Process Book 121715
- 1. MICHELLE MARSHALL QUALIFYING DESIGN STUDIO INT 601-03 / FA15 PROCESS BOOK
- 2. TABLE OF CONTENTS F1.1: MASSING STUDY F1.2: SPATIAL STUDY F1.3: JOINT STUDY F2.1: CATALOG: DISSECTION, OBSERVATION, & MAPPING F2.2: 3D LINEAR STUDY P1.1: ACTIVITY MAPPING P1.2: PAVILION P2: LIVE/WORK
- 6. SIDE ELEVATION NEGATIVE SPACE POCHE
- 7. FRONT ELEVATION NEGATIVE SPACE POCHE
- 9. CONTROL STUDY 01: POSITIVE SPACE MOVEMENT DIRECTION IMPERFECTION ASYMMETRY
- 10. CONTROL STUDY 02: NEGATIVE SPACE MODEL FRONT ELEVATION
- 11. WE WILL ALWAYS FIND IMPERFECTION IF WE LOOK FOR IT. WE WILL FIND GOOD IF WE LOOK FOR IT. Top Elevation MODEL RIGHT ELEVATION Back Elevation
- 12. INSPIRATION: BEAUTIFUL IMPERFECTION Negative Space Model Back Elevation
- 13. Negative Space Model Side Elevation
- 14. REDUCTION MODEL
- 15. REVISED REDUCTION MODEL BEND TO FIT SENSE OF MOVEMENT SENSE OF DIRECTION SENSE OF PURPOSE AIRPLANE DIAGONAL
- 17. JOINT MODEL AND DRAWINGS VERBS: TO GATHER - MAGNETIC, A UNIFIER TO SURROUND - ENVELOPE, KEEP TOGETHER, COMFORT
- 18. JOINT MATERIAL EXPLORATION The joints between different materials and shapes and spaces are pretexts for generating texts. It is a sign of things to come. It achieves the change of conditions. It solves practical, social, historical & individual functions. The gaps are a window into what is to come. They provoke curiosity. They gather attention. A door is an invitation to gather: to be surrounded within its walls. FOAM MODEL 1
- 19. FOAM MODEL 2 FOAM MODEL 3 FOAM MODEL 4
- 20. PAPER MODEL 4PAPER MODEL 3PAPER MODEL 2PAPER MODEL 1
- 22. JOINT MODEL DRAWINGS Top Elevation Side Elevation Front Elevation Isometric Perspective
- 23. F2.1: DISSECTION, OBSERVATION, & MAPPING
- 25. Stamping: 3 Methods were attempted - Natural stamping, ink stamping and graphite. Ink was the most Successful. Curve study: The interesting result was the irregularity of the longitudinal curve of each star point. Decomposition: Difference of 1/16 inch Between first and last Photos Diagram 1: Inner structure of star formation was com- pared to center in each section Diagram 2: Circles were drawn using a radius of the center compared to the Exterior points of each section Diagram 3: Each section was drawn using scribble poche technique to Highlight light vs. Dark and Illustrate the depth of each Section
- 26. F2.2: 3D LINEAR STUDY
- 27. WIRE MODEL 3WIRE MODEL 2WIRE MODEL 1 WIRE MODELS BASED ON INNER STAR DIAGRAM
- 28. BASS MODEL 1BASS MODEL 1BASS MODEL 1 BASS MODELS BASED ON OUTER STAR DIAGRAM
- 29. LIGHT VS. DARK These models Represent the Diagram above in their depiction of the diversity in size, color & saturation of each section. STRING MODELS 1,2 & 3
- 30. The focus is on the irregularity and centrality of the starfruit. It illustrates that no two points of the fruit have the same radius in respect to the center, neither are they regularly spaced. The Beauty of their unique placement around the core evokes a feeling of movement. The end points and the changing colors through decompostion are also referenced through the oxidation of the metal. CONCEPT
- 34. ACTIVITY MAPPING PLAN VIEW DIAGRAM SET 1 DIAGRAM SET 2 DIAGRAM SET 3 DIAGRAM SET FINAL
- 35. KEY FACE (WHITE) SHOULDERS (GREEN) ARMS (PURPLE) TORSO (RED) HIPS (BLUE) LEGS (YELLOW) FEET (BLACK)
- 36. DIAGRAM SET 1 DIAGRAM SET 2 DIAGRAM SET FINAL ACTIVITY MAPPING ELEVATION VIEW
- 37. KEY FACE (WHITE) SHOULDERS (GREEN) ARMS (PURPLE) TORSO (RED) HIPS (BLUE) LEGS (YELLOW) FEET (BLACK)
- 38. AFTER TWOMBLY...ONE EVENING BY IDRIS KHANAFTER DUCHAMPT BY IDRIS KHAN 1:1 SCALE DIAGRAMS AND INSPIRATION HEAD MOVEMENT ARM MOVEMENT
- 39. DANCE DIAGRAM BY ANDY WARHOLMOTION STUDIES BY ETI- ENNE-JULES MAREY LEG MOVEMENT FOOT MOVEMENT
- 40. MODEL INSPIRATION: SLAT DANCE BY OSKAR S RED AND BLUE CHAIR BY ACTIVITY MAPPING MODEL 1 POSITIVE SPACE NEGATIVE SPACE
- 41. SCHLEMMER AND GERRIT REITVELD ACTIVITY MAPPING MODEL 2 POSITIVE SPACENEGATIVE SPACE
- 44. SITE ANALYSIS/OBSERVATION: Morgan Library Abundance: space light verticals horizontals Lacking: Harmony between the old and new space for rest and reflection Soft Edge Intermediate Edge Hard Edge KEY:
- 45. Inspired by the materials around it, the pavilion incorporates elements from the Morgan library and from Renzo Pianos three courtyard pavil- ions which join the original structures. Burnished Cherry Wood Tempered Safety Glass Granite Materiality of Spaces
- 46. CONCEPT RENZO PIANO CREATED A HUGE VOLUME OF SPACE AND LIGHT THAT BREAKS SHARPLY FROM THE DESIGN OF THE HISTORIC BUILDINGS THAT IT JOINS. THE PAVILION INTERRUPTS THIS VOLUME AND OFFERS A PLACE FOR PAUSE AND FOR ORIENTATION. IT SEEKS TO HARMONIZE THE OLD AND THE NEW BY ALLOWING EXPLORATION OF THE TRANSITIONAL SPACE FROM VARIOUS HEIGHTS AND BY INTEGRATING COLOR AND TEXTURAL ELEMENTS FROM BOTH. ITS SHAPE PAYS HOMAGE TO BOTH THE VERTICALITY AND LINEARITY OF THE SPACES AS WELL AS THE DIAGONAL MOVEMENT OF SWINGING A BAT FROM LOW TO HIGH. CONCEPT MODEL 1
- 48. CONCEPT MODEL 2 Inspired by Luis Barragan: Los Clubes
- 49. CONCEPT MODEL 3 Inspired by Mark Fornes: The Very Many
- 50. Seating for approximately 200 spectators Inside, the concrete construction is clad with wood, outside fully sealed with a hotsprayed polymer same color and tex- ture as clay tennis courts. The roof dips down towards the south side, raised 7 meters towards the north, creat- ing an informal tribune. The wide glass frontage allows extensive natural lighting and provides a view across the waters of the adjacent IJ-lake. INSPIRATION The Couch at IJburg tennis club: a sculptural red clubhouse by Dutch architects MVRDV, Amsterdam
- 51. Peaceful Private Views Out Curtain Walls The New Whitney Museum By Renzo Piano
- 52. SKETCH MODEL
- 54. FINAL MODEL
- 55. INTERRUPTION: The location and stone wall and center staircase of the inserted pavilion are intended as an interruption of the cavernous space within the Morgan Library Pavilion. PAUSE AND ORIENTATION: The variety of seating options from different vantage points provides the opportunity to stop, to rest, and to get ones bearings within the space. EXPLORATION AND APPRECIATION: During the pause, one can visually explore the interior and exterior from different heights, experiencing the harmony between the old and the new.
- 57. PAVILION SITUATION AND USAGE The inserted pavilion sits in proximity to the far curtain wall of Renzo Pianos central pavilion, briefly overlapping onto the southern pavilion. Patrons can climb the central stairway and sit on side stairways to pause or to view the entire space from differ- ent levels as well as the exterior garden. At the back of the insert- ed pavilion are smaller stacked seating areas for rest and orientation Patrons have options for varying levels of privacy in the vast space around them.
- 58. PLAN, SECTIONS AND ELEVATIONS Plan Section Front Section Back
- 59. East Elevation West ElevationSouth Elevation North Elevation
- 60. EAST SECTION
- 62. THE GARMENT Entirely handmade in paper by Polish fashion designer Bea Szenfeld Designer born in Poland in 1972, living in Sweden since childhood and graduated in 2002 from Beckmans College of Design Known for her EXTRAVAGANT silhouettes and shapes, often displaying a breathtaking DYNAMIC structure and OVERSIZED proportions in ORGANIC and non-organic forms. Unique take on retro and secondhand materials; commissioned for artists such as Bj旦rk. Plays on HUMOR and VOLUME Models are dressed in nude body suits and encased in a huge paper structure Szenfeld has not used any form of 3D printing to create this collection Uses simple cut-and-glue technique
- 63. THE CLIENT Swedish artist who specializes in origami and white paper sculpting inspired by nature Lives alone with guide dog who helps maneuver the streets because of garmet limitations Obsessive, fastidious, perfectionist who works in white and hates smudges and fingerprints Artist always wears protective gloves which have become a part of her daily attire Runs workshops regular classes for people of all ages, not more than 5-10 at a time No fixed schedule except during the class hours, attends various promotional events Entertains friends and family often Frequently travels internationally and displays collections and photographs from travels Needs work and display space for projects that range from small decorative to human scale Needs storage space for paper supplies for work and classes Live/work space should embody unique magnificence with humble materials Appreciate colorful environment where white artwork will stand out
- 64. THE MAQUETTE 600+ circles cut from paper plates at different radii. Wavy pieces were placed between each plate and threaded through their approximate center to create the appearance thickness and also allow for movement. Base structure had to be sturdy using illustration board in order to support multiple suspended circle structures. Strong glue was used to affix the circles to the base. This process led to a greater understanding of the structure of the garment and the skill, time and attention to materiality and detail required to complete a project like this.
- 65. More than fifty hand-cut circles of varying diameters are threaded through their centers and suspended on a knotted string to create one of more than fifty collections that are attached to the base structure. Each collection of circles overlaps and interconnects with adjacent collections.
- 66. THE LOFT Abundance: Windows Light City Views Concrete Steel/Iron Hallway space Open Space Scarcity: Foliage High end finishes Private Space 4pm light effects from south and west Network of beams and pillars Concrete pit along window walls Painted concrete floor with light Concrete ceiling beams Steel casement windows Entrance hall with orange painted floor
- 67. THE BUILDING: 475 Kent Avenue, South Williamsburg ANNUAL SOLAR PATH Neighborhood: Industrial Feel Hasidic Jewish and Hispanic demo- graphic Influx of families and young people Built 1911 Approximately 100 units Artist Lofts Former Pasta Factory (V. La Rosa) Converted to Artist lofts in 1998 Shared Roof Deck Abundance: Artists & Families Housing projects Warehouses Transportation Parks & playgrounds Graffiti Scarcity: Streetscaping Curb appeal Pedestrian traffic Kent Ave Upscale shops and services Roof deck with graffiti BROOKLYN WIND STATISTICS SUMMER WINTER EAST SOUTH N Apt. 10J ACCESSIBILITY
- 68. THE PROGRAM SPACE for transition and freedom of movement to accommodate the size of the garment. DESTINATIONS for rest, creativity and teaching, exhibition, and entertaining. Abundant STORAGE to place creative pieces and to simplify the space. Allowance for AIR FLOW and to reflect movement in the paper creations DISPLAY for and personal items that are accessible and visible while wearing the garment. PRIVACY in the most light filled corner of the loft.
- 69. Inspired by the movement of the curtain and hanging chair in the wind, the shape of the ceiling takes its form from the dirction and strength of the wind throughout the space tracks the fluid and irregular motion of the curtain in the wind shows the angle of the chair swing in the wind
- 70. THE CONCEPT This project intends to create A SYMBIOSIS by responding to the shape of the structure and mimicking the flow of the WIND through the space. It replicates elements of of the garment using a SUSPENDed and RADIATING ceiling that INTERCONNECTs with other design planes. ARCHITECTURAL INSPIRATION Kunsthaus Bregenz by Peter Zumthor Smales Farm Technology Office Park, Auckland, NZ Suspended Community Library in China SUSPEND
- 71. Kengo Kuma, Workspace and Care, Osaka Tunnel of Love, Ukraine Farewell Building, Detroit Cooling Tower of Abandoned Power Plant LAYER/STACK RADIATE
- 74. CONCEPT MODEL 3 Suspended Radiation
- 75. CONCEPT MODEL 4 Suspended Radiation
- 76. SKETCH MODEL: SUSPENSION AND RADIATION Above: Plan and section preliminary sketches Below: sketch model pieces placed in plan view Hallway Sketch Model with suspended and stacked elements
- 77. COMPLETED PERSPECTIVES OF SKETCH MODEL Top Left: View from north west window toward suspended bed platform Bottom Left: Fiew from North East Window toward west windows Top right: View from south west window toard hallway of stacked and radiating ceiling structure
- 78. THE DESIGN SOLUTION Iterations of final floor plan Above: Initial sketches Below: Final iteration sketches
- 80. FINAL LOFT MODEL Undulating ceiling treatment which begins at the top of the entrance door and rises to ceiling height at the end of the hall. View from northeast corner of loft looking west to see bed platform and core on the left. View from west win- dows toward hallway (through kitchen area). Shower and toilet space at the core of the loft.
- 81. View from northeast corner of loft with suspended work table that bisects the core wall. Suspended bed platform can be seen in the disance. Ceiling radiates from the octagonal center column and simultaneously undulates starting with large waves from the northwest corner of the loft. Waves become smaller following the direction and intensity of the wind as the ceiling treatment reaches the hallway at the south east corner of the loft.
- 82. Aerial view of the core without the ceiling treatment. Shower Room Toilet Room Sink and Vanity Dressing Room Suspended bed which disects the core wall Suspended work table which disects the core wall Suspended kitchen work station and seating which disects the core wall
- 83. A core that radiates from the center octagonal column and mimics the diagonals and lines of the interior wall. Features include a dressing room, a shared double sink, separate toilet and rain shower rooms. All surrounding functional furniture slices through the core and is suspended from the ceiling for additional support. As one enters the loft space from the hallway, a rotating purple display wall is situated at the facing corner of the core structure. This wall is specifically designated to display and store the garment. As it rotates inward, the garment is concealed in the dressing room, which can be accessed on the opposit side of the core.
- 84. CEILING PLAN One of the most notable features of the proposed space is the ceiling treatment which radiates in undulating waves from the octagonal center column and covers the entire ceiling. The waves are largest near the northwest corner as the sun and wind are both strongest from that corner and travel through the apartment at a virtual diagonal toward the south and east. This answers the clients need her environment to embody a unique magnificence made with humbile materials. Possible materials would be a light compressed cardboard in white, thin strips of flexible bamboo in a light shade or aluminum rods. This could allow for gentle movement in the wind. Ultimately, the goal is to have the ceiling converge into the core walls in almost a funnel effect so they are a unified piece of work.
- 85. The radiating pattern is spaced further as it reaches the hallway as both light and wind are more wanting in this particular space. To compensate, a linear skylight is placed along the east wall of the corridor for almost the entire length and the darkest areas. Additionally, tiny pin downlights will be randomly disbursed and suspended from the ceiling to shine between the ceiling treatment and create a magical effect. The intention is to create suspense as one reaches the main loft space. REFLECTED CEILING PLAN
- 89. merci