled person in building “These all factors affect the person’s mobility, dexterity, reach, balance, strength, stamina, sight, hearing, speech, touch, memory and sense of direction.”

A design should be that way that people with disabilities can access it without the problems of normal people. Disabled people should be able to guide themselves and move freely inside the building without any obstacles and problems.

According to the “Disordinary Architecture project” By ” Jos Boys’’, all the circulation systems in the architectural building or an urban scale must be Universal. She explains that “Such a practice is discriminatory: it normalizes a situation where many disabled are severely limited in what they can do, whilst environments continue to be designed so that normal people can get about their more easily.” An architectural space should not differentiate between the disabled and non-disabled people. She came up with the idea of making disabled people designers so that discrimination or conflict in design could be addressed. Later, it will contribute to the architectural design process, making the space well integrated with its users: normal and abnormal, providing us with universal design space.

Creation of solution and Problem by Circulation system.

Circulation creates steps that provide people with access from one space to another, both horizontally and vertically. On the one hand, it helps users to fully enter the building without any obstacles. However, steps create joy and accessibility for one user. But it creates problems for disabled people. Correspondingly, in the Pompidou building, the exposed circulation system is a prominent design element, making it a well-recognized building.

Looking into some possible solutions for universal design through some Buildings that helps in blurring the difference between able and disabled people.

Looking into the text of “Jos Boys” in which she explains that “rather than putting the provision of disability at the end of the design process, centered mainly on compliance, it sees disability as creative starting points for the whole design process.” This helps to come up with suggestions or ideas during the design process, starting with researching the disability issue and integrating all solutions at the beginning of the design process.

Thomas Carpenteir, Cripping the Grd-1, Generated Proportion, Jos boys, 2017

Thomas Carpenteir, Cripping the Grd-2, Generated Architectural Space, Jos boys, 2017 Southern California Institute of Architcture- 2021

3. Dima, Our Cities are not Designed for the Disabled, Archdaily, CityLab, August 02, 2021 4. Define circulation, wikipedia, June 03, 2021 5. Bernard, Architecture and Disjunction, Mitpress, 1996 7. Jos, The Disordinary Architectural Project, The Funambulist, The Space of Aleism, August 31, 2018

1.Rolex Learning Center/ SANAA

“A Rolex learning center which is Designed by architect SANAA, located centrally on EPFL campus, spread over a site of 88000Sq.m.” A simple rectangle, shape plan. Parts of the building gradually touch the ground, allowing the interior of the building to flow organically and freely. Instead of steps and stairs inside the building, there is a gradual slope that allows the building to be used by many people indefinitely.

“No Architecture without a program” how predefined sets of programs help the designer to create a universally accessible space by Bernard Tschumi. Define a program in architecture space. “A program is the framing script for how inhabitants will engage with a spatial system over time, or over a day, or simply from one place to the next.”

Previously, I discussed how sensory movement helps people move through space. Gain a deeper understanding of what kind of sensory space is achieved through materials and a set of programs.

Bernard Tschumi who wrote the”THE LIMITS OF ARCHITECTURE” in the book on Architecture and Disjunction. He explained that the kind of space in architecture begins to enumerate sensory aspects that help the space in sensory movement begin to interact with the surrounding society. He expounds how the human sensory elements realized through materials. “The sensory elements in buildings through the pervasive smells of rubber, concrete, flesh, the taste of dust; the discomforting rubbing of an elbow of an abrasive surface; the pleasure of fur-lined walls and echo in the empty hall guides the users to move through space”. What’s more; also, the relation of the body to the senses of the body and the way the senses move through space such as the movement in the space through- Corridors, staircases, ramps, and passage that creates the “dance and gesture” a representation of space.

An exploration of an architectural program, “use of diagrams to capture dynamic processes such as circulation flows, spatial relationships, and patterns of intensity.” This “Jos Boys” explains that “Form is no longer a separate entity” it’s a combination of occupants’ requirements and their need for the space that leads to the shape of the architecture. However, designing a universal space is more than just adding programs to existing diagramming methods. But one can do this by understanding “what body is and what a body can do.” By exploring the body’s relationship with the surrounding environment through creating “Violence” in space. “By “violence” in which he states that relation of an individual human being with the surrounding. Rather than creating violence between people. Also, he states that the body and the body’s movement and circulation present a violation of energy, a disruption potential and that helps the body to create a new and unexpected space through fluidic movements.

The Architecture program of Diagram set opening up to a “unexpected Possibilities.” In “Beautiful Apparatus: Diagrammatic Balance of Forms and Flows” (2008), Maria Fedorchenko author of the book, explained that while designing of space, program diagram not only helps in developing and analysis the movement through space and time, but also helps in developing the form making.

Sanna, Learning Center,Plan, 2010

Steep Slope on floor at some area in building to help to participate in physical activity

Providing the Intrusion pattern in floor to help in navigate

Similarly, In “The Lerner Hall building” designed by Bernard Tschumi, is an intervention in an existing building at Columbia University. The building is designed in such a way that it resembles the historical site of Columbia University. In terms of architectural features, the building opens up to transparent faces to reveal what was shown to the interior of the campus. A ramp, which runs through the building is the main prominent feature of the building referred to as a “catwalk,” because of the use of the space as an art performance and at each breakout space. A prominent design of a ramp acts as a connection between the building and the public. Tschumi is quick to qualify this to talk about the programmatic concerts, not only as a functionalist doctrine, not only form follows function. He used our spirit to build a debate that attacked the superiority of form manipulation. To interrogate this idea of human manipulation, just play with the form.

Understanding the Incapacitated Body,: Movements That Help Create

Architectural Patterns. For example, a person who is on “wheelchair” when moving through space with an open arm as if “Vitruvian Man (Da Vinci 1490)” can create a nine squared diagram. Learn the patterns for creating a motion with this designer. How to incorporate this new set of diaphragms into existing ones to create a common design space.

To go further into the topic of architecture’s ability to creatively disrupt and extend users’ physical position and sense of space. An “Architectural body” manifesto by “Arakawa and Gins’’ states that “surrounding invite, provoke, and entice the person to act” in which they explain how the space redefined that demands attention and creation of space in a way that contributes to visual and physical capacity by challenging the senses. By leaving behind the Luxury and ease, their work displayed the involvement of physical activity and created a mental challenge to participate and help the “body interact with architecture.” In the project of “Reversible Destiny Lofts” they expand the horizon of how the body moves through space such as topography, which undulated, the designer provides the freedom so that users can walk on walls featuring undulating topography, walls to walk through, through the passage designer extend the physical limit.

Bernard Tchumi, Lerner Hall student center, Columbia University, New York(1994-1199)

Gins, Arkawa, Reversible Destiny Loftsl, Berlin, 2005

14. Jos, Disability, Space, Architecture, Routledge, 2017 15. Sanaa, the Architect, Archello article, 2010 16. Juhani, The Eyes of the Skin, wiley-Academy, 2005

A normal person and an abnormal person considered to be the same space. With the help of sensory movements, both can move around and enter buildings through the perception of the surrounding space.

Peter Eisenman provides a general guide, as well as a movement of design suspense while walking through the hallway as a design element. How Peter Eisenman makes this building accessible for every user by “providing grooves” for walking sticks found along some of the Memorial’s paths do not only ensure that one can navigate to a given destination” These grooves on the ground draw a “sensitive instrument” along a channel whose rhythmic structure and change of amplitude with a time help the users to navigate through the passage easily. Other factors affect sensory movement, such as air pressure,

A Groove in pathway help in Navigate

Peter Eisneman, Berlin Holocaust Memorial, Berlin, 2005

A graphical representation to show air temperature and pressure.

Peter Eisneman, Berlin Holocaust Memorial, Berlin, 2005

Peter Eisneman, Berlin Holocaust Memorial, Berlin, 2005

2. Berlin’s Holocaust Memorial/ Peter Eisenman

A Space designed for “Skin” not “Eyes”

Architectural spaces designed for skin or eyes, it can be great to start with the design By using specific materials, textures, and elements such as surrounding air pressure and temperature differences, designers helped to better emphasize the feelings of people with disabilities.

From the text of “The Eyes of the Skin,” By Juhani Pallasmaa, in which she mentioned that through the natural materials- stone, brick, and wood- help the user to find the texture that penetrates while touching it. Natural elements help determine their age and history. This event helped him get to the ground because then he would feel safe

Bibliography:

Boys Jos, Disability, Space, Architecture, Routledge, 2017

https://www.amazon.com/Disability-Space-Architecture-Jos-Boys/dp/1138676438

Crip Camp: An Interview with Filmmaker Jim LeBrecht About Accessibility, Universal Design, and Spaces of Freedom, Archinect, March 7, 2020

https://archinect.com/features/article/150185908/crip-camp-an-interview-with-filmmakerjim-lebrecht-about-accessibility-universal-design-and-spaces-of-freedom

Stouhi Dima, Our Cities are not Designed for the Disabled, Archdaily, CityLab, August 02, 2021 https://www.archdaily.com/966066/our-cities-are-not-designed-for-the-disabled

Define circulation, wikipedia, June 03, 2021 https://en.wikipedia.org/wiki/Circulation_(architecture)

Tschumi Bernard, Architecture and Disjunction, Mitpress, 1996 https://mitpress.mit.edu/books/architecture-and-disjunction

Boys Jos, The Disordinary Architectural Project, The Funambulist, The Space of Aleism, August 31, 2018 https://thefunambulist.net/magazine/space-of-ableism/disordinary-architecture-projecthandy-guide-disability-differently-architecture-urban-design-jos-boys

Button Benjamin, Feature what do we mean by Program, Interaction article, June 2008 https://interactions.acm.org/archive/view/may-june-2008/featurewhat-do-we-mean-byprogram1

Pallasma Juhani, The Eyes of the Skin, wiley-Academy, 2005 https://arts.berkeley.edu/wp-content/uploads/2016/01/Pallasmaa_The-Eyes-of-the-Skin.pdf

Philippe Rahm Architects, Jade Eco Park, showing air pressure difference, 2012-2016

Philippe Rahm Architects, Jade Eco Park, showing air pressure difference, 2012-2016

Course

Instructor:

Partner:

A practical application of Revit looking beyond architecture. This class will look at 3D modeling and design holistically as it exists in a shared environment. Using a baseline project to start, students will learn how the manipulation of data can produce discrete design options. Collectively, we will observe multidisciplinary workflows, consider other perspectives or possibilities across all disciplines (SMEP, façades, lighting, acoustics, etc.), and investigate what it’s like to design with empathy. We will cover principles of Building Information Modeling (BIM), methods of data extraction and analysis, and theories behind systems thinking and emotional intelligence as they pertain to the built environment. This course will simulate what it is like to work collaboratively in a shared space, delve into project setup and BIM management of a project according to industry standards, and develop a multidisciplinary pointof view as students prepare for a real-world transition to the profession after graduation

Name: AS 2437 : Building Empathy

Ashely Hasting

Wei-Chieh Wang // Xinyuan Yue // Yashwanth Munukoti //Wei-Hung Chen

Office Diagram

Project Name / Address

Uber World Headquarters

1455 3rd St, San Francisco, CA 94158

Circulation Diagram

Neo is a proposal for the extension of Uber’s headquarters in the Mission Bay Area of San Francisco. This project particularly focuses on promoting communal engagement within the built environment and its immediate context. This 6 story structure follows the site envelope to take its L-shaped form and reveals to its neighborhood its communal presence through the design of the terraces that primarily make up its form. These terraces help activate the built form in the setting of its bustling neighborhood. Through its transparent design aesthetic, the design also takes a stand to promote the building’s dynamic work environment.

Circulation map

Group4

Date

April 12 2022

Course

AS Building Empathy REVIT

A602

Pavilion Diagram

Draw by Wei-Chieh Wang Xinyuan Yue Abhishek Kadian Yashwanth Munukoti Wei-Hung Chen

Rear Elevation

The structure is designed to primarily house coworking offices and their associated conference rooms, lounges, and multipurpose areas. These spaces follow a linear spatial configuration owing to the building’s form and allow for a direct approach to circulation within the building. The design bases its spatial layout on the function of the terraces. This linear organization allows for each office space to have direct access to the terraces, which can serve as an extension of the office itself. This allows the terraces to be the bridge between the work environment, the neighborhood, and the community in which they are set. The pergola that adorns the west-facing elevation of the building intends to enhance the very industrial outlook of this structure and form a significant part of the design aesthetic. The site’s landscape is designed to serve as a visual tool to balance the geometry of the built form and also serve to mediate the transition from the building’s context to the building.

Neo attempts a lateral approach to the design of similar spaces in its context and promotes community-oriented design principles. It intends to keep its program focused on the building’s needs and design notions. And it also hopes to vividly complement its much larger counterpart, the Mission Bay 1 Uber headquarters, and make its presence subtle yet prominent in the Golden State Warriors’ Chase Centre Arena Project.

Agro-Folly

Course Name: DS 4000 09, Vertical Studio/

Instructor: Maxi Spina/

Partner: Aleksandra Lapshina//

The Folly project is small scale prpject to perform the function as a warm-up design exercise that will inform your design project for the food research and production facility thereafter. As such, this exercise is intended to yield sophisticated design techniques and rendered images of the juxtaposition of typologies, ordering systems and assemblies of glass, plants and landscapes.

Volumetric studies, literal and phenomenal

A design of folly considers of 12’-15’ high greenhouse to accommodate between 1,500 to 2,000 sq ft of edible plant life. A folly as a free-standing object in the landscape without the burden of foundations or accessibility to its immediate surroundings. A focus empahsis on the folly’s relationship to two notions of nature: the productive landscape of plants it is tasked to house, and the landscape in the background.

Glass orders

This Assignment invlove to make conscious and speculative choices about the intervening materials, their modulation, performance and resulting visual effects. such as: the use of flat vs non flat glass panes; orthogonal, parallel, rhomboidal or nonoriented grids or frames; and finally, the underlaying structure that supports the glazed surfaces.

Orders of nature

To come with the idea about the human and non-human labor involved in such intensive use of space and about the orders (spacing and layout) necessary to grow and farm plant life. What organization patterns may emerge? What form of ground could you create inside your folly?

Folly rendered image shows relationship between Glass and Mullion

Interior layout of Folly design

The use of mullion that overlay the ordering systems of glass onto the volumetric organization through the folly in such a way that it allows more light inside builidng.

This Agro- folly is a small prototype of a large green house building. Use of a saw-tooth pattern to design a folly facade envelope in a way that each part of the folly gets enough sunlight inside the building. Over the top of it the design of the mullion in an inclined pattern so that from and mullion gives contrasting effect.

The farming layout or matrix placed in a way of creating visual relationship to the orders of glass assemblies.

Growing Future

Course Name: DS 4000 09, Vertical Studio/

Instructor: Maxi Spina/

Partner: Aleksandra Lapshina//

Greenhouse Large Food Research & Production Facility

The studio is a test case situated at the intersection of architecture and productive landscapes -the highly regulated, technologically controlled, production that shapes the land in our contemporary society.In particular, the studio will focus on food production in the city, intensive use of space, circular energy and water use.

Contrary to conventional greenhouses, which employ fritted glass that obscures views in, this studio intends to put the interiors -and its experiments in vertical farming- on display, like a giant vitrine. What are the potential formal, organizational and pictorial reciprocities for an architecture that accommodates climates for plants and humans under one conservatory, seemingly transparent enclosure? What are the intersections between the tectonics of glass and the modes of urban food production, storage and distribution? With these issues in mind, the studio will look at the historic evolution of architectural glazing.

Starting with the first modern examples, we will look at the production of large buildings made of glass and steel for large exhibitions. From the Crystal Palace in London to the Javits Center in NY City, students will dissect the formal, organizational and technical disposition of large transparent volumes. Coupled with the use of steel, it merged the modern constructional logic of the frame and the pictorial idea of framing. Glass became in this way, the medium that connected architecture to the landscape. But glass as a building material has evolved into more complex applications, with contemporary applications challenging its planarity and dimensional limits, as well as its assumed intrinsic fragility and non-load bearing capacity.

In this studio, we studied the relationship between the technical aspect of glass and landscape. In the later stages of project development, we used that knowledge to design a large experimental greenhouse to deal with the rapid growth of the population and the global environmental crisis.

Interior layout of plant species

The use of auomated and controlled system for irrigation

Layout of different soaces inside the foliage

Natural lighting is essential to this project, and the form of the glass structure is assembled in a way to get the maximum amount of sunlight inside the building by using “Nature-oriented architecture” A form that initially was a large rectangular box was later broken down into a series of more free-shaped smaller blocks with elevated faces to create the sawtooth wave pattern. The Green House foliage space was later divided into two main zones: the zone where plants grow naturally using perpetrating sunlight and the zone with artificial lighting environment to maximize the growth efficiency of specific plants that need a more controlled environment.

Punctured in the glass facde in a way to get the maximum sunlight inisde the foliage

A gallery inside in the center of the foliage created in a way to get the proper circulation between two separated zone and also acts as an exhibition and learning hotspot for the visitors.

This Vertical farm is an experimental large-scale greenhouse prototype designed to study glass properties as a building material for a complex form and creation of a solid structure thoughtfully coupled with steel. A prototype that exhibits the mass production of food and inhabits a large number of plant species. In our design we also implemented technology for a more efficient production and logistics inside the building.

Fishing in the Bathtub

Course Name: AS 2437 / Contemporary Architecture

Discourse History/ Instructor: Eric Owen Moss/

Response-1

Taking the point from the class about how the ‘different pieces of the building’ make a whole object or building together and how it is affected over time. In terms of Architecture, every design starts with different phases of design such as Schematic, design development, construction drawings and constructions of projects on site. The design phases remain the same either the building design from the 19th century or design from the 21st century. The only changes we can see are the construction techniques and intricacy of details within the project and how the use of materials change over the time.

For example, project by Carlo Scarpa Aula Baratto, Palazzo Ca’Foscari, Venice Scarpa designed the innovative and delicate Y shape wooden paneling on the wall to divide the two different rooms.

Another project by Mies Van Der Rohe Farnsworth House (1951) Plano, Illinois Mies designed the iconic weekend house and home hold the strong emphasis on structure and nature.

Above both the projects are from the 20th century and both are from well renowned Architects, the only difference is their style of design and their way of using the different materials. In the Scarpa project, there was a jumble use of different materials and texture such as in Y shape wall, he used first steel as a base structure and then over it a bunch of woodblock layers holding it together by lots of bolts.

But the project from Mies followed the minimalist design principle and had his own unique style. Here also we can see the use of materials and components piece by piece however as little as possible.

Over time we have seen how technology and design philosophy changes. Earlier all drawing made by architects was hand drawn and now we have technology to produce drawing easily through computer aided products. Even buildings can be made through a 3D printer without use of human labor.

Palazzo Ca’Foscari, Carlo Scarpa Aula Baratto

Farnsworth House (1951), Mies Van Der Rohe

Response-2

“The invention of film embodies interior rendering of urban setting, reinventing them in mobile, fragmented, haptic emotion picture”( Bruno, 2007:2077)

Topics from the last class such as relationship of Art and Architecture with films and James Stirling ways of designing the buildings.

In my point of view, Integration of film with Architecture is a medium to visualize the notion of space. It’s not just limited to space but to explore the meaning of different cultural aspects over the world. This also could be the way to educate the users, how to interact and use space. Same way, manufacturing companies advertise their products to inform the user of the proper way of using it. Cinema is an art where users also experience the world beyond the natural setting such as the utopia, fantasy world.

Second, James Stirling building Neue Staatsgalerie is the perfect example of combining the traditional design elements of a classical 19th century museum with modern, complimentary industrial materials and also implemented a series of colors as functional identifiers. The reason behind choosing this building to discuss over here is not just because of the way he combined the idea of both the elements but the way he used the primary colors to different parts of the building that makes it stand out. I think there are so many buildings of the 20th century where many architects would have combined the two different arts. But the use of a particular type of color is truly amazing and from my point of view that makes building timeless.

Response-3

Topics from the last class about; “Fence with more beauty rather than a solid uninteresting wall”.

In my opinion, the topic is that we should not be able to change every individual thought or belief regarding having a boundary across the property. People also feel safe if there are boundaries around their property. Feeling safe in this context means that individuals have their own space without interruption from others. Also, as looking out into larger contexts of land such as on a national level. Every nation wants to secure its land and protect it, just from other people with different cultures. We can’t stop making the people or governments make boundaries. But we architects withhold the great power and responsibility to make every space that is not hostile to the people. A proposal to have a boundary in which to “combine two cultural to create a third”, I think it is a great idea to bind the existing culture together and through that we can create a new one.

Having a 20 ft high concrete wall will solve the idea of having boundaries but create more cultural differences. However, we can produce the idea of creating a space where sharing of ideas and beliefs between two Nations wide can occur. Maybe, Afterward, people from different Nations do not feel hostile toward the wall. Eventually, in the end, maybe the differences now we have could be overcome just through a wall that connects to both cultures.

The Glass Forest Concept, Eric Owen Moss

Dreams, Akira Kurosawa Neue Staatsgalerie, James Stirling

Response-4

Frederick Kiesler’s vision for Endless house

Federick Kiesler, an Austrian- American Architect, and designer designs. His ideas are based on the physiological and psychological processes of the human body. Kiesler’s approach towards architecture was a rebuttal to the rigid angular designs of contemporaries like Le Corbusier and Ludwig Mies Van Der Rohe.

Through the Endless house project, Kiesler showed a new way of designing that rejected the boundness created by rigid form. Therefore, designed a house that has no beginning and no end. A Surface within the house that inhibits the need of the human body.

From Kiesler’s point of view, “the ‘Endless house’ is called ‘Endless’ because all ends meet and meet continuously”. He designed the house in a way that resembles the Womb Like( Female anatomy), or even the human heart.

With this approach, Kiesler started a new wave of the human body’s importance in an architectural climate. Through Architecture, any space can be created that supports an indefinite connection to nature and the human body. However that we lost during the 20th Century because architecture was in fast phased mode. Everything was in mass production. With resurfacing of his core ideas of an endless house being so profoundly relevant to modern times, his designs and research are still rich and tantalizing as it was forty years ago.

His other idea, form does not follow the function but follows as vision.

Response-5

El Lissitzky Wolkenbugel house

Lissitzky’s works always rebel against the single plain perspective and his works, a great presentation of space. Which he termed as ‘ Prouns’ standing for the project - a new axonometric form slid towards one another in a dynamic counterpoint.

El lissitzky house, a skyscraper that is three Storey but elevated 50 meters above ground. The creation of this tower was in direct response to the demands of the new times. This old structure is purely an art of expressing their heights.

From this, I can say time flies only in the duration of time taken by construction or how fast construction can be done.

However, from the 18-19 century Architects taught us how to expand vision within architecture and their values were so strong that they are still floating in modern times.

There are many recognized architects and artists whose work is still profoundly great but could not be able to construct theirs because of construction technology present and time, money that required during the 18-19 century.

The only difference, now as compared with the 18-19 century, is the advancement of technology in the construction industry. Now we can estimate the duration of construction and budget.

“A great learning from history of old events and architectural works.”

Wolkenbugel house, El Lissitzky

Endless house, Frederick Kiesler

Response-6

For this lecture, we discussed Frederick Keisler’s work and other modern Architects during that time. I want to compare the philosophy of architects that we discussed from the lecture.

Ginsberg uses the philosophy of collectivism. For example, designing buildings for the people, giving the propaganda of ideologies of the better society of that time, different materiality that have the less environmental effect, built for a long time such as a monument of the movement. A building that would be around for a long time. Keisler was expressing himself and showing his distinct vision to the people which was very abstract. A building that was impossible to build but capable of providing a valuable response and solution to the many social concerns.

For example, in the An Endless house project by Keisler, the shape he derived based on the lighting system and a shape that would provide ample light to every corner of the room, different ideology from conventional Buildings.

Another Shukov is a specialist in metal structures, and engineering, his techniques helped him to design oil pumps and other purposeful structures such as bridges and buildings that include intensive structural requirements. He used non-Euclidean hyperbolic geometry to create a lightweight structure.

Response -7

Architectural with no limits: New Form of Architecture

“A Architecture is war and war is Architecture”

Lebbeus Woods is an architect with no limits in designing and thinking such as underground cities and floating buildings. A different take on Architecture, a building that spoke itself about its presence. Wood’s approach to design is different from others such as provocative creations with no connection to the rules of society.

From the previous lecture, we had a different approach toward Architecture. An Architecture with no limits. Architects who designed a building with no foreground and vigorous use to steel in the building design to show the intricacy of the Project. An approach towards an SCi-fi world with flying structures, space beacons, and bizarre Post-apocalyptic buildings. This design is an imaginary product from an architect therefore no relation to the actual conventional building. However, a different side to take from it is to educate and guide other young and upcoming Architects around us not to stick with one form and style.

For Example, Cenotaph for Newton concept building design by Etienne-Louis Boullée. A similar project concerning the previous talk. A building that consists of a large sphere sits on the ground. An idea to capture the sky within the sphere.

Cenotaph, Etiene-Louis Boullee

Shukov Engineered Structure

Response-8

Alvar Alto: The architectural revolution is still going on, but the revolution starts with enthusiasm and stops with some sort of dictatorship.

Finnish architect Alvar Alto was one of the great modern architects. His design philosophy is inclined toward human-centeredness. He thinks that the connection between humans and buildings is very crucial. For Example, the Paimio Sanatorium building reflects his principle of a profound sense of human empathy. Alvar designed this building for cancer and TB patients in such a way that each room can get enough sunlight that can act as a healing tool. Also, the use of warm colors on walls and excellent use of natural ventilation throughout the building.

According to Alvar, the Architecture revolution starts from within itself to have eagerness and willingness to do something different that the world hasn’t witnessed yet. Alto highly inspires other modern architects such as Le Corbusier and Mies van der Rohe. By taking inspiration, he started his revolution within architecture by making a statement that architecture and humans can be bound together and also their relation with nature. In terms of dictatorship, he felt the growing revolution through the unavailability of technical technology that he wanted for his design. It feels that there is a limitation to everything even today, we have made so much advancement in technology but we are lacking with having enough time to design and construct.

Response-9

The aesthetic of artlessness?

“ In current usage, everything (and anything) IS art. Today there are no objective standards as to what is or is not art. To be called “art”, an item may be hand-made (or not), well-made (or not), an actual object (or not.) Anything anyone calls “art”, is art. “ Philosophers, artists and even the laymen have for centuries pondered upon the meaning of art and the idea of beauty while today we reject those ideals as possibly elitist; it does not escape the question of us being able to refer to most instances of tangible existence as a possibility for art.

What then was Kenzo Tange referring to in the sentiment of Artlessness. “The buildings, their placement, and their form and space moved me deeply. Plain to the point of artlessness, they nevertheless possessed a highly refined style. Their origin in remote times has stamped on them an elementary vigor; they combine this with a timeless aesthetic discipline. Seldom is an architecture created in which the vital and the aesthetic are as well balanced as here.”

The founder of the Metabolist movement sees the Artlessness it seems in the created by the spaces woven by the shrine. The balance established between the essential and the insignificant and the spaces built versus the spaces created through nature interwoven.

Thoughts expressed by other prominent architects regarding the shrine, highlighted in an article online follows,

But as Gropius and Wright observed, where the Parthenon seeks “to breast and conquer nature,” this is architecture that seeks to adapt and absorb it. Honor, said Wright, represents truth to nature and to materials. This is part of the “be clean” ethic celebrated here. Japanese architecture like this, he said, is “a supreme study in elimination—not only of dirt, but of the insignificant.” There is “very little added in the way of ornament because all ornament as we call it, they get out of the way the necessary things are done or by bringing out and polishing the beauty of the simple materials used in making the building. Again, you see, and kind of cleanliness.”

It is quite astounding that in a space of seeming artlessness so many artists found inspiration. In a world where everything is art, could it be possible then that artlessness would be the ultimate goal?

Fuji Tv Headquarters, Kenzo Tange

Church of Santa Maria Assunta, Alvar Alto

bathtub

Eero Sarinen: A Master of designing Airport Terminals.

From Sarinen’s point of view, that use of building concepts in such a way that it should be repeated in every part of its interior. By doing so the building will look the same from inside and outside. His ideas were behind designing the building so that it will depict the same message through the building. I think that an interesting take by an individual to design a building that looks like a bird but that doesn’t should look the same from inside as well.

Eero Sarinen, one of the best works, Dallas Airport, created a space in a simple way that became iconic through his aesthetic based on the aeronautical world and it as clear representation of breaking with the rigidity. But from my point it’s just a replica of design from Kenzo Tange, Totsuka Country Club, Kanagawa,1961 in a much bigger scale from Kenzo Tange with more complicated and delicate intricate details that Eero Sarinen added in his design. Later in 1963, another modern architect Le Corbusier took the inspiration from Kenzo Tange elliptical roof and designed a similar structure for Assembly building, India. I think the idea of originality was not even there.

Response-11

James Stirling- “Axonometrics Expose Drawing”- Adding mystery to the project.

James Stirling (22 April 1926 – 25 June 1992) designed many Modern buildings such as Electa Bookstore, No.1 Poultry, and many famous buildings. A good learning outcome from his buildings is well intricacy of his design and the inter-relation of building form with the other functional parts of the building through its circulation and use of materials.

His Axonometrics Expose Drawings are a selective look at the project and define the building as wholesome. His drawings are a clear sign of thinking with his hands, exploring and experimenting with new things. His Axonometric exposed drawings were his style for capturing the elevation that gives a difference to a casual observer. That’s a learning outcome for every upcoming Architect to create mystery and illusion thro

Response-12

Symbolism in architecture can be literal and straightforward or can be hidden and will require interpretation for others. Buildings can also be designed to be symbolic from the beginning or become symbolic over time based on associations they cause and eras they were built in. For example, Soviet architecture covered in the previous lectures was intended to symbolize power and eternal promise of communism metaphorically by building massive structures in monumental styles. They are next to impossible to demolish and are the reminders of the former glory to this day bringing associations to any person passing by. Roman architecture on the other hand was built as a statement of power as well but it also became symbolic to us in another sense. Romans are known for their progressive views and developed technologies.for that time and their architecture became a symbol of knowledge and wisdom. For this reason, Roman style architecture is often built on campuses and used for governmental buildings.

Axonometric drawing, James Stirling

TWA Terminal, Eero Sarinen

Urban Wilds

This 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, Environmental systems, Buildings service systems, the development of building materials and

the integration of building components and systems. 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 document a comprehensive architectural project and Stewardship of the Environment.

Our approach to design development is not only a technical advancement of the project but will also be a disciplinary one, where we challenge representation and search for relevancy in an era where documentation of design and manufacturing are in flux and are increasingly based on three-dimensional live data.

While BIM is an important development in this regard, our aim is to re-think how we can envision and communicate design in innovative ways which exceed the design object itself. The way how we construct things and how we use digital information to build buildings today is undergoing a dramatic change.

The primary part of our work will be an animated drawing set in form of a multi segment video. Each chapter will address one of the core topics of the seminar and offer different views, components, sizes, descriptions, energies, systems, vantage points, transparencies, materials, colors, scales, and so on. A point of departure will be the genre of multi-dimensional building information modeling.

Course Name: AS 3222 01 / Design Documentation//

Instructor: Herwig Baumgartner / Zach Burns// Wei-Hung Chen //James Chidiac //Aleksandra Lapshina // Liu, Lexin// Clair Trout// Kulkarni, Kaustubh// Rezk, Mohammed// Jack Freedman//

THE DRONEHOUSE

Initial concept as designed

Our biotech facility, named Dronehouse is designed as an urban center for ecological change and as a tool to spark imaginations and conversations. Theorizing the possibilities of using artificial intelligence in the fight against climate change and James Lovelock’s GAIA theory as a platform, the Dronehouse is intended as an additional tool for the ongoing recalibration of our life on the planet. Or as Bruno Latour would say, humanity’s landing on Earth. James Lovelock’s GAIA Hypothesis states that living organisms on the planet interact with their surrounding inorganic environment to form a synergistic and self-regulating system that created, and now maintains, the climate and biochemical conditions that make life on Earth possible.

GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

SHEET CATEGORY //

ARCHITECTURAL DRAWINGS

SHEET NUMBER //

GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

SHEET CATEGORY //

ARCHITECTURAL DRAWINGS

SHEET NUMBER //

AD - 002

SHEET TITLE // BUILDING PLAN LEVEL 05

GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

Previously,“Dronehouse” URBAN WILDS

GROUP 05 Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian,

Previously,“Dronehouse”

GROUP 05

BC-103

BC-104

BC-104

BC-105

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

BC-103

BC-103

BC-104

BC-104

BC-105

BC-105

FA 22 // 3GAX

AS 3222 01 DESIGN DOCUMENTATION

URBAN WILDS

Aluminum T-Shaped Hangars

Subfacade Framing Steel Support

BC-105

Glazed Terra Cotta Panels

GLAZED TERRA COTTA PANELS

Insulated Prefabricated Aluminum

INSULATED PREFABRICATED ALUMINUM FACADE BOXES

Steel Supergrid 3d Space Truss Member

STEEL SUPERGRID 3D SPACE TRUSS MEMBER WITH CAST CAPS

Cast Steel Supergrid Node Center Component

CAST STEEL SUPERGRID NODE CENTER COMPONENT

Lab Volume Interior Wall System

LAB VOLUME INTERIOR WALL SYSTEM

Secondary Steel Pipe Members

SECONDARY STEEL PIPE MEMBERS

Subfloor Hvac And Sprinkler Piping

SUBFLOOR HVAC AND SPRINKLER PIPING

Primary Steel Pipe Members

PRIMARY STEEL PIPE MEMBERS

Subfacade Steel Mounting Brackets

SUBFACADE STEEL MOUNTING BRACKETS

Exterior 4-Pane Glazing System

EXTERIOR 4-PANE GLAZING SYSTEM WITH METAL MESH

Concrete Floor Slab And Metal Decking

CONCRETE FLOOR SLAB AND METAL DECKING

Subfloor Wide-Flange Beam Grid System

SUBFLOOR WIDE-FLANGE BEAM GRID SYSTEM

Previously,“Dronehouse”

GROUP 05 Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

Primary Steel Tube Member

Subfacade Steel Mounting Bracket

Extruded Glazed Terra Cotta Facade Components

Insulated Aluminum Facade Box With Plate Reinforcements

BC- 103

SHEET CATEGORY // BUILDING

BC-104

CHUNKS

Aluminum Mullions And Sealant Bead

Exterior 4-Pane Glazing System With Metal Mesh Between Surfaces 2 And 3

Low-E Coating At Surface 4

Glazing System Bolts

Aluminum Mullion-To-Connector Clamp

Cast Steel Pipe-To-Mullion Connector

3d Space Truss Cast Cap Bolts

3d Space Truss Cast Steel Node Center Component

Cast Steel End Cap Component

Cap-To-Member Bolt And Sealant Connection

3d Space Truss Pipe Steel Member

Previously,“Dronehouse”

URBAN WILDS GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack

Previously,“Dronehouse”

URBAN WILDS GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

BC-203

BC-205

BC-203

BC-203

BC-204

BC-204

BC-205

BC-205

GLAZED TERRA COTTA PANELS

Glazed Terra Cotta Panels

BC-203

Insulated Prefabricated Aluminum Facade Boxes

Facade Support Steel System

Subfacade Steel Mounting Bracket

INSULATED PREFABRICATED ALUMINUM FACADE BOXES

Wide-Flanged Beam Plate Connector

Steel Bracket Connector

Edge Beam

Aluminum Mullion

Two-Pane Exterior Glazing System

FACADE SUPPORT STEEL SYSTEM

Wide-Flanged Column

BC- 103

SUBFACADE STEEL MOUNTING BRACKET

CONCRETE SLAB AND METAL DECKING

Concrete Slab And Metal Decking

Subfloor Wide-Flanged Beam System Raised Floor System With Hvac Conduit And Supports

Wide-Flanged Exterior Column

Two-Pane Exterior Glazing System

Aluminum Mullions

SUBFLOOR WIDE-FLANGED BEAM SYSTEM

Concrete Slab With Metal Decking

Steel Framing Structure

Aluminum Mullion Profile

Prefabricated Insulated Aluminum Box

RAISED FLOOR SYSTEM WITH HVAC CONDUIT AND SUPPORTS

WIDE-FLANGED EXTERIOR COLUMN

Extruded Aluminum Facade Support Profiles

Glazed Terra Cotta Facade Panels

BC-104

TWO-PANE EXTERIOR GLAZING SYSTEM

ALUMINUM MULLIONS

Glazed Terra Cotta Facade Panels

Concrete Slab And Metal Decking

EDGE BEAM-COLUMN CONNECTOR PLATE

Steel Connection Bracket

Insulated Aluminum Facade Box

Extruded Aluminum Rail And T-Shape Hangars

BC-204

BC-205

Previously,“Dronehouse”

URBAN WILDS GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed

Previously,“Dronehouse”

URBAN WILDS GROUP 05

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

BC-303

BC-304

BC-304

BC-303

BC-303

BC-304

BC-304

BC-305

BC-305

EAST WING CHUNK WALL SECTION Southern California Institute of Architcture- 2021

Tertiary Steel Misting Support Member Tertiary

Secondary Steel Pipe Member

Structural Steel Tension Ring - Mid 01

Column With Steel Weld Plates

Glazed Terra Cotta Panels

Walkway - Wood Decking And Steel Substructure

WALKWAY - WOOD DECKING AND STEEL SUBSTRUCTURE

Structural Steel Tension Ring - Mid 02

STRUCTURAL STEEL TENSION RING - MID 01 STRUCTURAL STEEL TENSION RING - MID 02

Welded Metal Plate Member

WELDED METAL PLATE MEMBER

Glazed Terra Cotta

Underside Panels

Steel Framing Members Support System

STEEL FRAMING MEMBERS SUPPORT SYSTEM STRUCTURAL TENSION RING BOTTOM

Led Lighting Strip

Structural Steel Tension Ring - Mid 01

Led Lighting Attachment System

Column With Steel Weld Plate

GROUP 05 Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek SHEET NUMBER // SHEET CATEGORY // PAGE NUMBER // SHEET TITLE // 31 EAST WING CHUNK DETAIL 01 BC - 303 BUILDING CHUNKS LED LIGHTING STRIP STRUCTURAL STEEL TENSION RING MID 01 COLUMN WITH STEEL WELD PLATE LED LIGHTING ATTACHMENT SYSTEM LOCK SCREW CONNECTORS

Secondary Steel Pipe Member

Structural Steel Tension Ring - Mid 02

Welded Metal Plate

Subfacade Steel Plate

Glazed Terra Cotta Underside Panel

Subfacade Clamp Member

Secondary Steel Support Mullions

BC-104

Soil And Growth Membrane

Filter Fabric And Drainage Layers

Misting Supply And Gutter Drainage Pipes

Waterproofing Membrane

Concrete Slab With Metal Decking

Steel Support Substructure

AS 3222 01 DESIGN DOCUMENTATION FA 22 // 3GAX Previously,“Dronehouse” URBAN WILDS GROUP 05 Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek SHEET NUMBER // SHEET CATEGORY // PAGE NUMBER // SHEET TITLE // 33 EAST WING CHUNK DETAIL 03 BC 305 BUILDING CHUNKS SOIL AND GROWTH MEMBRANE FILTER FABRIC AND DRAINAGE LAYERS WATERPROOFING MEMBRANE MISTING SUPPLY AND GUTTER DRAINAGE PIPES CONCRETE SLAB WITH METAL DECKING STEEL SUPPORT SUBSTRUCTURE EAST WING DETAIL 03 RENDERING AS 3222 01 DESIGN DOCUMENTATION FA 22 // 3GAX Previously,“Dronehouse” URBAN WILDS GROUP 05 Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek SHEET NUMBER // SHEET CATEGORY // PAGE NUMBER // SHEET TITLE // 32 EAST WING CHUNK DETAIL 02 BC - 304 BUILDING CHUNKS STRUCTURAL STEEL TENSION RING MID 02 SECONDARY STEEL PIPE MEMBER WELDED METAL PLATE GLAZED TERRA COTTA UNDERSIDE PANEL SUBFACADE STEEL PLATE SUBFACADE CLAMP MEMBER SECONDARY STEEL SUPPORT MULLIONS EAST WING DETAIL 02 RENDERING 221 Abhishek Kadian-Design Documentation EAST WING CHUNK DETAILS BC-105

Kulkarni,

Previously,“Dronehouse”

Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian,

Kulkarni, Kaustubh Rezk, Mohamed Freedman, Jack Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

EGRESS ROUTES IN PLANS

EGRESS ROUTES IN PLANS

EGRESS ROUTES INPLAN FOR LEVEL 5

EGRESS ROUTES IN AXONOMETRIC

EGRESS ROUTES IN AXONOMETRIC

PODS // NON OCCUPIED SPACE

PODS // NON OCCUPIED SPACE

EGRESS ROUTES IN AXONOMETRIC

EGRESS ROUTES IN AXONOMETRIC

LABS & WORKSTATIONS

LABS & WORKSTATIONS

LABS & WORKSTATIONS

PARLIAMENT

PODS // NON OCCUPIED SPACE

PARLIAMENT

PARLIAMENT

PODS // NON OCCUPIED SPACE

GALLERY & EXHIBITION SPACE

GALLERY & EXHIBITION SPACE

LABS & WORKSTATIONS

LABS & WORKSTATIONS

LABS & WORKSTATIONS

GARDEN PODS

GARDEN PODS

GARDEN PODS

PARLIAMENT

PARLIAMENT

EGRESS ROUTES

EGRESS ROUTES

EGRESS ROUTES

GALLERY & EXHIBITION SPACE

GALLERY & EXHIBITION SPACE

GARDEN PODS

GARDEN PODS

EGRESS ROUTES

EGRESS ROUTES

Previously,“Dronehouse”

URBAN GROUP Kulkarni, Rezk, Mohamed Freedman, Trout, Liu, Lexin Chidiac, Chen, Lapshina, Kadian,

Previously,“Dronehouse”

URBAN WILDS GROUP 05 Kulkarni, Kaustubh Rezk, Mohamed Freedman, Trout, Claire Liu, Lexin Chidiac, James Chen, Wei-Hung Lapshina, Aleksandra Kadian, Abhishek

SAFETY

SAFETY

EGRESS AXONOMETRIC AND PLANS

The Dronehouse was designed as a concept with the intent for it’s realisation estimated to be “near-future”.In order for the project to undergo a process of design documentation, it needed to be re-rationalized to fit into the technological and fiscal possibilities of the present day and age.

To achieve the same, the project was provided a new purpose that did not involve the use of autonomous drones at a mass scale. Instead focusing on a geoengineering methodology involving afforestation while retaining the context and functional purpose of the structure.The project was provided the name ‘Urban Wilds’ and acted as a module for afforestation through the realisation of public and provate spaces.

We decided to call our gambit, the Dronehouses. The Dronehouses are a system that control the operation of a massive drone network. This network is imagined to exist in symbiosis and synergy with the “GAIA system” stipulated by James Lovelock. Capable of treating and maintaining wild flora, used in experiments related to artificial plant life, and the creation of synthetic landscapes towards the end of achieving an edge over climate change.

SteelPunk

Course Name: AS 2770-01 : Applied Studies Elective

Instructor: Soonmeen Hahm

Partner: James Chidiac// Alejandro Aguilera // James Freedman //

We have witnessed great advancements in emerging technologies over the past decades.A few years ago physicist Kaku forseed that in the future architects will be building and designing with augmented technologies. (Kaku, 2014) And nowadays, it is not a surprise that this has become a reality. Since 2016 empowered by the commercialization of Augmented Reality (AR) headsets by Microsoft, a lot of interesting architectural applications and practices have emerged (“Microsoft HoloLens,” 2021). Use cases of AR/VR technologies relating to Building Information Modeling (BIM) management and communication became a common practice nowadays. More creative studies researching alternative structural possibilities by introducing AR/VR technologies are emerging on a daily basis. Such as the Steampunk pavilion for 2019 Tallinn Architecture Biennale is one of the most iconic project that is completely constructed using AR technologies from its fabrication to assembly (Steampunk Pavilion / Gwyllim Jahn & Cameron Newnham + Soomeen Hahm Design + Igor Pantic | ArchDaily, n.d.).

Inheriting the knowledge from SteamPunk pavilion and Steam Odyssey installation project. In this seminar, students will learn how to build a steel structure using Augmented Reality fabrication technique. Students will be designing furniture/ architectural elements using generative design methodology. One selected scheme per team will be built into 1:1 scale using steel rods and bars (other materials such as steam bent wood can be proposed optionally). Steel bending machines, metal shops, welding machines will be heavily used as main fabrication tools. Hololens will be used as the main AR device. Unity will be used to develop custom AR applications. Rhino and Fologram will be used for AR construction. The seminar welcomes those students who are interested in fabrication, diligent in physical productions and excited to see how a speculative digital model becomes a reality.

Process

of Form Generation in Rhino Grasshopper

Plugin used; Nursery SDplatform

Form Generation in Rhino Grasshopper

Form development process-2

Form development process-4

Form development process-3

Form development process-1

Form Generation in Rhino Grasshopper

Original Lowpoly model

Nurb faces generator model

Final Designed Model

Fabrication Layout

First Step of Staircase

Step of Staircase

Fabrication Layout of 2nd Step of Staircase

Supporting Rod Member

Supporting Rod Member

Fabrication: AR Bending Process

Fabrication: AR Welding Process

Finished Fabrication

Welding Process

Unity Application: Homepage

Unity Application: Selection Page

Unity Application: Window Screens

Unity Application: View Model in AR

The is a staircase protoype which potentially can grow larger.A plain Steel straps were used to explore enclosures on frame based structures. as a result, no screw joints were needed as all materials welds together.

In terms of design, this staircase opens up a great possibilities of such fabrication methods in larger appplications.