UMN- 2281: DFII S2014

Transcription

1 UMN- College of Design School of Architecture Arch 2281: DFII S2014 Instructors: Andrea Johnson + Adam Jarvi Lecture_04: Fabrication and Information

2 PROJECT 02: This is (k)not Architecture!

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6 Think: CUBE

7 now draw a CUBE

8 does it look like this? or this? or this?

9 now compare your CUBE with your neighbor s CUBE

10 now, what if I asked you to build your CUBE?

11 Abstraction? The experience of seeing a table or sensing a pain somewhere in one s body is no more or no less concrete than that of having an image or idea of something. Any of these experiences may be precise or imprecise, sharp or vague, but they are all invariably concrete. All mental contents are particular, unique items, even if they are also universals, that is, even if they are concepts standing for a kind of object or idea One can express this also by saying that in order to produce a sensible abstraction, a concept should be generative. It should be possible to develop from the concept a more complete image than that offered by the concept itself. Rudolf Arnheim, Visual Thinking

12 Translation Inasmuch as architects work at a distance from the material reality of their discipline, they necessarily work through the mediation of systems of representation. Architecture itself is marked by this promiscuous mixture of the real and the abstract: at once a collection of activities characterized by a high degree of abstraction, and at the same time directed toward the production of materials and products that are undeniably real. The techniques of representation are never neutral, and architecture s abstract means of imagining and realizing form leave their traces on the work. Projection -Stan Allen, Practice vs. Project What connects thinking to imagination, imagination to drawing, drawing to building, and buildings to our eyes is projection in one guise or another, or processes that we have chosen to model on projection. All are zones of instability. Iteration -Robin Evans, The Projective Cast I only want to make records that inspire me to want to make more records, that open up a window onto a thousand different ways of putting together a record. -Jeff Tweedy, The Wilco Book

13 Sol Lewitt, Variations of Incomplete Open Cubes

14 Marcel Breuer, Wassily Chair, Breuer s Inspiration? His Adler Bicycle

15 CNC TUBULAR STEEL BENDING MACHINE

16 Charles and Ray Eames

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18 Were the Eames more talented, or merely less focused on the rules of the game?

19 Charles and Ray Eames, Graphic Design

20 Charles and Ray Eames, Bent Plywood Splint

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22 Commercial Applications of bent plywood products

23 Bent Plywood chairs designed for Herman Miller Molded fiberglass chairs designed for Herman Miller

24 Residential Design Case Study House #8: Charles and Ray Eames, Los Angeles California, 1949

25 Exhibition Designers The IBM Pavilion at the New York World's Fair covered 54,038 square feet (1.2 acres) in Flushing Meadow, N.Y. Designed by Charles Eames and Eero Saarinen Associates

26 Systems and Information Design Flow Chart and diagram for mass producing post-war residential construction

27 Charles and Ray Eames, Fiberglass chairs

28 Film: FIBERGLASS CHAIRS Charles and Ray Eames Films Count the number of materials and methods of representation used during the making of the chairs

29 Herzog and demeuon, Walker Arts Center, Minneapolis, MN, 2005

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35 Site Visit: Spantek Minneapolis, MN

36 Site Visit: Spantek Minneapolis, MN

37 Site Visit: Spantek Minneapolis, MN

38 Site Visit: M.G. McGrath, Minneapolis, MN

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41 SURFACE TENSION Hitoshi Abe: K-Museum, Miyagi, Japan, 2005

42 Hitoshi Abe: K-Museum, Miyagi, 2005

43 bubble diagram 01

44 bubble diagram 02

45 bubble diagram 03

46 bubble diagram: space, form and structure derived from bubble intersection

47 bubble diagram: space, form and structure derived from bubble intersection

48 space, form and structure reinterpreted through physical model

49 wall panels dimensioned and organized

50 dimpled wall panel mock-up

51 wall panels unfolded

52 wall panels: assembly and construction

53 wall panels: assembly and construction interior

54 Finished photos

55 completed interiors with diagram comparison

56 completed interiors

57 Steven Holl: Simmons Hall, MIT Boston, MA

58 Steven Holl: Simmons Hall, MIT Initial concept of porosity

59 Steven Holl: Simmons Hall, MIT Porosity developed through the diagram of the sea sponge.

60 Development of porosity diagram through articulation of voids

61 Development of porosity diagram through articulation of voids

62 Voids rendered

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64 Voids constructed by ruled surface (cast in place)

65 Voids constructed

66 Voids occupied: Lounges

67 Precast frame fabricated Precast frame as kit of parts

68 Precast frame fabricated installed

69 Precast frame: encoded rebar

70 Precast frame: encoded rebar

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