MULTIPLACE - Assembling Wholes - Index & Compositions

Assembling Wholes

Index & Compositions

Akhil Mathew

Thesis Advisor : Peter Testa

MultiPlace I

Contents

Multiplace Index & Compositions

Whole Architectures

01

Putting Wholes Together

11

Surface Index | Testing views

23 , 45

Configurations

63

Multiplace Complex

77

-Unexpected Wholes

-Real Time Rendering Workflows -Multiple Compositions

-Selected Multiples -Negotiating Tensions

-01 -02 -03

-6 Multiples

Whole Architectures - Unexpected Wholes

1

2

01. University Library Jože Plečnik 02. Villa La Roche Le Corbusier 03. Wexner Center Peter Eisenman 04. Denver Central Library Michael Graves 05. Cooper Residence Charles Gwathmey

Extracting wholes rather than parts forms the foundation for this design project. Wholes have context, syntax, familiarity, and enclosure, which in turn makes putting them together with other wholes an interesting proposition. There are increased object to object tensions and the configurations do not generally find synthesis, leaving them in an apparent state of stasis without resolving their internal differences.

3

06.

07.

08.

09.

4

06. Spiral Building Fumihiko Maki 07. Luban Chemical Factory Hans Poelzig 08. Church of Saint-Jacques de la Lande Alvaro Siza 09. Vanna Venturi House Robert Venturi

5

10.

11.

12.

13.

14.

6

10. WW2 Bunker in Hungary 11. Saya Park Alvaro Siza 12. Arthur Sackler Museum James Stirling 13. Neue Staatsgalerie James Stirling 14. Whitney Museum Marcel Breuer

7

15.

16.

17.

18.

19.

8

15. Avelino Duarte Alvaro Siza 16. The Atheneum Richard Meier 17. Leca Swimming Pools Alvaro Siza 18. Two Houses in Van der Vennepark Alvaro Siza 19. Kimbell Art Museum Louis Kahn

9

Putting Wholes Together -Real Time Rendering Workflows -Multiple Compositions

11

01 . Initial Compositions .

Defamiliarizing / obscuring wholes

12

01

.

3d

Projection

.

The compositions are generated through a play on surface redaction. This process defamiliarizes the objects by indexing surfaces based on surface normal to camera view angle. The process disrupts biases based on syntax of the whole architectures, allowing for stranger compositions. The formal moves are restricted to rotation and uniform scaling.

The workflow brings latent or otherwise unnoticed qualities of the architecture to the surface, while simultaneously situating the architecture in a less reducible state.

01

.

Initial

Compositions

13

.

02 . Initial Compositions .

Defamiliarizing / obscuring wholes

14

02

02

.

.

3d

Initial

Projection

.

Compositions

.

15

03 . Initial Compositions .

Defamiliarizing / obscuring wholes

16

03

03

.

.

3d

Initial

Projection

.

Compositions

.

17

04 . Initial Compositions .

Defamiliarizing / obscuring wholes

18

04

04

.

.

3d

Initial

Projection

.

Compositions

.

19

05 . Initial Compositions .

Defamiliarizing / obscuring wholes

20

05

05

.

.

3d

Initial

Projection

.

Compositions

.

21

Surface Index | Testing views

-Selected Multiples -Negotiating Tensions

23

01

.

View/Material 3D Configurations

24

Test

.

Selected Multiples

01

The obvious next step was to examine the compositions as 3D configurations.

The view angle based surface notation shifts from a design tool to a digital material that can be manipulated. Where black initially acted as a redaction tool, it now acts as a material change and aesthetic strategy. Multiple views are tested on two selected compostions. The views act as studies that inform further material application as a digital tool.

25

01

.

View/Material 3D Configurations

26

Test

.

27

28

29

30

01

.

View/Material 3D Configurations

31

Test

.

01

.

View/Material 3D Configurations

32

Test

.

01

The wholes begin to break down with the material applied and the configuration begins to operate as one whole that consists of seemingly continuous open objects.

33

02

.

View/Material 3D Configurations

34

Test

.

Selected Multiples

02

The workflow allows for the generation of difference. The configurations are different but follow the same formal and material strategy. The objects are arranged in close proximity to emphasize object to object relations and tensions. In this case when the configuration is brought out of the real time renderer, the objects appear to regain their original reading. Each whole appears to fight for legibility as they become more legible outside the renderer.

35

02

.

View/Material 3D Configurations

36

Test

.

37

38

39

40

02

.

View/Material 3D Configurations

41

Test

.

02

.

View/Material 3D Configurations

42

Test

.

02

This particular multiple has a clear longitudinal axis and a condensed center out of which the form radiates. The configuration also has a legible front.

Finally, the configuration also has a clear inside on the longitudinal axis.

43

Surface Index | Testing views

-Selected Multiples -Negotiating Tensions

45

46

The wholes begin acting as references and guides for enclosure. The architecture that fills in the interstitial spaces between the wholes is the substance that locks the wholes in their positions, intensifying their intertensions.

This allows the architecture to be read with a new syntax while simultaneously allowing defamiliarized readings of the old syntax to come through. For eg. What once was an entrance is now part of a roof-wall system at a high level.

47

48

The substance takes queues from the wholes and even shows signs of reproducing certain formal properties. This allows the wholes to dissolve further into the project, generating a cohesive continuous whole.

49

01 . 3d Configuration + Substance .

50

01 . Physical Material Test .

51

52

53

54

01 . Physical Material Test .

55

56

01 . Physical Material Test .

57

02 . 3d Configuration + Substance .

58

59

60

61

Configurations -01 -02 -03

63

64

01

3 of 6 selected compositions were modeled to illustrate the object to object relationships between the wholes. The models emphasize the proximity of the objects to each other, emphasizing tensions.

The models are to 1/16 in scale.

This is composition no. 05. The most densely & packed evenly scaled multiple. The composition consists of objects that form a perimeter around a free center.

65

01

66

67

68

02

3 of 6 selected compositions were modeled to illustrate the object to object relationships between the wholes. The models emphasize the proximity of the objects to each other, emphasizing tensions.

The models are to 1/16 in scale.

This is composition no. 02. One of the two inital composition studies. The clear longitudinal axis reaches outward from a dense center.

69

02

70

71

72

03

3 of 6 selected compositions were modeled to illustrate the object to object relationships between the wholes. The models emphasize the proximity of the objects to each other, emphasizing tensions.

The models are to 1/16 in scale.

This is composition no. 03. The overall form of the multiple is similar to a traditional warehouse/factory space i.e. a rectilinear perimeter and low height.

73

03

74

75

Multiplace Complex - 6 Multiples

77

Multiple 01

78

01

79

Multiple 02

80

02

81

Multiple 03

82

03

83

Multiple 04

84

04

85

Multiple 05

86

05

87

Multiple 06

88

06

89