KIMELMAN studio
works
THE PATTERNAL NATURE OF THINGS
SITE: environmental diagrams
STRUCTURE:cinematic diagrams
SITE: model revelations
PROCESS: orthodox rigor
CASE STUDIES IN SEDUCTION Modern Desire and the Bachelor Pad
D EVON LUNDY
JESSICA ROTTENBACHER
A NGIE JAX
concrete:leather / stitch
steel:nylon / tether / from
concrete:leather / stitch / against
JOSH HEMBERGER
wood:acrylic / fuse
The armature is to be a mediating apparatus, located at your desk, to support a functional relationship between digital and non-digital modes of production.
SAM D E JONG
wood:acrylic / fuse / on
CHAD WALTERS
MICHAEL S HIPMAN
JOINT two nouns and a verb
vinyl:steel / append / thru
ARMATURE two materials, a joint and an adverb
DOCUMENTATION an existing local structure, pencil, and strathmore
Pedagogically the studio explored the interplay between production and presentation as they intersected with digital and non-digital modes. A generative process of
riteration and translation through analysis and diagramminng provided a connective tissue throughout the semester’s projects.
Iowa State University Architecture 201 Second Year Studio Fall 20004
Using your armature and concepts derived from the analysis of your documentation precedent, create an analysis / interpretive reading of downtown Ames, Iowa. This translation should not be reductive, but generative instead; allowing you to understand the site in ways that were not previosusly exposed. “There is no territory, there’s only de-territorializing and, in turn re-territorializing –decoding the territory as certain mappings (operating on certain vectors) and then overcoding and re-inscribing these back into the territory” –Mark Rakatansky after Guilles Deleuze and Felix Guittari in A Thousand Plateaus
AMES TRANSLATION an armature, a precedent and site Here the digital exits as the other. A datascape of continually malleable information. It is inherently unstable, continually fluctuating. Fixed only at moments of input and output, these moments can then only be approximations of the virtual, as the condition has already shifted, a translation must occur. Quantum mechanics echoes this construct: we only know what might approximately be, it can only be fixed at moments of observation. Seen “digitally” Ames exists itself as an artificial construct, an attempt to materialize a stable “image” from continually shifting paradigms. This data must be presented and represented, produced and reproduced in a never-ending cycle. (For example, during harvest Ames becomes a nearly twenty-four hour center of agricultural production as opposed to the quaintly decorated Ames of consumer nostalgia at Christmas, and the center of research and higher education during the Spring and Fall.) This question of production and (re)presentation, echoes throughout the project. In the program itself, in its site and its context. How can we use the abstract machine of the diagram to translate these data streams for a new output?
“but let’s just admit it: isn’t every building a built diagram?... Everything is a transcription, everything is a translation, every artifact begins as notational form as it makes its way to material form…. It’s a question of whether the diagram is a means of exploring an idea or an end in and of itself.” –Mark Rakatansky
INTERVENTION translation and program You are to research and propose an ISU College of Design Extension at 224 Main Street, a very narrow lot between Durlam and Durlam Clothiers and the Ames Silversmith. The new Design Extension will serve as the college’s public face, establish a relationship between campus and downtown, and actively mediate between design production and presentation.
The architectural intervention should include the following basic elements: permanent gallery, a presentation/critique space, a studio, a seminar space, a reception area, an office, a kitchenette, rest rooms, storage and a utility room. You will be asked to alternate between means of production to include digital and mechanical techniques at a variety of scales.
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Diagram: part of a technique that promotes a proliferating, generating and instrumentalizing approach to design. The essence of the diagrammatic technique is that it introduces into a work qualities that are unspoken, disconnected from an ideal or an ideology, random, intuitive, subjective, not bound to a linear logic, qualities that can be physical, structural, spatial or technical. There are three stages to the diagram: selection, application and operation, enabling the imagination to extend to subjects outside it and draw them inside, changing itself in the process. –Ben van Berkel & Caroline Bos
POSTCARD: Iowa’s unseen L INDESY ZINGER
Combine the concepts and strategies strategies you found in Heartfield, together with the postcard of Iowa you selected to develop a new “critical postcard” for the state.
RUTH DOSTALIK
JENN D EWALL
BRITTANY WARD
CHRIS REISER
MEG R AAP Your are to select one of the 6 selected photomontages, and through a process of formal analysis and graphic abstraction create a new collage using only paper.
MONTAGE: John Heartfield abstracted
You are to select a trowel, hammer, pair of scissors or salad tongs, and create a drawing; which when cut-out in one continuous piece, can folded to re-create the original object (without any adhesives).
CONSTRUCTION PAPER: a tool
CONSTRUCTED DRAWING: serial sections On opaque paper, you are to draw a minimum of seven sections, each accurate and true to scale.
Iowa State University Design 102x First Year Studio Falll 20004
Cutting only on lines or folds, assemble an object which deďŹ nes space. Though you may not use adhesives, you make multiple copies of any particular element from your template.
PAPER CONSTRUCTION: space creator
TAKEOFF diagram an ‘extreme’ sport
base-jumping
d ragon r adiovic
snow-boarding
luke henderSen
rock-climbing
a ndrew chui
Jenna williaMS
M onica SanderSon, JaSon o rtega, tonya a Shcraft
Mike farr
We will begin by critically examining extreme sports and developing representational techniques for extreme circulation. Reconsidering the surface/planar nature of architectural design methodologies, drawings done on unflat/warped surfaces, liquid (plaster/resin) studies, and solid volumetric modeling/drawing all seem possible methods of X-representation. The studio will investigate the potentials of modeling and fabrication for bending, warping, and folding information across the surface. Framed by the writings of Guiles Deleuze, Peter Eisenman, Greg Lynn and others, our initial studies will culminate in full-scale constructions/installations that explore their effects.
X ia l inzano, luiS PantoJa
moto-cross claudia caMacho, a rianna o rtiz
Woodbury University Architecture 434 Vertical Options Studio Summer 2005
”…mountain climbing along with other ‘extreme’ sports, forsakes reliance on geometrically fixed rules typified by traditional sport, seeking instead that zone of intimately sensing and reacting to an ever-changing, potentially hostile environment.” –Branden Hookway kayaking
An architectural exploration of surface, volume and other instances of the unflat, this studio posits that the current trend in sports opens new understandings of spatial reference. Speed, form, flow and effect are privileged over regulations and repetition. In the extreme, pleasure is derived in the fluid relationship of the individual subject to the environment. Seen as a palimpsest for a series of forces, we will examine the extreme relationship between surface and movement.
MAnEuvEr surface The final design project will focus on a 15 acre site in the middle of Costa Rica’s capital, San Jose. A former milk processing plant, now filled with abandoned buildings, empty lots, remnants of an urban forest, a polluted channelized river, and surrounded by interesting and varied urban conditions. After generative in-depth analysis we will expand upon the idea of an ‘urban fabric”, manipulating its thickness and contours to redefine its effects and programmatic potential. Forces and flows (political, economic, social, geological…) will be re-configured in the creation of a fluidic recreation space for “extreme sports”. The skate park allows for movement over a fixed surface. The lap pool allows motion in the surface, while a diving pool precipitates penetration of it and the wave pool encourages travel across a surface that itself is moving. The most extreme event is the aerial, a departure from surface, the complete removal of all constraints (even if gravity eventually catches up with us all). Within the context of this X-Park, additional elements could include public baths / lockers, a surf/skate shop, viewing areas for events and even snack bar for wrapped food. This is an architectural warped tour, with students from a foreign land, designing a space for a foreign activity, with a foreign sensibility. The culture of the extreme is that of the alien.
surfing
MAnEuvEr x-park