Morphosis

Images from Morphopedia.com

Morphosisby Alec Sands

Morphosis was founded in 1972 by Thom Mayne. The firm consists of more than 50 professional, primarily architects. It is organized to focus on collaboration as a creative process. The firm’s name, Morphosis, comes from the Greeks and means to be formed or in forma-tion.1 Morphosis is a highly acclaimed firm and has received 25 Progressive Architecture awards, and over 100 American Institute of Architects awards.2 Morphosis’s architecture stems the theories of Robert Venturi and Maurice Merleau-Ponty and from the formalism of California and Frank Gehry. Morphosis’s designs are expressing the tension and collision of opposites, the complexity and richness of the modern world. In this way their work stems from Robert Venturi’s seminal paper Complexity and Contradiction in Architecture.3 Morphosis’s build-ings do not strive for a pure idea. Instead it accepts the many opposing ideas in our modern world and strives for an architecture that is “both-and” rather than “either-or.”4 For example Diamond Ranch Highschool in Pamona, California (middle) strives both to speak “to students experientially through a physically kinetic architectural language that makes no references to tra-ditional typology,” and tries to mimic the local geogra-phy (top) to the point that “building and site would be perceptually interchangeable.”5

The way in which Morphosis expresses this collision is through a phenomenological philosophy which stems from Heidegger and more significantly from Maurice Merleau-Ponty.6 The forms and interi-ors of their projects communicate this modern dyna-mism not through references to traditional forms, or some other symbolic language, but through embodied sensual experiences. Although this is true, they don’t explore the senses fully like Juhanni Pulamsaa7 would like, but more through visual and spatial experiences. The formal comparisons to Frank Ghery’s work and to the Californian aesthetic are also unavoidable. Ghery’s play with second skins and dynamic facades allowed him to create dynamic compositions and inte-rior spaces (bottom). This desire for dynamism stems from modern art’s abstract expressionism. Morphosis uses this same abstract expressionism to communicate their ideas about the modern world.

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To further explore the ideas of Morphosis we chose to explore one of their more recent works, 41 Coo-per Square. 41 Cooper Square was designed for the Cooper Union school and was designed to house Art, Architecture and Engineering. The exterior of the building was designed to be an icon in New York City (right). The interior was conceived of as a vertical pi-azza and, using the central stair as the means, it strives to create overlap between the disciplines (below).8

We chose this project because it is one of their most recent projects and one of their most celebrated. Also this building addressed their exploration of second skins with a comelling and unified form. Also the pro-gram of an artschool that houses art, architecture and engineering is very complex and it seemed to have the potential to fully explore their ideas about contradic-tionsand a messy complexity..

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41 Cooper Square is located in the heart of Manhat-tan, NY. Below is the climate chart for New York City. Their temperature range is roughly the same as ours, but slightly more mild. Given this cool climate it is surprising to see how much of the envelope is glass. The second skin is made to help heat and cool the building. It works like a sunshade in the summer. And it also keeps the building warm in the winter by providing a thermal pocket and, because the sun is lower, more light will penetrate through the perfora-tated skin.

The Five Conditions

How a wall is made:

The primary structure of 41 Cooper Square is a simple column and floor slab system. For the most part these columns are spaced at regular intervals. They provide a very open floor plan with little interest except for the central core. Attached to the primary structure is the secondary structure which holds up a tertiary structure which carries the skin. There is a large space in most places between the primary structure and the skin. The interesting aspect of how the wall is made lies in the contrast between the simple primary structure and the dynamic and expressive skin.

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How it meets the ground:

The main mass of Cooper Square hovers above the ground, standing on irregular and angled columns. The second skin never touches the ground and the space between the ground and the ceiling of the ground floor is wrapped almost entirely in glass. This aspect allowed Morphosis to express the ‘transparent’ quality of Cooper Union. They wanted the main level to be a part of the street. It connects the main street and the inner palazzo.

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How it meets the sky:

The second skin of the building extends about a whole story above the primary structure of the building. They wanted the skin to read as form of the building as you drive by. This was done to emphasize the second skins iconic potential. Also the way the second skin bends when you stand beneath it and look up creates a dynamic and slightly disorienting connection with the sky and with gravity. Morphosis uses this as another opportunity to express the dynamism of the modern world.

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How the building turns a corner:

Morphosis used the corner as an opportunity break the skin while furthering its dynamic expression. The breaks at the corner look like gaps between folds of the second skin. This allowed them to express the paper like qualities of the second skin and, by hinting that there is something hiding underneath, it adds a further level of interest to the building’s exterior. In this we find a connection to Ventruri’s call for architecture that is ‘both-and’ rather than ‘either-or.’

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How the building makes an opening:

The 41 Cooper Square building has three ways it makes an opening. First, there are the large gashes in the skin: the central palazzo, the corners, and the ground. Second, there are smaller portions of the sec-ond skin which can be folded open. Third, the entire skin is perforated with tiny little holes which diffuse the light. Underneath the skin, the primary structure is almost entirely transparent between floor slabs. The most significant type of opening for this design are the gashes which again express the desire for dynamism.

The Building Model

After producing the sketches of the five conditions our group as a whole produced a model of the entire build-ing. This model was a section model which reveals the central shear wall which serves an elevator core. This shear wall prevents the entire structure from racking. In addition the model reveals the mesh of the central palazzo which is in part supported by the shear wall and by the column and floor slab structure. The model also expresses the folded paper like qualities of the second skin and how it all hovers above the ground. The section cut on the other hand reveals the ‘dumb’ primary structure enclosing the vertical palazzo.

The Consultant Meeting

Finding adequate detail drawings of how this system worked was more difficult than expected. We were able to find construction photos, but it was our consul-tant meeting which helped us in confirming our guess-es as to how some of the details were put together. On the right is the drawing that we produced showing the top of the primary structure. The details of this draw-ing will be displayed and discussed in the construction of the detail model.

The Detail Model

The detail model was put together following, as closely as possible, the sequence in which the building would have been constructed. The condition that the detail model explores is how 41 Cooper Square meets the sky. The location of the detail was on the front façade, to the right of the gash for the vertical palazzo. Al-though the detail condition was taken there the rest of the building follows an almost identical model.

On this page, the sequence begins with the image on the right, moving to the image in the bottom right, and finishing with the image below. To begin the spandrel beam was constructed (reinforcing was later added) along with the beam for the secondary skin. This was connected using pins in a similar manner that the roof slab will be connected to the spandrel beam. A con-nector was first made for the secondary beam with points that penetrate into the spandrel beam mim-icking the bolts that would have been used for actual construction. Then the beam was attached to this plate. The pink in the image was the insulation that was applied next. Next the flashing was added (lower right) on the top and bottom corners of the spandrel beam. Next a wa-ter proofing layer was applied to keep any water away from the insulation and beam (lower left).

Next in the sequence the paneling was attached to pro-tect the water proofing membrane (right). This was a very simple covering which was probably clamped and bolted through to the spandrel beam and snapped into the flashing.

Once the spandrel beam was completed and covered the roof slab was attached using rebar (above). Once the roof slab was attached the rest of the secondary structure was added (right), which cantilevers away from the primary structure and then is anchored back into the primary structure. This was attached to the primary structure in the same manner as before. The secondary structure is made of tube steel.

On this page the sequence continues by covering the roof slab. First the insulation was placed over the slab (top and middle). Then the insulation was covered with a waterproofing membrane (bottom).

This page contains the construction of the tertiary structure and the second skin. First, fasteners were at-tached to the secondary structure (top left). Then the tertiary structure was added as one rectangular piece of frame (bottom left). Then finally the second skin was attached to this system with an additional struc-tural frame holding up the skin (below).

The last step in constructing the detail model was putting on the covering for the waterproofing (right), which was probably some sort tile system. I waited until the end for this, but it was probably done imme-diately following the installation of the waterproofing membrane.

The condition of how this building meets the sky is all about the second skin and the secondary and tertiary structures that allow it to be expressive and dynamic. Every element that went into the primary structure was simple and standard. This detail of how 41 Coo-per Square meets the sky fits with Morphosis as a firm because it explores second skins (an element they have explored before in the Sun Tower), it also explores how this second skin allows them to create dynamic com-positions that aren’t limited by programmatic necessi-ties (here the second skin projects just under a whole story above the primary structure and at an angle away from it), this detail also explores the expression of opposites (to ‘dumb’ primary structure next to the dynamic second skin).

41 Cooper Square also fits in with the theoretical influences discussed earlier. Robert Venturi’s call for complexity and contradiction can be seen in conflict between the façade and primary structure. Maurice Merleau-Ponty’s work with phenomenology can be seen in the way the project engages the embodied ex-perience and expresses the dynamism of our modern world in this experience. And Frank Gehry and the Californian architecture can be seen influencing the form and skin of this project. Judging by the render-ings Morphosis has posted on their website I would not be surprised if we see many of the same elements in their future projects as well.

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List of Images

Cover images from Morphopedia.com

1. “Arizona 1912 - 2012” 12/21/2010 <http://arizona100.blogspot.com/>.v

2. Kipnis, Jeffrey, and Todd Gannon. Morphosis/Diamond Ranch High School . New York: Monacelli Press, 2000. Books. refworks; ISBNDB.Com.

3. “Find Great Stuff — Art Collectibles Reflections by Kathy and Bill Lair” 12/21/2010 <http://www.findgreat-stuff.com/wordpress/?paged=2>.

4, 5, 6, 7 and 14. Morphopedia.com

8, 9 and 12. “Curbed - Construction Watch: Mayne’s Cooper Union Cover-Up” 10/28/2010 <http://ny.curbed.com/archives/2008/07/03/construction_watch_maynes_c...>

10, 11 and 13. “Morphosis: 41 Cooper Square, New York, New York, U.S.A.” GA Document. 109 (2009): 38-55.

Endnotes

1 About | Morphopedia | Morphosis Architects “ 12/21/2010 <http://morphopedia.com/information/about>.

2 About | Morphopedia | Morphosis Architects

3 Venturi, Robert. Complexity and Contradiction in Architecture. Ed. Museum of Modern Art (New York,N.Y.). New York : Boston: New York : Museum of Modern Art ; Boston : distributed by New York Graphic Society, 1977.

4 This distinction comes from Complexity and Contradiction in Architecture.

5 Kipnis, Jeffrey, and Todd Gannon. Morphosis/Diamond Ranch High School . New York: Monacelli Press, 2000. Books. refworks; ISBNDB.Com.

6 Merleau-Ponty, Maurice. The Primacy of Perception, and Other Essays on Phenomenological Psychology, the Philosophy of Art, History, and Politics. Ed. James M. Edie. Evanston, Ill.; Evanston, Ill.: [Evanston, Ill.] North-western University Press, 1964.

7 Pallasmaa, Juhani. The Eyes of the Skin : Architecture and the Senses. London: London : Academy Editions, 1996.

8 “Find Great Stuff — Art Collectibles Reflections by Kathy and Bill Lair “ 12/21/2010 <http://www.findgreatstuff.com/wordpress/?paged=2>.