From the Ground Up - a High Rise in Los Angeles (Stacked Profile Geometries to Reconsider the Silhouette of the Tall Building)

Transcription

1 ARC 696 Advanced Architectural Design Fall 2016 Margaret Griffin, Eugene McDermott Centennial Visiting Professor skype; margaret_griffin, cell; From the Ground Up - a High Rise in Los Angeles (Stacked Profile Geometries to Reconsider the Silhouette of the Tall Building) Toronto Towers, Frank Gehry Friedrichstrasse Tower, Mies Van der Rohe Only skyscrapers under construction reveal the bold constructive thoughts, and then the impression of the high reaching steel skeleton is overpowering. With the raising of walls, the impression is completely destroyed: the constructive thought, the necessary basis for artistic form-giving, is annihilated and frequently smothered by a meaningless and trivial jumble of forms and yet these buildings could have been more than just manifestations of our technical skills. This would mean, however, that one would have to give up the attempt to solve a new task with traditional forms; rather one should attempt to give form to the task out of the nature of this task. Mies van der Rohe, Skyscrapers, 1922 Course Description Students will re-examine the role of the tall building in the city of Los Angeles, specifically we will examine the role of stacked profiles to generate multiple silhouettes to transform the typology of the tower. Using precedent and antecedent, students will consider the particular impact of the building envelope and its material and geometrical determinations on site and within a tall building form and its capacity to use transformation as a methodological tool to guide a rigorous approach to the design of a new high rise. By studying the specificities of the tall building envelope students will be exposed to the tight dependency existing between serial determinations of both geometric and material order of the outermost surface, the volumes of enclosure (profile), its surroundings, and the tower s iconic performance in today s metropolis. Throughout the semester we will situate processes of expression

2 alongside the magnitudes of control such as economies of structure, core and envelope in order to contest the presumed identity of the contemporary high-rise. Students will be expected to put forward a critical position, supported by a sophisticated repertoire of formally and materially resolved techniques, calibrated against the problems and physical realities of the contemporary tall building. Moving from the conceptual and the abstract to the physical realities of building, the work of the studio aims to productively embrace novelties and differences in the production of new silhouettes with the capacity for multiple readings within the context of the metropolis. Project Overview This studio will focus on the refinement of a detailed architectural resolution in the design of a highrise building with particular emphasis on surface articulation measured against essential form (mass) and structure (frame and core). The research, design and development of the project will be divided into 3 parts; 1.) Precedent Analysis 2.) Concept Design and 3.) Project Design. We will begin with a weeklong analysis and research period on a limited group of speculative (built and unbuilt) high-rise precedents. Studying with the abundant history of tower design that already exists, considering both its successes and shortcomings, the aim of this phase is to establish a genealogy of the high-rise as it relates to the general issues of massing, core, ground/entry, surface articulation (envelope) and tectonics, etc. Employing precise graphic standards and presentation formats we will generate a cohesive catalogue that serves as a high-rise repository to inform the development of the student s projects in the following phases of design and development. In a second phase, we will take on the tower problem with a two-week concept design exercise investigating techniques of formal composition as they relate only to issues of mass and surface articulation. In this phase we will employ Maya, Rhino and Grasshopper in order to create a family of tall objects in the form of multiple small study models. These meta-projects will comprise an arsenal of techniques discussed through the lenses of monolithic, figural, and multiple part-to-whole discourses. The third phase of design will introduce students to the specificity of a common site and the building problem. A field trip to Los Angeles in mid October will allow students to both experience the specificities of our context, as well as to survey the historic and present state of high-rise development in Los Angels. Upon our return to Texas, we will incrementally develop and transform the work from the initial warm-up exercise by questioning and testing it along issues of core and footprint requirements relative to height, envelope systems, structures, etc. This phase will also emphasize articulation and tectonics of the envelope to an advanced level of architectural resolution. Students will investigate issues of surface subdivision and panelization, fenestration and material technology culminating with the production of large models, sections and elevations. Students will be expected to put forward a critical position that is supported by a sophisticated repertoire of formally and materially resolved techniques. This position-taking and overall discourse within the studio will be supported by discussions throughout the development of the project. The

3 objective of these critical conversations will be to both contextualize and expand the studio problem and discourse within the larger theoretical and historical arena. Tools & Techniques Software: Students are expected to employ Maya, Rhino and Grasshopper for Rhino throughout the semester. Models: Students are expected to produce various forms of output models; from multiple quick, small, monolithic 3d printed objects in the initial warm-up exercise, to a final large, assembled model involving a myriad of digitally (3d printed, laser-cut, milled, etc.) and manually produced components. Drawings: Axonometrics; Ground/Entry Plan(s), and a limited number of carefully selected Typical Plans throughout the Tower; large scale sections and elevations with emphasis in envelope articulation and assemblies. Readings / Reference Material Mertins, Detlef. Mies s Skycraper Project : Towards the Redemption of Technical Structure, in The Presence of Mies. (New York: Princeton Architectural Press, 1994) pp Abalos, Inaki; Herreros, Juan. From Tower to Office: From Modernist Theory to Contemporary Practice, (Cambridge, MA: MIT Press, 2003). Cobb, Henry. The Voice of Architecture, Sci-Arc Lecture on April 1, 2015; Introduction by: Eric Owen Moss. Cobb, Henry. The Office Tower, lecture presented as part of the Arch League s 1986 Current Work series. Sullivan, Louis H. The Tall Office Building Artistically Considered. First in Lippincott s Magazine 57 (March 1896) pp Huxtable, Ada Louise. The Tall Building Artistically Reconsidered, in On Architecture: Collected Reflections on a Century of Change, (New York, Walker & Co. 2008), pp Zaera Polo, Alejandro. The Politics of the Envelope, first in Log #13/14 (Part I) and Log #17 (Part II). (New York: Anyone Corporation, 2008) pp and pp Course Schedule Week 1 PRECEDENT STUDY F First Day: Studio Introduction, Precedent Selections Week 2 PRECEDENT STUDY Th Pin Up / Review - Precedent Study F WARM-UP EXERCISE - In class work Week 3 CONCEPT DESIGN

4 Th Skype Review Week 4 CONCEPT DESIGN Th Pin Up / Review Concept Design F PROJECT DESIGN - In class work Week 5 PROJECT DESIGN Th Skype Review Week 6 PROJECT DESIGN Th Pin Up / Review Project Design F In class work - Project Design Week 7 PROJECT DESIGN & DEVELOPMENT Th Skype Review Week 8 FIELD TRIP Th CLASS GOES TO LOS ANGELES. F LA tours Pre Mid Term Review Week 9 PROJECT DESIGN & DEVELOPMENT Th Skype Review Week 10 PROJECT DESIGN & DEVELOPMENT Th Mid term Pin Up / Review Project Design & Development F In class work - Project Design & Development Week 11 PROJECT DEVELOPMENT Th 11.3 Skype Review Week 12 PROJECT DEVELOPMENT T Pin Up / Review Project Design & Development W In class work - Project Design & Development Week 13 PROJECT DEVELOPMENT Th Skype Review Week 14 PROJECT DEVELOPMENT Th Thanks Giving No Class! Week 15 STUDIO REVIEW WEEK F Final Review Grading Procedures Grades will be determined based upon quality of work produced, overall production level, improvement over the course of the semester, completion of project requirements, quality of

5 participation, attendance, attitude and ethical conduct. Any questions regarding grades or policies should be directed to the instructor. A passing grade in the course requires committed completion of all projects at a satisfactory level or above, including all requirements listed for all assignments. Incomplete work will not be evaluated. Studio Policies The studio meets Thursday, Friday, and Saturdays when the instructor is in town. Attendance is mandatory during these times and at critiques, pin-ups, and reviews. If you do not present your work you will not receive credit for the studio. Students are required to work in studio and to have all required work at their desk during studio time (not at another location). You are not to work on other classes during studio hours. Students are not to use studio time to leave school to procure materials, run errands, etc. All activities that require one to be away should be scheduled to occur outside of studio hours. Leaving in the middle of or prior to the end of regularly scheduled studio times will result in an absence. Grades will be determined upon the quality of work produced, improvement over the course of the semester, completion of project requirements, quality of participation, and attendance. Academic Integrity Policy Student work that presents the ideas or words of others as the student s own adversely impacts the whole school and may lead to immediate dismissal. Academic dishonesty, including cheating, plagiarism, commissioning academic work by others, or performing academic work on behalf of another student, is strictly prohibited. Incomplete Work A student may receive a grade of incomplete (I) by requesting permission from the instructor prior to the date of the final examination or presentation. Permission will be granted only under extraordinary circumstances and usually for medical reasons or family emergencies. Incompletes must be fulfilled to the satisfaction of the instructor no later than six weeks after the end of term. Notices to Students Students with disabilities may request appropriate academic accommodations from the Division of Diversity and Community Engagement, Services for Students with Disabilities, , Students shall follow UT Honor Code (or statement of ethics) for an explanation or example of what constitutes plagiarism (Link to University Honor Code: the-university/#universitycodeofconduct) Regarding accommodations for religious holidays. Please notify me of any pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, you will be given an opportunity to complete the missed work within a reasonable time after the absence.