26 Principles ARCH 1060 Georgia Tech

26PR INCI PLES JOSEPH KO

TABLE OF CONTENTS GEOMETRY GRID SYMMETRY PLANES PART TO WHOLE

FORM MASS STRUCTURE TROPES PROGRAM PRESENTATION

LIGHT SHADOW COLOR SURFACE SPACE

MATERIAL ENVIRONMENT PREFABRICATION FABRICATION

TRANSFORMATION MOVEMENT CIRCULATION SCALE DIALOGUE DATUM

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GEOMETRY Geometry is the basis of architecture. The art of geometry has been used culturally, socially, religiously, and aesthetically. To create accurate and precise measurements and achieve complexity, understanding geometry and the its application to everything is a must.

Blueprints for North Charles Apartment Building, Baltimore, MD, Mies van der Rohe. 1964

Grid Diagram for Dowel Model

GRID Laying out a grid is an important starting point in developing a foundation for the building plan.

Creating and utilizing a grid organizes and helps us grasp the potential of a design. A grid helps us idealize a scenario for optimal usage for a given space.

Grid Diagram of the Glass House

Mies van der Rohe, Illinois Institute of Technology Crown Hall Floor Plan. 1938

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SYMMETRY Symmetry creates a sense of balance distribution between a dividing plane or axis. Many designs implement symmetry to show unify the overall design as a whole.

Massing exercise that shows EXPAND Action in a symmetric manner

Photographed by Hagan Stier, Crown Hall, Mies Van der Rohe, Illinois Institute of Technology. 1938

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PLANES Planes liven up the geometry of a design. Geometry can be two-dimensional, but the use of planes can create contrast and divide space, and thus be able to view the geometry on all three axis. Perception of the design is not vivid with just the blueprints, so implementing planes is always needed to develop a real building.

Dowel Model with implemented paper planes.

Dowel Model with implemented paper planes.

Frank Gehry, Weatherhead School of Management, Vitra Design Museum. 1989

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PART

TO

WHOLE

Lina Bo Bardi, SESC Pompeia, Sao Paulo. 1982

A part to whole concept is helpful to understand specific characteristics of a design or idea. Many designs are made up of various parts that is interesting on its own and can be used differently. What makes each part special and how it all connects into one whole design? One common method is having repetition that make up a facade of a design.

De-Composition Assignment of the SESC Pompeia

Made up of skateboard wood cut outs.

Caroline O’ Donnell Architecture, Party Wall, MoMA PS1. 2013

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FORM Form refers to the shape, the outline of a building. It is one of the primary elements, along with space, of architecture that define a building. While space defines the interior of the building, form defines the exterior.

MASS

“Most consider the making of buildings to be an additive process—and indeed it usually is.

It is the layering of multiple materials and systems that, together, construct the completed edifice. However, when a work is conceptually conceived as a monolithic volume, the resulting mass transcends the thinness of these layers.”

- The Language of Architecture Valerio Olgiati, School in Paspels, Switzerland. 1997

Grafton Architects, Universita Luigi Bocconi, Milan, Italy. 2008

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STRUCTURE As the backbone of a building, the structure is a key element into maintaining the stability of a building. Every building has structure and has been the first thing many architects have to consider in creating a new project.

Dowel Model

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“Structure can be understood to be that aspect of every construction that assists in countering gravity and transferring loads into the ground.�

- The Language of Architecture

Parthenon, Athens, Greece. 5th BCE https://www.britannica.com/topitc/Parthenon

TROPES “Conceptions founded on rhetorical figures—especially the tropes of metaphor, metonymy (and synecdoche), hyperbole, irony, and personification—have been instrumental in the design and reception of countless artistic, scientific, and even cultural constructions.”

- The Language of Architecture

Saarinen tried to represent “the spirit of flight”. The JFK Airport is a layered metaphor of an elegant raptor before flight.

Frank Gehry, “the Dancing House”, Prague. 1996 Gehry used a sense of hyperbole to introduce a new form that is unique. “The Dancing House” is a personification of a dancing duo, Fred Astaire and Ginger Rogers. He uses hyperbole to exaggerate the building to look like they are dancing.

PROGRAM In a program, it’s about following the guideline, keeping order.

A program is there to help keep it functional, relational, and practical. In the world, there are many programs that help us be informed and being more innovative.

Starting Point

The images represent a set of rules that the modeling clay followed.

Stretch

Rotate

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PRESENTATION An architect must have the skills to present to an audience of his documented work.

Presentations are a way for architects to convey ideas before enacting actual building.

Zaha Hadid’s projections, Cardiff Bay Opera House, Wales, UK. 1994-96

LIGHT Light is an important aspect in the world architecture for we need light to see. Light can help bring the essence of the structure of the building and help understand the space within. Whether its natural or artificial, light draws attention to the building and all the characteristics it contains, such as texture and space. Light can be used to obviously brighten a room to see, but it can also be used to highlight a certain part of a building.

Steven Holl, Nelson-Atkins Museum of Art, Kansas City, Missouri. 2007

Charcoal Drawing for Continuous Plane Model

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SHADOW “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.�

- Louis Kahn

Dowel Model under diffuse light

Through the use of diffuse light, the shadows are not clear. We cannot quite perceive the space that the model contains, however, we can better observe more on the surface.

“Extreme contrast can be achieved by the introduction of light through a controlled aperture where the profile of the cut is important in demarcating the amount of light that enters a space, allowing the imagination to complete that which is left in darkness.�

- The Language of Architecture

Dowel Model under direct light

Through the use of direct light, we produce definite shadows that show the body of the model. We can see the spatial complexity and its three dimensional composition.

COLOR “The eye sees no form, inasmuch as light, shade, and color together constitute that which to our vision distinguishes object from object, and the parts of an object from each other.�

- Theory of Colors, Johann Wolfgang von Goethe

Continuous Plane Model under analogous colors

In this variation, the contrast between the analogous color shows the depth of light and shadow.

Modeling Clay in SPLIT Action under triad colors.

In this variation, the clear contrast between the triad color shows a clear distinction between the model and its environment.

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SURFACE A building’s surface is their facade to the public.

“A building’s enclosure is its primary contact with an exterior. Like clothing, its role is protection, while offering an insight into the “personality” it projects.”

- The Language of Architecture

The TRUTEC Building’s surface reflects the sun and acts as a crystal.

Barkow Leibinger, TRUTEC Building, Seoul, South Korea. 2006

Continuous Plane Model’s Front Surface

SPACE The space surrounding and within the building is crucial in developing a successful project. The nothingness is what we walk through, what occupies movement. Understanding space is important to know what creates a building rather than a block.

Natural Light Diagram (The Glass House) The natural light entering the Glass House by Lina Bo Bardi is filling the space and giving openness to the eye. The nothingness the light has shown makes the space present to become occupied.

Guggenheim Museum Bilbao, Frank Lloyd Wright, NYC. 1939

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MATERIAL As a designer, we need to consider the building blocks and how they interact with everything there is in the environment. We have to also consider the sustainability, as well as the price.

“Materials, both natural and artificial, retain traces of their origin, and they communicate intrinsic qualities that evoke associations and responses in their perceivers.”

- The Language of Architecture

Made out of mushrooms, the bricks offer a eco-friendly solution. Materials can also be symbol. The steel mold bricks on the top that help the mushroom bricks develop and grow represent tall skyscrapers that look over the red brick buildings.

David Benjamin, “The Living”, Hy-Fi, MoMA PS1. 2014

Materials used in ARCH 1060: Paper/Cardstock/Bristol Wooden Dowels Modeling Clay Styrofoam

ENVIRONMENT Architecture is what separates and connects us to the environment. When considering your site for your design, considering the environment is crucial in order to have cohesiveness between your building and the world.

At the Glass House by Lina Bo Bardi, the time where she dwelled in her building compared to now is quite different. In her time, the building was not surrounded by trees, rather it was in the open. With this in mind, she was able to incorporate natural light to fill up her living space from the side and top.

With the changing environment, the sunlight will not enter as much as it would have 70 years ago.

Natural Light Diagram (The Glass House)

1951

PRESENT

Lina Bo Bardi, The Glass House, Sao Paulo. 1951

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PREFABRICATION

A prefabricated architecture is one that is often conceived as a mobile architecture, one that can either be moved or reassembled, or one that touches lightly on the land, minimally disturbing the context to which it has been brought.

The capsules are fabricated off-site and were designed to be replaced every 25 years.

Kisho Kurokawa, The Nakagin Capsule Tower, Tokyo. 1972

Physical Prefabrication

Assembly for the Continuous Plane Model

One facade finished for the Dowel Grid Model

FABRICATION Fabrication is how a design is carried out and made, either physically or digitally.

The inner space of the Bruder Klaus Chapel was formed by burning away spruce wood and leaving charred concrete walls.

Finished Models (Fabrication)

Handmade bricks

Bangkok Project Studio, Kantana Film & Animation Institute, Thailand. 2011

TRANSFORMATION Transformations occur at multiple scales, from the smallest particle to an entire building, and at any interval, from a one-time event to a cyclical transformation.

Ernst GiselBrecht, “Dynamic Facade�, Gleichenberg, Austria. 2005-07

Transformation assignment using modeling clay

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MOVEMENT “And while architectural and urban form and space are typically static, it is one’s movement through them that constructs a continuously changing environment.”

- The Language of Architecture

The first row shows movement by amplifying its infrastructural network. Through adding to the symmetry of original point, we can lengthen existing circulation.

The second row shows a dynamic motion where it constructs a new landscape that is connected like the SESC Pompeia. From having no range of movement, the new iteration develops movement

Massing Assignment showing EXPAND Action

Massing Assignment showing LIFT Action

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CIRCULATION Circulation through the building is essential to what makes the building accessible to people. The type of movement throughout the building depends on the architectural experience one follows.

Circulation Diagram (The Glass House)

The circulation above doesn’t seem extraodinary, but rather plain. The approach here was a simple, yet effective way to get around. Two ways into the living room and a long snake hallway that leads to all rooms.

The stairway that goes all the way up and down shows a narrative and theatrical movement. Each floor has different roles in the house and is catered specifically to the home owner.

The multiple/parallel movement sequences that wrap around the Centre Pompidou is what define the building. The iconic escalator moves in diagonal where it meets all floors.

Renzo Piano & Richard Rogers, Centre Pompidou, Paris. 1977

SCALE Scale is an important factor when designing. It can be used literally, or it can be used figuratively to express a purpose. Scale is perceptive to the human eye.

Buildings are to be scaled to the height of people. No matter what, scaling is crucial when you have to consider what you want to convey.

“Scale is relative—and it is the various contexts from which buildings are experienced (and to which they are attached) that inform the various scales.”

The SESC Building and the Pantheon are two different scales, however, through decomposition, I joined the two.

In these process photos, we can see that scaling made the original more defined and have more details that can be explored.

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DIALOGUE “A work is constantly renewed by its encounters with new perceptions, new works.� guage of Architecture

Engaging and understanding the purpose of such architecture techniques implemented is a good way of dialogue. Questioning the forms of representation and how it relates to other work is essential to develop better dialogue. One form of dialogue is additives or enrichment. To the right, I had my own dialogue and presented it in my own observation and redefined existing iterations.

- The Lan-

SESC Pompeia De-composition and Dialogue

DATUM

“Common Denominator” “Point of Reference” A datum is a shared characteristic that connects most or all elements of the building.

Continuous Plane Model In this assignment, I created a model with a continuous plane. The plane’s surface is shared with all the folds and details. Also, the model is divided into three parts where the center is larger version of them all and connects into one whole.

All the top minor buildings share the same roof surface of the main building.

The common denominator for this building is the overall mass of the building that all windows and rooms share. Even if there is 4 different floors, they all share the same facade.

Eero Saarinen, US Embassy, London. 1960