Page 1




A studio to design a zero carbon footprint house inspired by jean prouvé • biomimesis • atolls • lagoons • reefs • artificial islands • paradise lost • joseph banks • chronometers and other measuring devices • navigational stick charts • skins • polynesia • r&sie • material stuff • centre des métiers d’art • craft • responsiveness to climate and place • mutineers •





Archipelago Construct :: La Maison Tropicale Redux Authors: Randy Stauffer Ingalill Wahlroos-Ritter

p. 3


p. 7

Studio Syllabus

p. 26


p. 30

Appendix A: Miscellaneous Maps and Drawings

p. 50

Appendix B: English / French / Tahitian phrases

p. 54

Appendix C: Emergency Numbers

p. 57

Appendix D: General Information / Cinema

p. 59

Appendix E:

Contact List

p. 60

Appendix F:

Prouvé / Installations

p. 62

Appendix F:


Collaborators: 1. Germane Barnes 2. Silvia Castaneda 3. Norella Carboni 4. Billy Chiriboga 5. Matthew Chymbor 6. Alejandro Diaz 7. Victor Monge 8. Thanomphol Phaisinchainaree 9. Steven Steven 10. Andrew Rahhal 11. Jose de Jesus Urciaga 12. Kara Valdez 13. Joseph Veliz 14. Megan Weintraub 15. Kevin Wild 16. Damiana Zinn

Tectonic Surface Ephemera View of Moorea from Tahiti

Volcanic Rock • Trees • Shell • Coral • Sand Pandanus • Banana tree • Vanilla Bean • Hair • Tree Bark • Coconut • Feather • Palm Frond Flower • Grass • Ocean Water • Fresh Water • Wind • Shade • Light






“We don’t want sitting architects, but walking architects.” -Winy Mass from Five Minute City. Architecture and (Im)mobility Forum & Workshop “The Life of the land is the life of the people.” - Tahitian proverb “What strikes me is the fact that in our society, art has become something which is only related to objects, and not to individuals, or to life.” Michel Foucault

Matavai Bay, Tahiti by Wm. Hodges. Pen, ink and watercolor on paper. 1773 - 1774

Woodbury University ARCH 4752 -- Foreign Study Studio: Tahiti Equivalent to: ARCH 489, Design Studio 4B ARCH 491, Design Studio 5A INAR 282 Design Studio 4, or INAR 382 Design Studio 5 Instructors: Randy Stauffer and Ingalill Wahlroos-Ritter

Summer 2011 6 units

Archipelago Construct :: La Maison Tropicale Redux The primary goal of this studio is for students to learn about architectural space in the field. It seeks to interrogate a non-western culture and mine it through its matter in order to enrich the current academic and professional discourse by bringing place to the fore. This studio is a continuation and development of the work began in the summer of 2010. While the first year’s investigation sought to explore ideas of public space in the form of a virtual and hypothetically real museum, this year’s investigation will explore the realm of private space through the design of a zero-carbon footprint home. The precedents and starting point from which the studio investigation will begin is Jean Prouvé’s Maison Tropicale. Though Prouvé’s homes started from a point of colonization, the experiments in both Maison Tropicale and Maison Coloniale developed designs that responded to particular climatic conditions as well as ideas about pre-fabricated design. Transforming the colonial implications by utilizing and adhering to the local conditions of building and living, this studio will further develop ideas explored by Prouv.

Historical Fare

The building envelope, or skin, is traditionally defined as the layer that separates the interior of a building from its exterior environment as well as a layer that separates increasingly private living conditions from more public living conditions. In a location with a climate as temperate as that in Polynesia, with building conditions radically divergent from western notions of architecture, and with living patterns that emerged from both western and Polynesian ways of living, the static concepts of enclosure, threshold, boundary, separation, and differentiation may be questioned in ways that contain more fluid ideas of continuity and dynamic lines of demarcation. The traditional Tahitian concept of transitory habitat is


INTRODUCTION largely derived from this tropical environment, one that causes structures, even the traditional stone marae to rapidly decompose, and suggests a temporary, perhaps even ephemerally dissolving architecture. The first four weeks of the studio will be spent exploring the Society Islands in French Polynesia. Specifically we will be exploring Tahiti, Raiatea, Huahine, and Moorea. The remaining six weeks of the studio is spent in Los Angeles. A sequence of assignments - field work, research, data collection, measuring, mapping, interviewing, drawing and design work allows each student to develop specific skill sets of observation, transformation, and synthesis. By investigating the stuff from which architecture is made and the actions through which people live, this studio encourages students to translate physical reality of an unfamiliar non-western culture into a unique site specificity. The studio will produce a hyper-local architecture using indigenous materials, deployed and transformed through traditional and digital processes. Students interrogate, describe and synthesize new understandings of private and public territories through material aggregation and programmatic assemblages. The productive steps of the studio will result in a lexical index of materials, processes of building and living conditions indigenous to the Society Islands. From these indexes students will propose a domestic architecture that responds to the needs of the local culture and environmental concerns of the Islands.

aerial view of Moorea



Studio Outline Archipelago Construct :: La Maison Tropicale Redux Week 1


Design and build measuring device

Week 2


Test measuring device at Taputapuatea


Test measuring device at Maeva


Site measuring and mapping

Week 3 Week 4 Week 5

Analysis of Bioclimatic Kit home Los Angeles Sustainability research

Week 6

Design Material Connection/Measuring Surface

Week 7

Site, orientation, sun and wind

Week 8

Ritual habitation - water, food, waste

Week 9

Interior Details

Week 10

Exterior Details

Week 11

Final Presentation

Men in outrigger canoe in Tahiti , Photo by Dana Edmunds




4 weeks

Heath Robinson, Pancake-making machine

Heath Robinson, Training Frame for Cat Burglars

PART 1.1 :: MEASURING DEVICE Measure: Prescribed or limited extent, capacity or quantity, the capacity of something, an extent which ought not to be exceeded, limit :--: moderation, temperance or restraint in conduct; modesty, discretion :--: prudence; compromise, the use of a conciliatory approach :--: proportion, due proportion, symmetry, balance; a quantity or portion of something, especially as granted or meted out to a person or thing :--: the actions results or means of measuring something :--: an instrument for measuring something :--: a means of measuring :--: a standard, rule of judgment against which something may be gauged, determined, or regulated :--: a criterion, test :--: a quantity which may be used to calculate or gauge a correlative quantity :--: (also) a value computed as a gauge or quantification of something :--: any of various specific units of capacity and the quantity of a substance represented by such a unit; a unit or denomination of measurement :--: in descriptions of mixture or composition :--: each of a number of equal volumes of constituent material of arbitrary quantity, used to indicate proportions (2 measures of gin to 4 measures of tonic) :--: the duration of time for music. all definitions from OED

The course begins by undertaking a series of related investigative exercises based on the assumption that materials carry implications of potential form, function, meaning, program and appropriation. We intend to focus on materials associated with the Pacific Islands, not typically included in the architectural lexicon, assess them from both non-western and western perspectives, and thereby open up design possibilities and broaden our architectural discourse. A methodological research of the properties, characteristics, and distinctive features of the selected materials will follow. Operating under the assumption that each material is laden with implications of memory, emotional response and visceral reactions, (as well as clichĂŠs, stereotypes, and preconceptions), each student will develop a method for measuring these properties in their assigned

Ernst Haeckel, shells



STUDIO materials. Through these measuring methods each material begins to reveal complex links between the mnemonic and the temporal, the western and the non-western, the historical and the contemporary. The assembled entries will produce an apocryphal encyclopedia, with descriptions and definitions of each material using written text, illustrations, contextual photographs, and analytical drawings. By taking measure of the materials and environment around us, this exercise reveals the way the environment is manipulated to accommodate local conditions. This first assignment will ask the student to measure a particular material in hopes of discovering its abundance and uses. Awareness of limits of any given resource is the starting point for preserving the resource. Tectonic Surface

STUDIO 11 tics of your specific material. Include the following parameters: • you must be able to carry the measuring device with you to the different islands and then back to Los Angeles (recommended weight not to exceed 10 lbs., and combined dimensions, in it’s collapsed condition, not to exceed 37” • the device must be able to measure more than one thing • units of measure must be incorporated into the device (see “establish units of measure” below) • each measuring device must come with field note templates and survey 3 May - Provide hard-line plans and elevations of your device in its most collapsed and most open position. Be prepared to change your material based on the diversity of materials chosen by your classmates.

Volcanic Rock • Trees • Shell • Coral • Sand Pandanus • Banana tree • Vanilla Bean • Hair• Tree Bark • Coconut • Feather • Palm Frond Flower • Grass • Ocean Water • Fresh Water • Wind • Shade Light

Drawings of Measuring Device Provide sketches of the device as you develop the design. Students will be sharing their measuring devices on each island. The more diverse the type and number of measuring devices developed in the class, the greater the different types of data.

What to measure (this list is not conclusive): 1. Sensory characteristics: light, shade, humidity, temperature, wind movement, water movement, sound, friction (tactility), metabolic rates, color 2. Physical characteristics: distance, volume, mass, weight, wealth, populations, energy, heat, temperature, humidity, age, friction, deformation, movement 3. Tolerance: deformation, elasticity, balance 4. Environment: clouds, stars, sun, ecosystems 5. Social: demographics, cultural, economic, aesthetic, political

Building and Testing Measuring Device Each student will construct their measuring device while on the Island of Tahiti. While in Tahiti, document one trial use of the measuring device and then adjust the design as needed to accommodate expectations.


Specifications for design of Measuring Device Design a device for measuring different characteristics of your chosen material. Begin with an existing measuring device (for example, ruler, thermometer, tape measure, barometer, or color wheel) and modify it to respond to the characteris-

Archigram, Cushicle, 1966 (speculative design for a personal, individual and portable dwelling unit which may be ‘worn’ for transport and unpacked for occupation)

Establishing Unit of Measure + Instruction Guide Since units of measure are arbitrarily set by society, you need to establish units of measure for the supplementary element of your measuring device. These standards must be documented so that when someone else uses the measuring device, they can use a consistent measuring and naming convention. Students should develop an instruction guide, in diagram form, for deploying the measuring device.

Leonardo Da Vinci’s Hygrometer: a device for measuring the amount of moisture in the air



STUDIO 13 MATERIAL AS MAKER OF CULTURE Each material has the potential of providing a source of the narrative or program for its spatial form, its placement on Moorea, and for the physical enclosure. Understanding this narrative or programmatic potential found in the materials brings meaning to the physical form it creates. As Manuel De Landa points out in his essay, Uniformity and Variability, “the deskilling of craftsmen that accompanied mechanization may be seen as involving a loss of … knowledge, since in many cases empirical know-how is stored in the form of skills”. The narratives and skills required to transform the material are necessarily an intrinsic part of each lexical entry and will begin to suggest associated construction techniques and morphologies. Students will collect as many maps as possible of the specific sites: Taputapuatea, Maeva and an as-of-yet to be determined site on Moorea from such sources as Google earth, internet searches, tourist brochures, etc. The maps you collect describe the site with particular biases in mind. Furthermore, in most cases these maps are purely planimetric.

Joseph Banks, journal entry

PART 1.2 :: SITING MATERIALITY “For instance, Aristotle’s famous four elements, fire, earth, water and air, may be said to reflect a sensual awareness of what today we know as energy and the three main states of aggregation of matter, the solid, liquid and gas states.” -- Manuel De Landa, ‘Uniformity and Variability: An Essay in the Philosophy of Matter.’

Upon completion of the measuring devices, students will continue the material investigation and documentation for the remaining three weeks abroad. The material investigation will revolve around the way the student’s selected material works and can work in the built environment. To this end there are three categories of use each material investigation explores. In addition to the ways these materials are used for making space, the measuring will continue developing the cultural and social implications of materiality explored last summer.

MEASURING SITE Your task on Raiatea and Huahine is to re-measure the site through the lens of your material and using your measuring device. You also redraw the site merging aspects of both plan and section within the same representational field. Depending on your project, you may want to presence the plan or section to a greater or lesser degree. At a minimum, each student must construct (1) site sections and (1) plan of the site. Do not erase, and incorporate all construction lines into the representation. Do not concern yourself with contructing a ‘clear’ drawing. Clarity will arise through layering of each student’s line drawing. Use the lightest possible lineweight. Thickness and emphasis will arise through multiple thin lines rather than singular thick ones. MARKING SITE Develop a series of markings to note conditions within the site. Identify a minimum of five conditions where your material marks the site and mark them each time they occur on your drawings, but not less than 50 times each. Carefully number each symbol with your initial followed by a number (font size not to

Material as Maker of Space The material explorations will explore three different types of building categories: tectonic, enveloping and ephemeral. Each material will lend itself more readily to one of these categories, though some may work equally well in more than one category. It is up to the student to understand which characteristics their material works best in, and how the material needs to be manipulated in order to be used. In order to investigate not only the intra-relationship of these three characteristics of materiality found in individual materials, students will work in teams of three with materials that fall into the different dominant characteristics. This will allow students to also investigate inter-relationships of different materials. Valery Goodwin, city Quilts


STUDIO exceed 10 point). This means that each student will have a total of 250 marks divided into 5 groups of 50 markings minimum and each marking will be different. Every mark must consist of a minimum of 3 lines and 2 line weights. At least one condition must be drawn as an accurate orthographic architectural drawing. The other four conditions can be identified through symbols that you develop. These conditions do not have to be profound. For now, it is important to use the drawing as a means of excavating potential from the site. For each site students will develop a composite plan that overlays the material mappings onto the site plan. For the site on Moorea, rather than developing an overlay, students will develop a composite plan adjoining individual sites with each other. Once on Moorea students will explore the island and determine a site that can hold 14 to 16 individual parcels. We are calling this the assemblage site since it houses an assembly, or neighborhood, of all the individual sites. This will be the location for our final project. Once students have selected several options for the potential site the class will determine the final choice and divide it into parcels for individual students. Each parcel on the assemblage site will be between 5,000 SF and 10,000 SF Assignment 1.2 Schedule Date Site Location 5.21 Taputapuatea 5.23 Taputapuatea 5.24 Taputapuatea

Task Initial site mapping material mapping composite mapping

5.26 5.27 5.28

Maeva Maeva Maeva

Initial site mapping material mapping composite mapping

6.1 6.2 6.3 6.6 6.7 6.8

Moorea Moorea Moorea Moorea Moorea Moorea

Explore Island for assemblage site Determine assemblage site Break up assemblage site into parcels Map individual parcel Continue mapping parcel composite mapping of assemblage



PART 1.3 :: MEASURING MATERIALITY “Architecture makes the measurable immeasurable.” Louis Kahn de·tail - [French détail, from Old French detail, a piece cut off, from detaillir, to cut up : de-, de+ tailler, taillier, to cut; see tailor.] -- OED Materials are the ultimate outwardly expression of an architectural idea or concept. They render transparent the thought that gave rise to the edifice’s existence. Materials carry the burden, literally and figuratively, of the building’s raison d’etre. A composition of materials implies, indicates, infers, and proves the rule, the determination or the lack of consideration behind a particular architectural problem. -- Wilfried Wang

In the spirit of sixteenth-century alchemists who, as De Landa points out, ‘recovered a certain respect for a direct interaction with matter and energy’ in an attempt to capture ‘the complexity of physical transmutations and of the effect of physical structure on the complex properties of matter’, the manipulation of material will require rigorous adherence to performance and efficiency. Design solutions which foreground a respect for the scarcity of resources on the island, as well as performative efficiency in terms of material and energy usage are encouraged. The methodology of beginning with material interrogation produces innovative approaches to tectonic exploration. The success of the material manipulation depends on analysis and synthesis of research, materials and methods, construction techniques, human comfort, environmental performance. The methodology of manipulating these apocryphal materials allows for a freedom from preconceptions about particular design approaches.

Macy Chadwick

tapa cloth samples, journals of Captain James Cook



MEDIATED MATERIAL Find and record 20 conditions exemplifying how the environment affects your material. You will photograph or video the different conditions and then translate these into a mediated series of graphic images. Think of this as a scavenger hunt where you seek, discover and record your material throughout the four islands we visit. This will heighten your understanding of the material as you develop your project. MATERIAL CONNECTION / MEASURING SURFACE Upon completion of the material recordings students design a surface condition informed by two investigations of the project to date: the design of the measuring device and the material manipulations. Though the bulk of this investigation will take place upon our return to Los Angeles, students should begin sketching (both drawing and model) preliminary ideas while in the field. The design parameters for the material connection / measuring surface will include the following: • Vertical or Horizontal surface • Measuring performance comparable to measuring requirements designed in your measuring device • Surface should be kinetic • Surface should include selected material, or affect selected material, or measure selected material or a combination of the three • Surface should respond to human subject through scale, proportion, and function • The surface must have a separate interior and exterior side and those sides must be different

STUDIO 17 MEDIATED MATERIAL CATALOGUE Your catalog will include photographs of each of the 20 material translations together with a brief narrative description describing the process (50-75 words, minimum). ASSIGNMENT 1 DELIVERABLES Upon our return to Los Angeles students will present the following information to collate, analyze and synthesize the field work. As specified in the schedule that follows we will have a presentation the 6th week of the semester. This presentation will collect all of the information completed for the field work and the completion of assignments 1.1, 1.2 and 1.3. The presentation will include the following: 1.1 1.1.a Hard-line drawings of measuring device 1.1.b Measuring device 1.1.c Instructions for use of measuring device 1.2 1.2.a Individual mapping of Taputapuatea 1.2.b Group mapping of Taputapuatea 1.2.c Individual mapping of Maeva 1.2.d Group mapping of Maeva 1.2.e Group mapping of assemblage of sites on Moorea 1.2.f Individual mapping of chosen site on Moorea 1.2.g 500-750 word essay describing qualitative aspects of Moorea site 1.3a Documentation of 20 material translations done on the island 1.4 Kit House Analysis Grading Each student will be graded on, among other things, quality and craft of measuring device, representational quality and completeness of drawings, quality and craft of drawings and physical details, participation, and iterative process as represented by multiple sketches, models and drawings.

Jean Prouvé exhibition, Gagosian Gallery, 2010

Ned Kahn Studios, ‘Technorama’ facade




“Imprisoned by four walls (to the North, the crystal of non-knowledge a landscape to be reinvented to the South, reflective memory to the East, the mirror to the West, stone and the song of silence) …” -- Octavio Paz,“Envoi”

The Bioclimatic Kit House Gump Station is a prefabricated home designed by French Architect MadelaIne Fava. It was designed to respond to the need for housing on the islands. One of these homes is located at the Gump Station. An extensive report was done on the project by researchers at the Gump station (Rulifson, Walter, Valdez, Miller, 2009). As part of our field work we will examine how the house is designed and inhabited. Together we will determine the best way to do this. This might include surveys, site documentations, and overnight stays.

from Bernard Rudofsky’s, ‘Architecture without Architects’

ASSIGNMENT 2 :: MEASURED ENCLOSURE “Contemporary architecture replaces the idea of facade with that of skin: an exterior layer mediating between the building and its environment. Not a neutral elevation, but rather an active, informed membrane; communicative and in communication. Rather than walls with holes, technical, interactive skins. Skins colonized by functional elements capable of housing installations and services; capable of receiving and transmitting energies; but also capable of supporting other incorporated layers: overlapping rather than adhesive. Manipulated and/or temporary patches, eruptions, graphics or engravings; but also projected images. Colorful reversible motifs and virtual -digital - fantasies aimed at transforming the building into an authentic interface between individual and environment; and the facade, into an (inter)active screen, the frictional boundary between the building and a context which changes over time.” – Manuel Gauza “Skin”, Metapolis Dictionary of Advanced Architecture

MATERIAL CONSIDERATIONS The method of material transformation, both historical and contemporary, suggests ways in which the material can be manipulated. The program of a residence appears straightforward: it is a structure to be lived in. The design of measuring devices and material translations suggest unconventional ways of aggregating material components. BODY AND SURFACE Our bodies are surrounded by four layers - the first being our skin, the second our clothing, the third the layer of others, and the fourth, the buildings where we reside. Why should the fourth layer not participate with our bodies in the ways that the other layers do: sweating, breathing, covered with hair, responding to fear, aging, scarring, tanning, wrinkling; removable, wearable, adjustable, buttoned, stitched, zippered; interacting, participating, adapting, and providing delight.



TRADITIONAL TECTONICS Traditional Tahitian architecture consists of both heavy and light, or, to borrow from Gottfried Semper’s architectural taxonomy, stereotomic (earthwork) and tectonic (frame and membrane), precedents. The stereotomic precedent is the marae. These open-air sacred places serve both religious and social purposes and consist of terraces constructed of vast stones, squared and polished and weathered over time, and existing in various states of disrepair and decay throughout the Pacific Islands. The tectonic precedent consists of the traditional fare, domestic structures built of wood beams, thatched coconut fronds and plaited bamboo. Contemporary structures on the islands can be described as a hybrid of these two precedents, often consisting of cement block buildings, with particle-board partitions and corrugated-iron roofing, and offering greater resistance to the threat of cyclones than the traditional fare INNOVATIVE TECTONICS In his book Studies of Tectonic Culture, Kenneth Frampton refers to the two basic modes of building, the compressive mass and the tensile frame in vernacular architecture, as intrinsically tied to spatio-temporal rhythms and a non-Western nonlinear attitude toward time. He refers to a time when space was not an integral part of our thinking about architecture and seeks to ‘mediate and enrich the priority given to space by a reconsideration of the constructional and structural modes’ by which architectural form must be achieved. Frampton is less interested in constructional techniques than in ‘the poetics of construction’ which is neither figurative not abstract. In the design studio attention must be given to both: Frampton’s ‘spatio-plastic unity of interior and exterior space’, wrapped by enclosure allowing for multiple experiences, as well as attention to the techniques of construction.

Renzo Piano, Noumea, New Caledonia

STUDIO 21 SITE CONSIDERATIONS The site of domestic investigation is located on the island of Moorea. Rather than slavish appropriation of historical precedent and clichéd architectural stereotype (consider the ubiquitous resort bungalow spreading fungally across the lagoons), the studio methodology and design process requires application of new techniques and methods aligned with the entrepreneurial, progressive and ‘localized’ cosmopolitan culture of French Polynesia. Each project must include as part of the design solution an understanding of the vernacular with acknowledgment of new tools of design optimization. DESIGN CONSIDERATIONS The research will require students to develop new approaches, fluid conditions, unique material and tectonic systems, types of boundaries, and environmental strategies, far removed from the hermetically sealed enclosure of the traditional house.



DESIGN SCHEDULE Having surveyed and mapped individual parcels in the site assemblage students are now ready to develop strategies for enclosing habitation. The following schedule reflects the steps necessary to complete this process.

STUDIO Friday June 17 Presentation on sustainable practices hand out 1 week charrette

Material Connection/Measuring Surface The final design of the material connection/ measuring surface will include the synthesis of information collected in the field as well as information collected in the research of sustainable topics. Students should include in their designs all the different research done to date. The relative success of your designed surface will be determined by how well you integrate the multiple assignments into the final design.

Week 5: Tuesday June 14 Each student will select and research one of the following sustainable topics: 1. Sun as energy generator 2. Solar storage thermal sink 3. Wind as energy generator 4. Natural ventilation 5. Water as energy generator 6. Water collection 7. Water as heat sink 8. Waste disposal 9. Food storage 10. Food production 11. Carbon negative materials 12. living systems such as green roofs and walls 13. shading as cooling 14. Jean Prouvé’s Maison Tropicale

Generally speaking these four different assignments will inform your final design of the surface.: • measuring device design, • site analysis and mapping • material studies • research on sustainable practices In addition to the physical parameters of the designed surface incorporation of these informational findings into the designed surface will propel the final design and determine the overall success of the project. The design of the Material Connection / Measuring Surface should: • be a vertical or Horizontal surface • include performance comparable to requirements designed in your measuring device • incorporate kinetic components • include selected material, or affect selected material, or measure selected material or a combination of the three • respond to human subject through scale, proportion, and function • have a separate interior and exterior side and those sides must be different

 Glenn Murcutt, Marika-Alderton House


traditional Polynesian tapa cloth



Week 6 Tuesday June 21 desk crit Friday June 24 Presentation of Material Connection/Measuring Surface hand out requirements for site, orientation and wind Identifying the conditions of the site through mapping will inform the transformation of surface into interior form. Pay special attention to how the imagined space of the poché can expand, warp, transform, and change according to site markings. Further development of interior space will come as the projects explore ritual habitation but for this exercise it is important to keep in mind how surface transformations affect envelope form and interior space. Surface transformations should account for environmental conditions (sun, wind, water, shade, etc.) sustainable conditions, topography, relationship to adjacent individual plot(s), social, and demographic conditions. Many of these conditions were analyzed and explored during your mapping exercises so refer to those drawings for the transformation of your surfaces. Provide three 1/6” scale models exploring how your surface is transformed due to three different conditions of the site. Each model should express a unique tectonic development as identified in your Mediated Material translations. Week 7 Tuesday June 28 Desk crits site, orientation, sun and wind - desk crit Friday July 1 pin-up of site plan at 1/16” hand out requirements for ritual habitation - water, food, waste

Polynesian navigational maps (stick charts)

STUDIO 25 Incorporate research from bioclimatic house and Prouvé’s Maison Tropicale consider ritual habitation surrounding domestic activities such as cooking, cleaning, gardening, eating, sleeping dreaming, bathing, studying, singing, coupling, working, dancing, etc. these rituals should be viewed through the lens of polynesian culture and incorporate ideas from the measuring device. The design also allows for the possibility of incorporating different measurements associated with the rituals of habitation. Week 8 Tuesday July 5 ritual habitation - water, food, waste Friday July 8 pin-up of plans and sections at 1/8”, site model at 1/8” Week 9 Tuesday July 12 detailing of interior Develop interior details that incorporate furniture, lighting, material, color and sustainable considerations. Friday July 15 pin-up of plans and sections at 1/4”, detail model at 1/4” Week 10 Tuesday July 19 detailing of exterior Develop 1/4” details that mediate light, wind, and moisture. Identify material assembly, topological conditions, and sustainable considerations Friday July 22 pin-up of plans and sections at 1/4” Week 11 Tuesday July 26 Desk crits Friday July 29 Final Review, all of the above

Polynesian navigational maps (stick charts)

26 TAHITI Sunday

ITINERARY 5.15.11 1:30pm LAX - PPT - Tahiti Faa’a Airport Quantas #6AW75F Departs at 9:00pm Arrives at 8:20am (Monday, 5/13/10) 8:20am Flight arrives Settle in at HOTEL ROYAL TAHITIEN (

Monday Tuesday

5.16.11 7:00am Arrive at Centre des Metier d’Art Avenue du Regent Paita - Mamao 5.17.11 7:00am Arrive at Centre des Metier d’Art Avenue du Regent Paita - Mamao 5:00pm Open

Wednesday 5.18.11 7:00am Continue work at Centre des Metier d’Art 2:00PM Present work completed for assignment 1.1 Thursday


ITINERARY RAIATEA Friday 5.20.11 6:15am Leave for Airport 7:15am PPT to Raiatea Air Tahiti Nui #332 8:00am Arrive in Raiatea Settle in Sunset Beach Motel ( Raiatea Lodge Saturday

5.21.11 9:00am Free day - Group Dinner




5.23.11 9:00am Site survey of Taputapuatea


5.24.11 9:00am Students develop site survey work 2:00pm Studio Discussion 5:00pm Group Dinner


Students from the Centre des Metier d’Art

Taputapuatea, Raiatea

Travel to Taputapuatea




HUAHINE Wednesday 5.25.11 7:15am Leave for Airport 8:15am Raiatea to Huahine Air Tahiti Nui #VT362 8:35am Arrive in Huahine Settle in Chez Guynette (

ITINERARY MOOREA Tuesday 5.31.11 10:35 11:35 12:10

29 leave for airport Huhaine to Moorea Air Tahiti Nui #VT267 Arrive in Moorea Settle in the Gump Station

Wednesday 6.1.11

6:00am Explore potential sites on island


5.26.11 6:00am Travel to Maeva



6:00am Decide on one location for assemblage of sites


5.27.11 6:00am Travel to Maeva to do site work



6:00am Identify individual parcel on assemblage


5.28.11 6:00am Students to develop site work



6:00am Free Day



Free Day - Group Dinner



6:00am Free Day



Free Day - Group Dinner



6:00am First Mapping using their own measuring device

Tuesday device


6:00am Second Mapping using their own measuring


Wednesday 6.8.11

6:00am Joint mapping looking of site



6:00am Material manipulation exercise


6.10.11 6:00am Material manipulation exercise


6.11.11 6:00am Free Day


6.12.11 3:35pm leave for airport 5:35pm Moorea to Papeete Air Tahiti Nui Flight #VT216 9:00pm Papeete to LAX Quantas flight #3827


6.13.11 8:20am Flight arrives in Los Angeles






Society Islands



Huahine map prepared by Woodbury students, summer 2010















Google Earth map of Taputapuatea





base map of Taputapuatea




















French and Tahitian are the official languages in French Polynesia. But the further away from Papeete you go, the more Tahitian and less French you’ll hear spoken. Communication problems away from the hotels and other tourist industry operations may be avoided by breaking the ice with a few words in either French or Tahitian. The pronunciation of French words must be studied at great length. But the pronunciation of Tahitian words is comparatively simple, particularly for English-speaking people. In Tahitian all vowels and consonants are pronounced as a separate syllable. There are no silent letters. There is always a vowel between two consonants and sometimes as many as two or three vowels will run together. For example the name of Tahiti;s airport is Tahiti –Faaa International Aiport. In the word F-A-A-A, all three “a’s” are pronounced. Every syllable ends in a vowel. Most words are accented on the next to last syllable. Tahitian vowels are pronounced the same as in Latin: a – ah, like in far o - oh, like in go e – ai, like in day u – oo, like in lulu The following are some French and Tahitian words and phrases you might try using during your visit. The traditional Tahitian greeting is “ia orana”. It is usually followed by, “how are you?”. In Tahitian, “eaha te huru?” ENGLISH afternoon airplane American angry ask asleep

FRENCH après-midi avion américain fâche demander endormi ta’oto

TAHITIAN avatea manureva marite riri ani

bad baggage bank barber beach beauty bed beer boat book bread breadfruit breakfast British butter ENGLISH

mauvais ino bagages ota’a banque fare moni barbier ta’ata pa’oti rouru plage tahatai beauté nehe nehe lit ro’i bière pia bateau pahi livre buka pain faraoa fruit de l’arbre à pain uru petit déjeuner tafe poi poi britannique beretane beurre pata FRENCH TAHITIAN



candy car cash cat church clothes coconut coffee cold

bonbon voiture espèces chat église habit noix de coco café froid

mona mona pereoo moni mimi fare pure aahu ha’ari - opaa taofe to’eto’e

dance darling daughter day dear dentist depart dessert dinner doctor dog drink

danse chéri fille jour cher dentiste partir dessert repas médecin taote chien boisson

ori ta’u here tamahine ao iti taote niho reva faraoa monamona amura’a - avatea

eat egg electricity English everybody eye

manger œuf électricité Anglais tout le monde œil

amu huero moa uira Beretane te taatoa raa mata

family farewell father fire flashlight flower food friend

famille adieu père feu lampe de poche fleur nourriture ami

fetii parahi metua tane - papa i’a mori pata tiare maa hoa

uri inu

gentleman monsieur tane girl fille poti’i glass verre hapaina goodbye au-revoi r parahi oe good evening bonsoir ia orana oe i teie po



ENGLISH good morning

FRENCH bonjour

TAHITIAN ia orana oe

head heart happy hospital How are you? How much? husband mari

tète upo’o cœur mafuatuaàu heureux oaoa hôpital fare ma’i Comment allez-vous ? Eaha te huru? Combien ? Efea? tane faaipoipo

island I’m hungry I’m thirsty

île j’ai faim ua j ‘ai soif ua

motu poi a vau poiha vau



apa, hoi

lady liquor love lunch

dame liqueur amour déjeuner

vahine ava here tama’aa

man medicine midnight milk money morning matin mountain

homme tane médicament ràau minuit tuiraa - pô lait û argent moni po’i po’i montagne mou’a

name never noon now

nom jamais midi maintenant

passport police post office restroomtoilettes room

passeport buka ratere police muto’i bureau de poste fare rata fare haumiti chambrepiha

sick sugar swim store

malade sucre nager boutique

i’oa eita roa avatea i tei nei

mai tihota aù fare toa



ENGLISH teaspoon thank you

FRENCH petite cuillère merci

TAHITIAN punu taipu mauruuru



ta a papu

water welcome wife wine

eau bienvenue épouse vin

pape maeva ava uaina



e, oia

Sunday Monday Tuesday Wednesday Thursday Friday Saturday Samedi

Dimanche Sabati Lundi Monire Mardi Mahana Piti Mercredi Mahana Toru Jeudi Mahana Maha Vendredi Mahana Pae Mahana Maa

January February Février March April May June July August September October November December


Tenuare Fepuare

Mars Avril Mai Juin Juillet Aout Septembre Octobre Novembre Décembre

Mari Eperera Me Tiunu Tiurai Atete Tetepa Atopa Novema Titema



TAHITI Royal Tahitian Hotel Rue Temarii, in Pirae

Tel. 50.40.40

Sunset Beach Motel


Raiatea Lodge


Anapa Perles, Tevaitoa Free pearl farm snorkeling adventure

Emergency contacts: Lillemor Kin (friend of Sabrinaâ&#x20AC;&#x2122;s) Sea Rescue SOS Doctors Police

Tel. 27.49.96 42.12.12 42.34.56 17

US Consulate U.S. Embassy in Suva, Fiji, P..O. Box 218 or 31 Loftus Street, Suva, Fiji fax (679) 3302-267

telephone: (679) 3314-466

Inter-island flights Air Tahiti


International Flights Air Tahiti Nui


Internet Service and Printing Cybernesia, Papeete La Maison de la Press, Papeete Tiki Copy, Papeete




Internet Service and Printing ITS Multimedia


Emergency Contacts Police


Uturoa Hospital


Taputapuatea, Raiatea



HUAHINE Chez Guynette, Fare




BANKS can be found on all three islands.

Internet Service and Printing Upstairs


Emergency numbers 18 (like 911) (there is a 24 hour emergency room in Fare as well as a doctor’s office near the pharmacy)

CLIMATE Defined as marine tropical, French Polynesia’s climate doesn’t vary much. Temperatures range between 24°C and 30°C all year long and its high humidity (75%) is tempered by breezes.

MOOREA U.C. Berkeley Gump Research Station Neil Davies, Ph.D., Executive Director Francis J.Murphy, Associate Director Office Cell Teurumereariki Hinano Teavai Murphy Associate Director Office Cell

689 56 13 74 689 799 936

TIDES The Society islands, and this is one of the major distinctions of French Polynesia, are situated on what is called an amphidromic point, where tides are only influenced by the solar ocean tide (water level difference is 20 cm, or 8 inches, with high tides at noon and midnight, every day of the year). FLIGHT INFORMATION For inter-island flights, carry-on weight is 3 kilos (6.6 lbs.), and weight limit for luggate is 20 kilos (44 lbs.)

689 56 45 35 689 757357

IPHONE APPS motion x gps GPS kit aero weather (METAR data for current weather conditions) TAF weather forecast data foursquare INTERNATIONAL USE OF MOBILE PHONES This will be enormously expensive and is not recommended. For advice regarding using your iphone internationally (generally, don’t),




Some films set in Polynesia include: 1. Mutiny on the Bounty 1935 Charles Laughton, Clark Gable 1962 Trevor Howard, Marlon Brando 1984 Anthony Hopkins, Mel Gibson, Liam Neeson 2. Once Were Warriors (1994) 3. The Piano (1993) 4. The Hurricane 1937 John Ford, Dorothy Lamour 1979 Dino De Laurentiis, Mia Farrow 5. South Pacific (1958) And some fantastic films having nothing whatsoever to do with Polynesia but which every design student should see: 6. The Five Obstructions, Lars von Trier Movie about the productive potential of impossible situations in creative work. 7. Sans Soleil, Chris Marker A poetic collection of filmic sequences from around the world, driven by a narrative of time, space and memory.

The three â&#x20AC;&#x2DC;Mutiniesâ&#x20AC;&#x2122;-



CONTACT LIST Ingalill Wahlroos-Ritter Randy Stauffer

Germane Barnes Norella Carboni Silvia Castaneda Billy Chiriboga MatthewChymbor Alejandro Diaz Victor Monge Thanomphol Phaisinchainaree Andrew Rahhal Steven Steven Jesus Urciaga Kara Valdez Joseph Veliz Megan Weintraub Kevin Wild Damiana Zinn


323-788-7038 818-913-8115


Jean Prouvé



Jean Prouvé



Jean Prouvé





Jean Prouvé



Jean Prouvé



Installations by Architects: Experiments in Building and Design



Installations by Architects: Experiments in Building and Design



Installations by Architects: Experiments in Building and Design



Installations by Architects: Experiments in Building and Design



Installations by Architects: Experiments in Building and Design



Installations by Architects: Experiments in Building and Design




Batailles, Georges. “Architecture, Slaughterhouse, Museum,” in Rethinking Architecture, ed. Neil Leach, London/ New York: Routledge, pp. 20 – 23 Beckman, John, Ed. The Virtual Dimension: Architecture, Representation and Crash Culture. New York: Princeton Architectural Press, 1998. Clifford, James. On Collecting Art and Culture. Ed. During, Simon. The Cultural Studies Reader. New York: Routledge, 1999. Colquhoun, Alan. The Concept of Regionalism. Ed. G. B. Nalbantoglu and C. T. Wong. Postcolonial Spaces. New York, NY: Princeton Architectural Press, 1997. Corrin, Lisa G. Mining the Museum: An Installation by Fred Wilson. New York, NY: The Free Press, 1994. Crimps, Douglas. On the Museum’s Ruins. Boston: The MIT Press, 1995. De Landa, Manuel. Uniformity and Variability. 2006., 2009. De Landa, Manuel. A Thousand Years of Nonlinear History. New York: Zone Books, 1997. Deleuze, Gilles. Desert Islands and Other Texts (1953-1974). Los Angeles: Semiotext(e) / Foreign Agents, 2003.


Hooper, Steven. Pacific Encounters: Art & Divinity in Polynesia 1760-1860. Honolulu, HI: University of Hawai’I Press, 2006. Jolly, Margaret. “On the Edge? Deserts, Oceans, Islands.” The Contemporary Pacific. Fall 2001. (pp. 417-466). Kaeppler, Adrienne L. The Pacific Arts of Polynesia and Micronesia. New York, NY: Oxford University Press, 2008. Kahn, Miriam. “Tahiti Intertwined: Ancestral Land, Tourist Postcard, and Nuclear Testing.” American Anthropologist. Vol. 102, Iss 1: 7-25. ProQuest Web. 12 Apr. 2010 Kennedy, Sheila. Material Misuse. London: AA Publications, 2004. Kubo, Michael. Office for Metropolitan Architecture: Seattle Public Library. Barcelona: Actar, 2005. Levy, Robert, I. Tahitians: Mind and Experience in the Society Islands. Chicago, IL: University of Chicago Press, 1973. Lupton, Ellen. Skin – Surface, Substance + Design. London: Laurence King Publishing Ltd., 2002. McLuhan, Marshall, and Quentin Fiore. The Medium Is the Massage. Corte Madera: Ginko Press, 1967.

Derrida, Jacques. Archive Fever: A Freudian Impression. Chicago: University of Chicago Press, 1998. Elliston, Deborah A. “Geographies of Gender and Politics: The Place of Difference in Polynesian Nationalism.” Cultural Anthropology. Vol. 15 no2 May 2000: 171-216. ProQuest Web. 12 Apr. 2010 Fischer, Steven Roger. A History of the Pacific Islands. New York, NY: Palgrave, 2002. Frampton, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. Boston: The MIT Press, 2001. Frampton, Kenneth. “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” Labour, Work and Architecture. London: Phaidon Press, 2002. Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books, 1973. Gathercole, Peter., Adrienne L. Kaeppler, and Douglas Newton. The Art of the Pacific Islands. Washington, DC: National Gallery of Art, 1979. Harmon, Katherine. The Map as Art: Contemporary Artists Explore Cartography. New York: Princeton Architectural Press, 2009. Hill, Jonathan. The Subject is Matter. London: Routledge, 2001.


Installations by Architects: Experiments in Building and Design



Mercer, Koben. “Archive and Dépayesment in the Art of Renée Green.” Ed.Schweizer, Nicole. Zurich: JRP|Ringier, 2009. Newhouse, Victoria. Towards a New Museum. New York: The Monacelli Press, 1998. Poignant, Roslyn. Oceanic Mythology: The Myths of Polynesia, Micronesia, Melanesia, Australia. London: Paul Hamlyn, 1967. Rendell, Jane. “Travelling the Distance/Encountering the Other.” (ed.) Blamey, David. Here, There, Elsewhere. London: Open Editions, 2002. Ruby, Andreas. “Hyper-locality. On the Archaeology of the Here and Now in the Architecture of R&Sie.” Spoiled Climate. Basel: Birkhauser, 2004. Rudofsky, Bernard. Architecture Without Architects: A Short Introduction to Non-Pedigreed Architecture. Albuquerque: University of New Mexico Press, 1987. Sadler, Simon. Archigram: Architecture Without Architecture. Boston: MIT Press, 2005. Salmond, Anne. Aphrodite’s Island: The European Discovery of Tahiti. Berkeley, CA: University of California Press, 2009.



REFERENCES Bishop Museum, Honolulu, Hawaii. Web site: British Museum, London. Explore/World Cultures, Polynesia. Web site: http://www. Metropolitan Museum, New York, New York. Polynesia, 1900 A.D. – Present. Web site: National Gallery, Washington, D.C. Exhibition, The Art of the Pacific Islands (1979). Web site: The Seattle Public Library. Web site: Musée du quai Branly, Paris, France. Interactive Programmes. Web site: http://www. Lima, Manuel. Visual Complexity. McClain, Anselm. Evernote, Shared.

Semper, Gottfired. Style in the Technical and Tectonic Arts; or Practical Aesthetics (Texts & Documents). Los Angeles: Getty Publications, 2004. Sinoto, Yosihiko and Rick Carroll. Huahine: Island of the Lost Canoe. Honolulu: Bishop Museum Press, 2005. Smith, Cyril Stanley. “Matter Versus Materials: A Historical View.” A Search for Structure. Boston: MIT Press, 1992. Tufte, Edward. Envisioning Information. Connecticut: Graphics Press, 1990. Tufte, Edward. Visual Explanations: Images and Quantities, Evidence and Narrative. Connecticut: Graphics Press, 1997. Wahlroos, Sven. English - Tahitian, Tahitian - English Dictionary. Hawaii: University of Hawai’i Press, 2002. Wahlroos, Sven. Mutiny and Romance in the South Seas. A Companion to the Bounty Adventure. Massachusetts: Salem House Publishers, 1989.

Dance costumes from the Museum of French Polynesia


SU11 Tahiti field guide  

SU11 Tahiti field guide