Portfolios are due on May 16th either presented the Richard Meier Model Gallery or left in my mailbox at school.
One copy + one copy on CD with both formatted images and unformatted original images.
Richard Meier & Partners Model Gallery
Richard Meier & Partners is delighted to welcome you to our Model Gallery in Long Island City on Friday, 16 May at noon and 1:00pm (two groups of ten). As this is a private facility, we ask that you adhere to the date, time and number of persons in your party as discussed over the telephone or email. Please inform us of any changes or cancellations at least 24 hours in advance.
Please note that absolutely no photography is allowed in the gallery, and no food or beverages are permitted. There is not a restroom available at the model gallery. We are sorry for any inconvenience that this may cause.
Below please find the address and directions to the Model Gallery by subway. If you are traveling by car, limited street parking is available on Vernon Blvd. A map of the location is attached for your reference.
Richard Meier & Partners Model Gallery
5-22 46th Avenue
Queens, NY 11101
Subway Directions:
Take the # 7 train (pick up at Times Square or Grand Central)
To Vernon /Jackson Blvd (first stop in Queens)
Follow exit for Vernon Blvd and walk down Vernon Blvd so that the Manhattan skyline is on your left
Walk approximately 5 blocks: you will pass 46th Road first and then come to 46th Avenue
5-22 46th Avenue is on the left side near the end of the block
Look for the Richard Meier & Partners sign on the exterior of the building and ring the buzzer. When you are allowed in, please ascend the stairwell to the third floor and look again for a Richard Meier & Partners sign. The gallery is only accessible by stairs.
Please note that absolutely no photography is allowed in the gallery, and no food or beverages are permitted. There is not a restroom available at the model gallery. We are sorry for any inconvenience that this may cause.
Below please find the address and directions to the Model Gallery by subway. If you are traveling by car, limited street parking is available on Vernon Blvd. A map of the location is attached for your reference.
Richard Meier & Partners Model Gallery
5-22 46th Avenue
Queens, NY 11101
Subway Directions:
Take the # 7 train (pick up at Times Square or Grand Central)
To Vernon /Jackson Blvd (first stop in Queens)
Follow exit for Vernon Blvd and walk down Vernon Blvd so that the Manhattan skyline is on your left
Walk approximately 5 blocks: you will pass 46th Road first and then come to 46th Avenue
5-22 46th Avenue is on the left side near the end of the block
Look for the Richard Meier & Partners sign on the exterior of the building and ring the buzzer. When you are allowed in, please ascend the stairwell to the third floor and look again for a Richard Meier & Partners sign. The gallery is only accessible by stairs.
Final Review
Below is the order of the pin-up. All must be present and ready at 6pm – no excuses!
We will set up the models as the street, and then start with Katie move up the street ending with Chris.
Katie
Nicole
Yiyun
Erin
Dom
Stefanie
Ashley
Hugo
Amanda
Tariq
Gregory
Amil
Laura
Jackie
Chris
We will set up the models as the street, and then start with Katie move up the street ending with Chris.
Katie
Nicole
Yiyun
Erin
Dom
Stefanie
Ashley
Hugo
Amanda
Tariq
Gregory
Amil
Laura
Jackie
Chris
“A Work of Art...
is not a living thing ...
that walks or runs.
But the making of a life.
That which gives you a reaction.
To some it is the wonder of Man's Fingers.
To some it is the wonder of the Mind.
To some it is the wonder of Technique.
And to some it is how Real it is.
To some, how Transcendent it is.
Like the 5th Symphony
it presents itself with a feeling that you know it,
if you have heard it once.
And you look for it,
and though you know it you must hear it again.
Though you know it you must see it again.
Truly a work of Art is one that tells us,
that Nature cannot make what man can make.”
Louis Kahn
is not a living thing ...
that walks or runs.
But the making of a life.
That which gives you a reaction.
To some it is the wonder of Man's Fingers.
To some it is the wonder of the Mind.
To some it is the wonder of Technique.
And to some it is how Real it is.
To some, how Transcendent it is.
Like the 5th Symphony
it presents itself with a feeling that you know it,
if you have heard it once.
And you look for it,
and though you know it you must hear it again.
Though you know it you must see it again.
Truly a work of Art is one that tells us,
that Nature cannot make what man can make.”
Louis Kahn
“To express is to drive.
And when you want to give something presence,
you have to consult nature.
And there is where Design comes in.
And if you think of Brick,
for instance,and you say to Brick,
"What do you want Brick?"
And Brick says to you
"I like an Arch."
And if you say to Brick"
Look, arches are expensive,
and I can use a concrete lentil over you.
What do you think of that?"
"Brick?"
Brick says:"... I like an Arch"”
Louis Kahn
And when you want to give something presence,
you have to consult nature.
And there is where Design comes in.
And if you think of Brick,
for instance,and you say to Brick,
"What do you want Brick?"
And Brick says to you
"I like an Arch."
And if you say to Brick"
Look, arches are expensive,
and I can use a concrete lentil over you.
What do you think of that?"
"Brick?"
Brick says:"... I like an Arch"”
Louis Kahn
“I don't want to be interesting. I want to be good.”
“It is better to be good than to be original.”
“This is no less true of steel and concrete [than of wood, brick and stone]. We must remember that everything depends on how we use a material, not on the material itself....New materials are not necessarily superior. Each material is only what we make it.”
“The long path from material through function to creative work has only one goal: to create order out of the desperate confusion of our time. We must have order, allocating to each thing it's proper place and giving to each thing is due according to it's nature.”
“We must be as familiar with the functions of our building as with our materials. We must learn what a building can be, what it should be, and also what it must not be...”
“If teaching has any purpose, it is to implant true insight and responsibility. Education must lead us from irresponsible opinion to true responsible judgment. It must lead us from chance and arbitrariness to rational clarity and intellectual order.”
Mies van der Rohe
“It is better to be good than to be original.”
“This is no less true of steel and concrete [than of wood, brick and stone]. We must remember that everything depends on how we use a material, not on the material itself....New materials are not necessarily superior. Each material is only what we make it.”
“The long path from material through function to creative work has only one goal: to create order out of the desperate confusion of our time. We must have order, allocating to each thing it's proper place and giving to each thing is due according to it's nature.”
“We must be as familiar with the functions of our building as with our materials. We must learn what a building can be, what it should be, and also what it must not be...”
“If teaching has any purpose, it is to implant true insight and responsibility. Education must lead us from irresponsible opinion to true responsible judgment. It must lead us from chance and arbitrariness to rational clarity and intellectual order.”
Mies van der Rohe
“Form follows function - that has been misunderstood. Form and function should be one, joined in a spiritual union.”
“"Think simple" as my old master used to say - meaning reduce the whole of its parts into the simplest terms, getting back to first principles.”
“Get the habit of analysis- analysis will in time enable synthesis to become your habit of mind.”
“Simplicity and repose are the qualities that measure the true value of any work of art.”
“Study nature, love nature, stay close to nature. It will never fail you.”
“Freedom is from within.”
Frank Lloyd Wright
“"Think simple" as my old master used to say - meaning reduce the whole of its parts into the simplest terms, getting back to first principles.”
“Get the habit of analysis- analysis will in time enable synthesis to become your habit of mind.”
“Simplicity and repose are the qualities that measure the true value of any work of art.”
“Study nature, love nature, stay close to nature. It will never fail you.”
“Freedom is from within.”
Frank Lloyd Wright
Take a look at the drawings of Zaha Hadid - Center for Contemporary Art. Simple easy to read yet complex enough to show intentions.
http://picasaweb.google.com/amoiacody/ZahaHadidCenterForContemporaryArt/photo#s5192100976664107362
http://picasaweb.google.com/amoiacody/ZahaHadidCenterForContemporaryArt/photo#s5192100976664107362
Leicester Engineering Building
"With the engineering building for Leicester University we had to build a new institution of a scientific/educational type. The tower at the front contains the fixed non-expanding accommodation and is intended to be a grouping of identifiable volumes of accommodation, i.e. vertical shafts which are for lifts and staircases, wedge-shaped volumes which are lecture theaters, etc. The back of the building is considered as a shed, within which there can be continuous re-equipping and adjustment of spaces. The total building should read as a conjunction of fixed specific activities and of a variable changing situation, ... "
J. Stirling "Anti-structure", a slide talk by J. Stirling at Bologna University
FINAL PRESENTATION
Let’s think of the final presentation the same way you think about portfolio (this way you don’t need to do it twice!). All sheets are to be consistent in size and composed. Start your layouts now so that we can review as part of the completion and editing process. Knowing what to draw (where to cut plans and sections) is as just important as how much to draw (more detail(s) or more diagrams)
Remember the CONCEPT! These projects are in no way “Buildings”. Architecture is a concept event – ideas must be present for the artistry to show itself. Without this artistry – no architecture – just building (and to use Yiyun’s term “boring”)!
Don’t think of a stair as a “stair”, but a connecting device - a controller of movement.
Don’t think of a facade as a “facade”, but a modulator of light and shadow - a controller of threshold both for movement and light.
Don’t think of a structure as a “structure”, but a conceptual presence that holds form and space - a controller of weight and air – a developer of shape.
Don’t think of a program as a “program”, but as an organizer of sizes in space – a regulator of scale and measure – the organs of a body.
A Producer develops a film by gathering a team – it’s a construction process. Now ask yourself what would that film be without its Director? That creative artist that shapes sequence and sets creative process. Be the Director of your work, not the Producers! Set the scene for your actors – for your forms in space!
If you are serious, creating architecture is difficult yet simple, frustrating yet rewarding, equally conceptual and pragmatic. No “right and wrong” exists in Architecture. No one form is grater than the other. The only real difference between “building” and “architecture” is that the former is just a set of plans, a construction process; the latter is developed to control events that move the sprit, a creative process. It is artful and intentional. The quote by Le Corbusier says it all:
You employ stone, wood and concrete, and with these materials you build houses and palaces; that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: ‘This is beautiful.’ That is architecture. Art enters in.
Remember the CONCEPT! These projects are in no way “Buildings”. Architecture is a concept event – ideas must be present for the artistry to show itself. Without this artistry – no architecture – just building (and to use Yiyun’s term “boring”)!
Don’t think of a stair as a “stair”, but a connecting device - a controller of movement.
Don’t think of a facade as a “facade”, but a modulator of light and shadow - a controller of threshold both for movement and light.
Don’t think of a structure as a “structure”, but a conceptual presence that holds form and space - a controller of weight and air – a developer of shape.
Don’t think of a program as a “program”, but as an organizer of sizes in space – a regulator of scale and measure – the organs of a body.
A Producer develops a film by gathering a team – it’s a construction process. Now ask yourself what would that film be without its Director? That creative artist that shapes sequence and sets creative process. Be the Director of your work, not the Producers! Set the scene for your actors – for your forms in space!
If you are serious, creating architecture is difficult yet simple, frustrating yet rewarding, equally conceptual and pragmatic. No “right and wrong” exists in Architecture. No one form is grater than the other. The only real difference between “building” and “architecture” is that the former is just a set of plans, a construction process; the latter is developed to control events that move the sprit, a creative process. It is artful and intentional. The quote by Le Corbusier says it all:
You employ stone, wood and concrete, and with these materials you build houses and palaces; that is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good. I am happy and I say: ‘This is beautiful.’ That is architecture. Art enters in.
You employ stone, wood and concrete, and with these materials you build
houses and palaces; that is construction. Ingenuity is at work. But suddenly
you touch my heart, you do me good. I am happy and I say: ‘This is
beautiful.’ That is architecture. Art enters in.
Le Corbusier: Vers une architecture, 1923
houses and palaces; that is construction. Ingenuity is at work. But suddenly
you touch my heart, you do me good. I am happy and I say: ‘This is
beautiful.’ That is architecture. Art enters in.
Le Corbusier: Vers une architecture, 1923
How Epidemics Helped Shape the Modern Metropolis
Cholera Epidemic of 1832
http://www.nytimes.com/2008/04/15/science/15chol.html?ref=science
http://www.nytimes.com/2008/04/15/science/15chol.html?ref=science
Mid-Term Review – Monday April 14, 2008
Mid-Term Review – Monday April 14, 2008 - 6pm sharp (pinned up and ready to go)
Drawings All drawings to be ink on mylar or CAD color plots.
All sheets to be 24”x36” or as required to fit axons and diagrams. All showing thicknesses of material both new and existing.
Plans (4 minimum) Show sidewalk and context.
One at each level
Sections (3 minimum) Show existing building in section (the existing floors and walls).
2 Transverse
1 Longitudinal
Elevations
One of Existing elevation
One of New components only
One of Elevation Complete (new and existing) with min. 3 line weights.
Axonometric
One complete (remove the side party walls, but front elevation must remain part of drawing)
One of program areas only – in color
One of structure only
Exploded axon showing the component parts (existing façade, program, circulation and structure
Diagrams
All diagrams at Half-Size and in color.
One axonometric sequence diagram to show flow of spaces, set of outline plans that shows space and structure, and one set of outline plans that show primary programming structure.
Models
Competed study model with all program, circulation and structure
Create the existing building container for your model so your model can be exposed and so that the neighboring buildings can fit together properly. Use different materials as appropriate or use those outlined below.
Bring you other study models
Photographs
Final Study model complete
Previous study models.
Thesis
Edited thesis board
Notes on the Final Model. All projects will use the SAME materials as follows:
Existing White Museum Board for all existing materials
New Concrete Grey painted basswood
Wood Stained basswood or other wood
Metal Unpainted basswood (include new windows)
Masonry Crème color museum board
Glass Three types:
Clear, Translucent and Opaque Plexiglas
Canvas or Mesh use black fiberglass window screen
Interior walls should use the same materials as above or use strategically painted wood.
Drawings All drawings to be ink on mylar or CAD color plots.
All sheets to be 24”x36” or as required to fit axons and diagrams. All showing thicknesses of material both new and existing.
Plans (4 minimum) Show sidewalk and context.
One at each level
Sections (3 minimum) Show existing building in section (the existing floors and walls).
2 Transverse
1 Longitudinal
Elevations
One of Existing elevation
One of New components only
One of Elevation Complete (new and existing) with min. 3 line weights.
Axonometric
One complete (remove the side party walls, but front elevation must remain part of drawing)
One of program areas only – in color
One of structure only
Exploded axon showing the component parts (existing façade, program, circulation and structure
Diagrams
All diagrams at Half-Size and in color.
One axonometric sequence diagram to show flow of spaces, set of outline plans that shows space and structure, and one set of outline plans that show primary programming structure.
Models
Competed study model with all program, circulation and structure
Create the existing building container for your model so your model can be exposed and so that the neighboring buildings can fit together properly. Use different materials as appropriate or use those outlined below.
Bring you other study models
Photographs
Final Study model complete
Previous study models.
Thesis
Edited thesis board
Notes on the Final Model. All projects will use the SAME materials as follows:
Existing White Museum Board for all existing materials
New Concrete Grey painted basswood
Wood Stained basswood or other wood
Metal Unpainted basswood (include new windows)
Masonry Crème color museum board
Glass Three types:
Clear, Translucent and Opaque Plexiglas
Canvas or Mesh use black fiberglass window screen
Interior walls should use the same materials as above or use strategically painted wood.
Some narrow site NYC Buildings
Raimund Abraham
Austrian Cultural Forum Tower
http://www.arcspace.com/architects/abraham/austrian/
Tod Williams Billie Tsien
American Folk Art Museum
http://www.arcspace.com/architects/williams_tsien/american_folk/
Austrian Cultural Forum Tower
http://www.arcspace.com/architects/abraham/austrian/
Tod Williams Billie Tsien
American Folk Art Museum
http://www.arcspace.com/architects/williams_tsien/american_folk/
Portfolio Tutorial 3/27
The AIAS are delivering a portfolio tutorial tomorrow, Thursday 3/27, at 12:30. All students are invited.
New Readings
I added some readings from what we discussed in class.
This Goodly frame the Earth - Alexander Purves (About Aalto and nature)
Frank Lloyd Wright - Organic Architecture
Le Corbusier - 5 Points
This Goodly frame the Earth - Alexander Purves (About Aalto and nature)
Frank Lloyd Wright - Organic Architecture
Le Corbusier - 5 Points
RE: Program and your "Thesis"
First is the program of the museum (What is the title of your museum?).
Next is how the museum makes the experience (How do we move from space to space? What shapes the spaces? How big are they?).
Last is how the museum responds to the other museums and its context (What is the relationship of your building to your neighbor and how is it influenced by its context and program?).
The experience could be how you move through the program or vise versa. This will be the focus of the project for the next few weeks. It's hard to construct a direct response architecturally to words you write regarding your thesis, but you should be able to express ideas through use of light, material, movement, scale, etc. Make a diagram with sketches that juxtapose your program idea with how you might see the space that holds it. Use the ideas, tools and techniques that we have seen and learned in class for the last three projects. All of those ideas should help lead you into making this one.
I will answer e-mail questions as best I can, but it might help all of you if you use the blog to ask each other questions and I will try to comment whenever I can. It's a work in progress - don't be shy to post your ideas.
Next is how the museum makes the experience (How do we move from space to space? What shapes the spaces? How big are they?).
Last is how the museum responds to the other museums and its context (What is the relationship of your building to your neighbor and how is it influenced by its context and program?).
The experience could be how you move through the program or vise versa. This will be the focus of the project for the next few weeks. It's hard to construct a direct response architecturally to words you write regarding your thesis, but you should be able to express ideas through use of light, material, movement, scale, etc. Make a diagram with sketches that juxtapose your program idea with how you might see the space that holds it. Use the ideas, tools and techniques that we have seen and learned in class for the last three projects. All of those ideas should help lead you into making this one.
I will answer e-mail questions as best I can, but it might help all of you if you use the blog to ask each other questions and I will try to comment whenever I can. It's a work in progress - don't be shy to post your ideas.
Thesis Builder & Online Outliner
This might help if you get stuck writing (or loose focus), but remember for architects, visual images, drawings and models are always more convincing than words.
http://ozline.com/electraguide/thesis.html
http://ozline.com/electraguide/thesis.html
About Immigration on the Lower East Side
Answers About Immigration on the Lower East Side
http://cityroom.blogs.nytimes.com/2008/01/09/answers-about-immigration-on-the-lower-east-side/
http://cityroom.blogs.nytimes.com/2008/01/14/answers-about-immigration-on-the-lower-east-side-part-2/
The Great Lower East Side Pickle War
http://cityroom.blogs.nytimes.com/2007/07/05/the-great-lower-east-side-pickle-war/?scp=4-b&sq=orchard+street&st=nyt
http://cityroom.blogs.nytimes.com/2008/01/09/answers-about-immigration-on-the-lower-east-side/
http://cityroom.blogs.nytimes.com/2008/01/14/answers-about-immigration-on-the-lower-east-side-part-2/
The Great Lower East Side Pickle War
http://cityroom.blogs.nytimes.com/2007/07/05/the-great-lower-east-side-pickle-war/?scp=4-b&sq=orchard+street&st=nyt
Developing your “Thesis”
A few more Thoughts:
When developing your “Thesis”, you might want to begin by mapping it similar to the movement studies. Remember the Mapping chart everyone did (or was supposed to do)? Varying parts of your idea can be traced and mapped hierarchically this way. It may aid in focusing your thoughts and help your initial presentation. 
When developing your “Thesis”, you might want to begin by mapping it similar to the movement studies. Remember the Mapping chart everyone did (or was supposed to do)? Varying parts of your idea can be traced and mapped hierarchically this way. It may aid in focusing your thoughts and help your initial presentation.
Idea and Data Mapping
Below are graphic mapping drawings from “Learning from Las Vegas” by Robert Venturi – a book you should all eventually know and read.
The maps show some graphic techniques for analyzing the uses on a street (the Vegas strip) and its character and context.
The maps show some graphic techniques for analyzing the uses on a street (the Vegas strip) and its character and context.
The illumination diagram sort of demonstrates what I was alluding to for the sound mapping.
As you develop your ideas, writing and drawings, you should post for all to comment.
Riis, Jacob A. How the other half lives :studies among the tenements of New York. New York : Charles Scribner's Sons, 1897.
The whole book is here, but you should all read the Introduction, Chapter 1 "Genesis of the Tenement" and Chapter 2 "The Awakening" . Good precedent for your analaysis.
http://pds.lib.harvard.edu/pds/view/4137257?n=1&imagesize=1200&jp2Res=.5
Also see NY Times:
http://cityroom.blogs.nytimes.com/2008/02/28/revisiting-the-other-half-of-jacob-riis/index.html
Riis Photo Slideshow
http://www.nytimes.com/slideshow/2008/02/27/nyregion/20080227_RIIS_SLIDESHOW_index.html
http://pds.lib.harvard.edu/pds/view/4137257?n=1&imagesize=1200&jp2Res=.5
Also see NY Times:
http://cityroom.blogs.nytimes.com/2008/02/28/revisiting-the-other-half-of-jacob-riis/index.html
Riis Photo Slideshow
http://www.nytimes.com/slideshow/2008/02/27/nyregion/20080227_RIIS_SLIDESHOW_index.html
Architecture is ...
Architecture is "the art of building in which human requirements and construction materials are related so as to furnish practical use as well as an aesthetic solution, thus differing from the pure utility of engineering construction. As an art, architecture is essentially abstract and nonrepresentational and involves the manipulation of the relationships of spaces, volumes, planes, masses, and voids. Time is also an important factor in architecture, since a building is usually comprehended in a succession of experiences rather than all at once. In most architecture there is no one vantage point from which the whole structure can be understood. The use of light and shadow, as well as surface decoration, can greatly enhance a structure. The analysis of building types provides an insight into past cultures and eras. Behind each of the greater styles lies not a casual trend nor a vogue, but a period of serious and urgent experimentation directed toward answering the needs of a specific way of life. Climate, methods of labor, available materials, and economy of means all impose their dictates. Each of the greater styles has been aided by the discovery of new construction methods." (The Columbia Encyclopedia, Sixth Edition. Copyright 2001-05 Columbia University Press.)
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