D2 Process Book

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TABLE OF CONTENTS

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1 .............

SEMESTER SUMMARY

2 . . . PROJECT 1: FORM, SPACE + ORDER 6 ....

PROJECT 2: CONCEPT AND COLOR

9 .............

13 ...........

15 .........

PROJECT 3: CABIN TECTONIC MAQUETTE

VISIONARY DESIGNERS

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REFLECTION

EXECUTIVE SEMESTER SUMMARY This semester revolved around the idea of using precedent to inform current design. The first project began this process with a case study on an important piece of architectural history. During this project, to satisfy the students want for design and to practice model making skills, they completed a maquette, for which they had to design and craft a small scale house of whatever style we wished. Once these two projects were done, the idea of precedent was pushed to the extreme, as an abstract image and 3D model were designed and made that reflected key principles of the case study house. For the final project of the semester, a cabin was designed that embodied the key principles from the case study house demonstrated in the conceptual project. As a culmination of the semester, the cabin served as a way to ground the abstract concepts from the second project. Additionally, throughout the semester, short videos were made by students presenting important architects throughout the past century. This further exposed the students to the idea of precedent and learning from and incorporating great minds into the students future designs. By learning from those who come before us, knowledge becomes cumulative, so people don’t have to relearn what others already have.

My personal understanding of architecture has changed throughout the semester by gaining a more comprehensive understanding of what architecture is and how important collaboration is in design. Before this semester I believed that collaboration could aid in the development of design, but I also believed a designer could be effective on their own. Great designers didn’t necessarily need others input. However, this semester showed me how large of an effect outside perspective can have. All three of my projects involving design (Project 2, Project 3, and the Maquette) were heavily impacted by critique. If not for outside perspective all three projects would’ve gone in a different, likely not as succesfull, direction. That’s not to say the projects aren’t my creation, they are, but one can not consider every possibility on their own. The outside critique is not about people taking parts of the project away from me, but people illuminating different paths the project could take. It is then up to me to decide which paths to take and how to walk them.

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PROJECT 1: FORM, SPACE + ORDER When beginning as architectural designers one must start by learning, and what better way to learn than by studying the acclaimed work of the great architects that came before you. Project 1 was a team project and case study, for which the historical house had to be researched, drawn, diagrammed, and modeled. This house would go on to be the foundation for the remaining projects of the semester as well. The house portrayed here is the Stonorov-Churchill Residence in Phoenixville, PA. While the architects who designed it aren’t particularly famous themselves they were students and coworkers of Luis Kahn, thus you can clearly see his influence of monumentalism and modern design.

RESEARCH Project 1 began by doing extensive research. This research included using Google Earth Pro and GIS systems to gain site data. From this research, information about hydrology, soil type, and materiality was gained. It was also learned that the house was originally built in 1980, and then a small studio was added 4 years later. In 2017, the house was renovated and a loft was added. Luckily, my team was able to gain information directly from the source because our professor is friends with both the current owner/occupant of the house and the architect behind the renovation and loft. As such, the research process was quickened and deepened because we were able to gain information quickly and easily, but we were also able to gain a lot more information than I was expecting.

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DRAWINGS Once the research was completed, drawings were made showing all elevations, plans, sections, and an axonometric to gain a better understanding of the 3D nature of the house. Diagrams were then created to demonstrate important principles.

All drawings shown here were completed by me using AutoCAD and Adobe Illustrator.

SECTION B

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UP

SECTION A

UP

UP

WEST ELEVATION

EAST ELEVATION

SCALE: 3/16" = 1'

SCALE: 3/16" = 1'

FIRST FLOOR PLAN SCALE: 3/16" = 1'

SECTION B

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SECTION A

DN

DN

DN

SOUTH ELEVATION SCALE: 3/16" = 1' SECOND FLOOR PLAN

SCALE: 3/16" = 1'

DIAGRAMS

Repetition Public vs Private - First Floor Exposed Structure

Balance Horizontality

Public vs Private - Second Floor Additive/Subtractive

Assymetry

View

4 Materiality

AXONOMETRIC SCALE: 3/16" = 1'

Double Height

Sunlight

Wood - Shingles - Concrete

Circulation

BASSWOOD MODEL The final step was to use the drawings to build a 1/8” = 1’ scale basswood model and cardboard site of the house.

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PROJECT 2: CONCEPT AND COLOR The second project of the semester was to create a 2D and 3D abstract representation of key principles obtained from the case study house, as well as a rendered perspective. The three concepts I focused on were balance (through asymmetry), repetition (of form), and Open vs Closed/Public vs Private. The longer thinner left of the house balances the shorter, but denser, right side. There is a clear repetition in the form of the windows and curves of the roof. The public and private areas of the house coincide exactly with the open/vaulted and closed/single story areas respectively.

2D CONCEPTUAL In the 2D concept drawing, balance through asymmetry is represented similarly to the case study house. Repetition of certain shapes can also be seen. Open vs closed is represented by the open flowing nature of the curves contrasted by the closed interlocking nature of the squares. Additionally, the two interlocking squares being on top of the curves is representative of the loft being added to the original house.

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3D CONCEPTUAL For the 3D conceptual model 1/16” basswood was soaked in water overnight and then woven to create the mesh seen in the photo. In the model, balance is again represented through asymmetry, but this time the line of symmetry is horizontal. Repetition of form is utilized in the repeating squares of the mesh, as well as the repeating curves of the cylinder and the piece of copper holding it up. Open vs closed is represented in the see through nature of the mesh contrasted with the closed interlocking structure. The space in the center of the model is also surrounded and closed in.

STUDY MODEL

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INTERIOR RENDER (RIGHT)

FULL PIN UP (BELOW)

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PROJECT 3: PRECEDENT + INVENTION, STRUCTURE + SITE The final project of the semester was to design a cabin that could be used by scholars to study the case study house without actually having to live in the case study house. However, as this was a design class, the cabin couldn’t just be a “mini me” copy of the case study house. The cabin had to be an evolution in form and concept. The cabin also had to feel like the case study, not just be related in form. If the owners/occupants of the case study house came to live in the cabin, they should feel like they are at home. The concepts used in the Project 2 were used as a basis to design the cabin. For my project, as an evolution, of the case study house, I felt it was important to solve any issues with the case study, since evolution usually leads to improvement. The two main problems with the Stonorov-Churchill Residence are water shed coming down the hill behind the house and decay of the wood used for the facade of the loft. The water runoff problem is solved for the cabin with extensive swales and storm water diversion tactics, as well as a rain garden to absorb excess rain and act as a natural gray water treatment system. The wood weathering problem is addressed by using Shou Sugi Ban, charred wood, as siding. The charring acts as a natural preservative and insect repellent.

Site Section 2

FIRST SITE ITERATION HP

TRUE NORTH

PROJECT NORTH

CABIN SITE PLAN: PROPOSED SCALE 1/8” = 1’

SCALE 1/8” = 1’

HP

TRUE NORTH

PROJECT NORTH

KEY

KEY WIND

PATH

HYDROLOGY

RETAINING WALL

STORM DRAIN

RAIN GARDEN

Site Section 1

CABIN SITE PLAN: EXISTING

LP 8’ 16’

32’

LP 64’

8’ 16’

32’

64’

FINAL SITE ITERATION

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The design process started off by sketching, and then creating study models to better understand the ideas in 3D space. Rhino3D was especially helpful for this project specifically because it allowed me to model many different iterations of a normally hard to model curvilinear form fairly easily. The evolution of the case study house to the cabin can be seen in the diagrams below, as well as how concepts from project 2 translate between both the Stonorov-Churchill Residence and the cabin.

Generation of Form

Repetition

Case Study Floor Plan

RETAINING WALL ON CABIN SITE

Balance

PUBLIC VS PRIVATE / OPEN VS CLOSED

VIEWS

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CONTRAST

SECTION 2

ROOF PLAN SCALE 1/4” = 1’

SECOND FLOOR PLAN SCALE 1/4” = 1’

Washer/ Drier Closet

SECTION 2

PROJECT NORTH

FIRST FLOOR PLAN SCALE 1/4” = 1’

Mechanical Room

SECTION 1 Pantry

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FINAL BASSWOOD MODEL

MODEL DECONSTRUCTION

The roof for the final model was The model can be deconstructed so that one can “sliced” by the computer into over 55 get a better idea of the spaces created inside. different layers, and then each layer laser cut. All the layers were then carefully glued together to create such a wavy form. The back loft area of the house was charred with a blow torch before it was glued together to achieve the same effect as Shou Sugi Ban.

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TECTONIC MAQUETTE

STEP 2: FLOOR 2, STEPS, + SCALE FIGURE

A couple weeks after beginning Project 1, we also began a side project of designing a small ~20’ cube house and building and drawing it at 1/4” = 1’ scale. The design could be anything and it was built one section at a time. My design went through an evolution, as the original concept was critiqued. Initially the design was simply meant to be abstract and “not just a house.” My second iteration began to have a purpose, with the idea of emulating Japanese temples and architecture. After feedback of the design not emulating those principles enough, more horizontallity was added and the diamonds (a Chinese motif) were removed. This was a huge learning experience for me as it was the first basswood model I ever made. It was also important to pay attention to line weights in the drawings, as they are a key visual tool for representation.

STEP 1: TWO WALLS + FLOOR

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STEP 3: FINAL TWO WALLS

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STEP 4: SITE

STEP 5: ROOF + TREES

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VISIONARY DESIGNERS: FRANCIS KERE

The architect I and my partner were tasked with researching and presenting to the class was Diébédo Francis Kéré, who won the 2022 Pritzker Prize. Kéré is an amazing architect who’s design philosophy revolves around community sustainability.

His first building was a school house in his small, poor home town village in Africa. The school utilizes materials found right in the village and is built in such a way that it does not need (and doesn’t use) any electricity to function and stay cool. Additionally, because the structure was built using materials native to the village, it was very cheap and blends in with the surroundings, so it doesn’t stick out as a monument to something. Kéré also worked closely with the villagers so that the design process was collaborative, to make sure that the villagers were happy with the design.

Kéré applies these ideas and philosophies to all his work and it is something I admire greatly. Kéré’s work feels very humble and in tune with it’s surroundings, and embodies sustainability in every way.

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SEMESTER REFLECTIONS/ARIADNE’S THREAD REFLECTION 1: PRECEDENT A common thread throughout the semester was precedent. Everything we did involved taking and/or learning from a previous project. Whether it was our own, or an established and great architect. This is really ultimately demonstrated in my maquette. The three main projects were by necessity related to one another, so you couldn’t really do one without using previous ones as precedent, even if you wanted to. However, the Maquette gave us complete freedom to do what we wanted, and yet I still ended up using a previous style and work as a reference.

REFLECTION 2: Collaboration Whether it was collaboration in actual teams (such as in project 1 or the visionary designers presentation), or collaboration through critiques and learning from one another, this semester was woven by working together.

REFLECTION 3: Physical Models It wasn’t until the semester was over that I realized how many physical models I had made. While it might not seem like a lot, four models is more than I would’ve thought off hand. However, each one of those models was instrumental in the project. Not just because it was required, but because it a third dimension to the projects. 2D drawings simply can not fully represent a 3D space, and having that 3D space helps viewers and critics to understand said space. The models also add a sense of reality and ground your projects. Seeing the design be made, however small, makes it feel realistic.

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