Models

6.0

Please refer to the last item in the presentation list to the right of this page. Download it and read it as soon as possible. This is a step by step guide to what is due for your final presentation. Or click here. Final size requirements for drawings should follow your wall system thus far. Your final model will be at 1/8" scale.

Monday you will have three visitors. You NEED to print out your operative building diagrams. These are diagrammatic schema that work with the "working" model in illustrating your concept. You need to print out all of you floor plans. In the presentation link to the right you will find lots of examples and rules to exactly how diagrammatic your plans should be. Just remember the more lines the better. Print any sections you may have as well. You are required to have four sections at the end. Again refer to the presentation for what is due. Plans and sections should be finalized no later than Friday at the beginning of class.

You should be working on your computer models. For rendering and finishing techniques please read the presentation and down load the "white faces black edges" and "drawing on models with illustrator" pdf's under the images caption to the right of this page. Again there are examples here. Print out things in wire frame for Monday and update your walls. You should also refer to the presentation for final model examples. We need to start sending things to the laser cutter after Wednesday's class. You should be thinking of what materials you want to use and contact me before Wednesday if you want any suggestions. Be nice to our guests. I will see you soon.

If you want to send things before Wednesday's class, please email me an ai file or a pdf.

5.2

Glass Pavillion (Toledo Museum of Art), Kazuyo Sejima + Ryue Nishizawa / S A N A A, 2007 Toledo, Ohio

All exterior and nearly all interior walls of this museum consist of large panels of curved glass, resulting in a transparent structure that blurs the boundaries between interior and exterior spaces. From its exterior, the building interacts with its surroundings because of its reflective surface. Juxtaposing gallery space and glassmaking studios this museum acts as a cultural icon for the city of Toledo.

This is Sejima and Nishizawa's first building in the United States. It is spectacular.

5.2

Do not worry about adding walls, let your systems and concepts do the work for you! Refer to images ::

The drawings and models for the homes below were recently on exhibit in Los Angeles at the MOCA. The exhibit entitled Skin and Bones is now a traveling exhibit that draws ties between the concepts of fashion and architecture or in 2502 terms surface and structure. You should be working on your progressive concept diagrams (finishing those for final print), plans, and sections. Please refer to the presentation at the right of this page to get a feel on how to draw nice diagrammatic plans as well as sections.







Curtan Wall House, Shigeru Ban, 1995,
Playing without the solidity of walls, Ban exhibits a softer relationship between home and shelter. Open to the elements for 6 months out of the year, this house is free of hard boundaries. For the winter months the house has a second layer of glass that is hidden in the back walls of the house, this layer can be slid out and secured at the edge corner.




Naked House, Shigeru Ban, 2000
The exterior of this house is composed of two sheets of corrugated fiber-reinforced plastics and the inner walls are made of a nylon fabric. Both are mounted on wooden stud frames and sit in parallel. In between these two layers are attached clear plastic bags, carefully stuffed with strings of foamed polyethylene for insulation. See, anything is possible. The private sectors of the home are situated in the movable modules making the floor plan totally open.






John Hejduk, Wall House 2, 2002

This house was not in the exhibit and on the contrary to the other two examples on this post this house is about walls. The concrete wall divides the public from the private. The area to the right of the second image is the public and the three sectioned rooms on the left are the private.

This building was built after his death in 2000.

5.1

You should now be working on your floor plans and sections. When examining your working models / concept models think about sequence and the context of the building. How does your flexible concept exploit how the building sits on the ground, how do you approach the building? Our models should be able to conform to the sequencing of the building. How do you enter the building, where is the circulation (is it a core circulation or a continuous path that transverses through the whole building.) Everything should be designed from your working model, this is why we have our working models! They Move! Yes they do so now fit in the program and roll with it. When drawing these plans and sections do not draw any different than how you have drawn your building diagrams and or your shirt diagrams! Do not lose your high graphical quality!

On Monday you need to update your wall. It will be a cleaning day. It will be a big day. Print two versions of your initial plans, two sections, and sequential diagrams on 11x17's or a larger format if you see fit. Have your model ready to go and we will be pinning these things up not putting them in your locker. No more hiding!

See you on Monday bright and early!

Display Program

Your finished working model is due on Wednesday. We need to now focus on how we are fitting program into your building concept. How does your concept relate to the notion of display? The systems found in the shirt and then the operative model have now been transferred to this working/concept model of the JKC. We need to stay close to our concepts when defining the spatial and programmatic conceptions of display but first we need to remember our context.

We have a site which is our ever so faithful JKC but now we need to site it. Siting consists of analyzing and diagramming the external conditions of the site and how the built world interacts with it as well. Your working model is flexible to respond to these conditions. How can you use this model to relate to the streets Main and K, how can you manipulate your concept and working models to control the sun at the site, the wind, the shadows, ect., ect.

An initial set of site plans and or diagrams are due at the beginning of class on Monday. I talked to most of you about how to simply start to incorporate this into your exploded isos and or current diagrams. So do what we reviewed on Monday and I will see you bright and early on Wednesday.

3.1

Here is an example of a working model.

Working model(s) are due on Monday at 8h00.

Continue to develop your concept through diagram. We should be extracting ideas both from diagramming and working tactically with our hands. The diagram should be used to not only extract information from the sight, but also to introduce and apply your conceptual ideas to it as well. The diagrams should be viewed in all three dimensions. Please download the presentation to the left and review what we discussed in class on Friday.

Have your diagrams printed on 11x17 sheets for Monday no later than 8h15. We will have a small pin-up. Depending on your concept you may have to do this in section, isometric, plan, and or in 3d space. Again think of the indexical condition of your shirt and the material exercises we battled through. What operations did you perform on the shirt? What was the graphical notation you used to represent those operations in your diagram? Use both. Keep reminding yourself of the concept, use the specific ideas you found in those surface exercise, and just draw and build! Have fun...your projects will be beautiful.

We are playing with the concept of display. Your program should simply be thought of as a verb. This verb display will give you flexibility withing the program itself. We will use your working models to push and pull ideas concerning not only your concept but display as well.