ARC 4343 – STUDIO DESIGN 8 Spring 2009
Instructor: Eric Goldemberg goldembe@fiu.edu
Assistant: Jovan Rodriguez Yapur jrod118@gmail.com
Assistant: Ivan Bernal ivan_83_02@yahoo.com
the attitude w regards to the environmental situation is interesting, but it is just a bunch of strips, independent from each other and they do not add up to a larger volume yet. you have to pretend that the red mass does not exist as such and need to make it yourself with the system you are creating. to that extent you would need to calibrate the curvatures of each strip to tectonically acomodate the next strip, focusing on the articulated joint between them, so the system can grow vertically by fiting each band and spooning w the next one. even though you ar etrying to obtain a spatial bundle between the components at the moment, you have them too separated and geometrically autonomus from each other. need to work on the geometric consistency as a wholistic solution and the interpretation of the organic model you looked at -jelly fish- has to be less literal about the form and more committed to understanding its behaviors and adaptations.
Diver CITY: Infrastructural sutures along Miami Bay front
This project is understood as the first part of a series of consecutive and interrelated analytic phases of a design process to guide a coherent development, to be undertaken for 3 consecutive semesters.
Phase 1 – Pace Park sutures
The studio will elaborate a series of urban proposals for the area that starts with the Pace Park North of the Venetian Causeway passing through the Women's Club and extending to address the connectivity of this urban trajectory with the Bicentennial Park on the other side of the Venetian Causeway. The focus of the group effort will be to produce a series of strategies that speculate on the transformation of what is today a very limited public connectivity along the Bay front; the general aim is to create projects and programs that enhance the role of public participation and affordance, all the while participating on current redevelopment discourses on the area around Bicentennial Park. The projects will reconfigure the interface between water and land while creating strategic sutures and connections along the waterfront trajectory; additional infrastructure programs will be added upon urban-social-infrastructural-spatial analysis.
Exercises:
Ex. 1a- Research of topographic and fluvial models Ex. 1b- Research of industrial design models
Ex. 2- Design of a structural membrane within a given maximum envelope of 30ft x 45ft x 75ft; production of apertures, massing articulation and structural (conceptual) members applying techniques delivered in Maya tutorials during the first 2 weeks of studio.
Ex. 3a- Site analysis in teams of 2 students Ex. 3b- Group visit to Miami Beach Boat Show and event analysis in teams of 2 students
Ex. 4- Development of site strategies including location of specific sutures and elaboration of programmatic events along the waterfront. Teams of 2 students
Ex. 5- Design development of strategies, individual work.
Ex. 6- Integration of individual proposals into a series of associated trajectories hinging adjacent projects, articulating the diversity of proposals along the waterfront.
Precedents:
Students will explore and evaluate the precedents for waterfront interventions and land reclamation in various international waterfront developments
Program
Public and private functions will be combined to produce an attractor for investment and development in the area, while simultaneously preserving the general public accessibility that gives character to the Bay front, enhancing the potential continuity of a path that may hinge a larger trajectory towards the South direction, all the way to the South River area. The proposals must show sensitivity for the existent atmosphere of the site while producing a vigorous agent of change and renewal, a catalyst for the waterfront. An important consideration of the studio will be how to address environmental issues while modifying the existent balance, understanding the existent ecologies along the waterfront in search of opportunities. The program will be developed by the students, mainly addressing a public agenda of water accessibility and civic rights.
Deliverables:
All phases of the studio will require 2 dimensional drawings and 3 dimensional drawings, adjusting the scale to meet the development of specific programs –the latter will be a task assigned to the students, working in close collaboration with the instructor, assistant and diverse consultants. Specific instructions will be posted on the class blog with sufficient time before the scheduled deadlines.
Methodology – Conceptual framework
Iterative processes: Transformation logics
As dynamical systems, transformational techniques allow technological practices to access the virtual. Transformational methods entail the manipulation of continuous surfaces or objects through procedures such as cutting, folding, and stretching. The objects are structured as sets of interconnected points in such a way that operating on one area of the object induces changes to all other areas. The precise manner in which an individual change will be redistributed over the whole cannot be predicted. Each transformational procedure applies a pressure on the surface that generates other transformations across the surface. The interactions between these transformations comprise the ‘versioning’ power of the technique.
3D – Digital Modeling Techniques
It is impossible to think design and mathematics as separate terms after the advent of digital design into architecture; calculus is embedded in the operations that gave rise to a new way of performing in design. The digital field allows its calculating power to engender an extensive array of formal manipulations, at the same time the digital environment transforms the understanding of the object by collapsing the vertical and horizontal. Via simultaneously rendering plan, section, elevation and perspective, the three-dimensional devise enables analysis and object to become congruent. The tool does not represent, it engenders, it is a technical apparatus that inserts a generative mechanism, it is a technique. This approach to design through technique has transcended the problem of representation and proven to be effective design tools.
Techniques are behaviors and procedures that are systematic, repeatable, and communicable. Over time and as contexts change, existing techniques may become inadequate, stimulating users to develop new methods through experimentation; over time, users develop new techniques for exploiting the technology, and the technology itself is adapted and transformed. Techniques are the specific means by which architects can harness and direct the powerful potential of new technologies toward the shaping of architectural design, research, and manufacturing. Techniques are process-driven; they often grow out of trial and error, evolving and undergoing continual adjustment. Contemporary technological practices employ scaleless techniques that can be applied equally well to the design of products and cities, whereby details are retained from the largest to the smallest scale; digital design strategies operate across different scales and contexts –from the molecular scale of materials to the scale of the body, from the dimensions of a building to those of the city-.
Prototyping
A variety of computer-numerically assisted fabrication processes will be explored. The opportunity to use new fabrication processes to compress the traditional relationship between structure, program, and skin will be paramount in the execution of proposals, mandating the exploration of both modularity and a tendency towards standardization in fabrication methods. All projects should present a final model of components using digital fabrication methods and analog procedures to display the logics of assembly.
Students will explore the use of laser cutter, CNC milling and 3D printing as preferred output, as well as hybridizing these with analog techniques.
Required reading
A number of texts and references will be constantly uploaded on the studio blog, short essays and group discussion will reflect the integration of the reading agenda as part of the design process.
Co- and Prerequisite Students entering Computer Practices in Design II must have taken and passed Computer Practices in Design I with a grade of C or better. Students failing to meet these prerequisite will be issued an administrative drop from Practices in Design II. Meeting Time Tuesdays 11:00am to 12:15pm, room #175, PCA Thursdays 11:00am to 12:15pm, room #175, PCA Course Evaluation Students will be evaluated upon performance in the assignments. While a satisfactory grade in the course may be attained by the completion of all work required to the satisfaction of the professor, individual initiative and investigation of design and research issues that extend beyond the basic requirements are strongly encouraged.
Grades: 94-100= A 87-89= B+ 80-83= B- 74-76= C 67-69= D+ 60-63= D- 90-93= A- 84-86= B 77-79= C+ 70-73= C- 64-66= D 0-59= F
Attendance Guidelines: Attendance and class participation are required at all class meetings. (see Course Schedule) Every absence is 20% off the attendance and participation grade. Four (4) unexcused absences automatically result in a failing grade for the course. Every day you are late, you will receive half (1/2) an absence. An acceptable excused absence is defined by the student having missed class due to extraordinary circumstances beyond his or her control and must be accompanied with written proof. In the event that you have missed a class, you are responsible for all the material covered. If you have any questions you contact your professor at the above phone number or you may leave a message at the School of Architecture Main Office (tel. 305-348-3181) located at VH 212. A sign in sheet is made for each class. It is the student’s responsibility to write their initials next to their name. Failure to do so will be marked as an absence. Student Work The School of Architecture reserves the right to retain any and all student work for the purpose of record, exhibition and instruction. All students are encouraged to photograph and/or copy all work for personal records prior to submittal to instructor. Students Rights and Responsibilities: It is the student's responsibility to obtain, become familiar with and abide by all Departmental, College and University requirements and regulations. These include but are not limited to: -The Florida International University Catalog Division of Student Affairs Handbook of Rights and Responsibilities of Students. -Department Curriculum and Program Sheets -Department Policies and Regulations Student with Special Needs: Students who may need auxiliary aids or services to ensure access to academic program should register with the Office Disability Services for Students. Civility Clause: Students are expected to treat one another with a high degree of civility and respect. Students can and should expect the same from the instructor. If a student fails to act responsibly or disrupts the class or impedes instruction he or she may be asked to leave the class and will be held responsible for all the information missed through this absence.
COURSE SCHEDULE: Calendar dates are subject to change. Please contact appropriate offices for verification and updates. This schedule may be adapted to meet the required interaction with consultants.
WEEK 1 January 06-08 Lecture: Precedents and General Introduction to Digital Techniques WEEK 2 January 13-15 Tutorial: Maya interface, nurbs modeling and construction history WEEK 3 January 20 Tutorial: Nurbs modeling – Basic spline geometry and editing January 22 Exercise 1a and 1b are due WEEK 4 January 27 Tutorial: Polygons modeling – editing and parametric control January 29 Scripting Workshop by Peter Zuspan January 30 Scripting Workshop by Peter Zuspan January 31 Scripting Workshop by Peter Zuspan WEEK 5 February 03 Exercise 2 due 05 Presentation by Robert Weinreb: Miami Waterfront WEEK 6 February 10-12 Site visit and Miami Boat Show visit WEEK 7 February 17 Desk critique 19 Exercise 3a and 3b are due WEEK 8 February 24 Desk critique February 26 Desk critique WEEK 9 March 03-05 MIDTERM: Exercise 4 strategies and initial massing - site verification WEEK 10 March 10-12 Component detail/ornament: structure + skin – part to whole relationship Programmatic feedback, sutures and events WEEK 11 March 17-19 Spring Break – University Closed WEEK 12 March 24-26 Desk critique and adjustments of Ex 4 incorporating midterm critique WEEK 13 March 31 Desk critique April 02 Desk critique WEEK 14 April 07 Digital fabrication strategies April 09 Final presentation stretegies WEEK 14 April 14 Exercise 5 is due April 16 Group strategies to integrate proposals into Exercise 6 WEEK 14 April 23 FINAL REVIEW
Bibliography – Digital Practices AD – Folding in Architecture (J.Kipnis – G.Lynn) AD – Contemporary Techniques in Architecture (A.Rahim) AD – Contemporary Processes in Architecture (A.Rahim) AD – Versioning: Evolutionary Techniques in Architecture (SHOP) Digital Tectonics (Leach, Turnbull, Williams) PRAXIS – New Technologies:// New Architectures Animate Form (G.Lynn) NOX machining Architectures (Lars Spuybroek) Phylogenesis Foreign Office Architects Catalytic Formations: Digital Design in Architecture (A.Rahim) Architecture in the Digital Age – Design and Manufacturing (Branko Kolarevic) COLANI The Art of Shaping the Future (A.Bangert) Diagram Diaries (P.Eisenman) CODEX (P.Eisenman) TRACING EISENMAN (P.Eisenman)
interesting stuff. i'm interested to see how it interacts/covers the rest of the volume.
ReplyDeleteIts a nice corner condition
the attitude w regards to the environmental situation is interesting, but it is just a bunch of strips, independent from each other and they do not add up to a larger volume yet.
ReplyDeleteyou have to pretend that the red mass does not exist as such and need to make it yourself with the system you are creating.
to that extent you would need to calibrate the curvatures of each strip to tectonically acomodate the next strip, focusing on the articulated joint between them, so the system can grow vertically by fiting each band and spooning w the next one.
even though you ar etrying to obtain a spatial bundle between the components at the moment, you have them too separated and geometrically autonomus from each other.
need to work on the geometric consistency as a wholistic solution and the interpretation of the organic model you looked at -jelly fish- has to be less literal about the form and more committed to understanding its behaviors and adaptations.