MAKING & MODELING, SUMMER 2014FND 4010, Instructor: Delia Gott delia.gott@the-bac.edu Mon & Thu, 7:15PM - 10:15PM, 320 Newbury St., Room 409

R E M I X

SYLLABUS

06/02

06/05

06/26 06/30

07/14

06/09

06/19

07/07 07/17

06/12 06/16

06/23

07/24 07/2707/10 07/21

CASE STUDY #1

CASE STUDY #2

CASE STUDY #3

EVERYTHING IS A REMIX

EVERYTHING IS A REMIXCOPY,TRANSFORM, COMBINE

http://www.ted.com/talks/kirby_ferguson_embrace_the_remix

ARCHITECTURAL REMIXUNDERSTAND, COMBINE, TRANSFORM

PRADA MARFAElmgreen and Dragset, Valentine, TX USA, 2005 Ronald Rael and Virginia San Fratello

The brainchild of Berlin-based artistic team Elmgreen and Dragset, Prada Marfa was meant to be a “pop architectural land art project.”

Built of a biodegradable adobe-like substance, the building is meant to slowly melt back into the Earth, serving as a surrealist commentary on Western materialism.

UNDERSTAND, COMBINE

MUSEUM OF IMAGE AND SOUNDDiller Scofidio + Renfro, Rio de Janeiro, Brazil 2014

The architecture of the Museum of Image and Sound takes Copacabana Beach as its inspiration: its coastline, its wraparound building wall, its mountains, and its distinctive beach promenade designed by Roberto Burle Marx.

The promenade captures the key element of the beach—a space of the public in motion—on foot, bicycle and automobile. The building is conceived as an extension of that boulevard, stretched vertically into the museum.

The “Vertical Boulevard” gestures toward inclusiveness: it gently traverses indoor and outdoor spaces and branches to make galleries, education programs, spaces of public leisure and entertainment.

The building inherits the DNA of Burle Marx but radically reorients his public surface upward into a thickened façade for the new museum. The vertical circulation sequence connects the street with the building’s entertainment programs—from the clerestory view into the Auditorium at street level, to the elevated Terrace Bar and Cafe, the Piano Bar at the third level, the Restaurant at the sixth, and outdoor cinema at the roof.

UNDERSTAND, TRANSFORM

CONCRETE PAVILIONEmmanuel Garcia & David J. MulderUnbuilt Work, 2013

This project uses Eero Saarinen’s TWA Termina & Toyo Ito’s Kakamigahara Crematorium as structural precedents.

The construction techniques are completely understood, explained and reiterated under a new context.

UNDERSTAND, COMBINE, TRANSFORM & REPEAT

If you have ever flown in or out of the John F. Kennedy International Airport in New York, you may have experienced or noticed Eero Saarinen’s Trans World Flight Center.

Even in the hustle and bustle of a busy airport, the building deserves more than just a passing glance. When Saarinen was commissioned in 1956, the client wanted this building to capture the “spirit of flight,” and as visitors rush to make it to their flight there is no choice but to admire the swooping concrete curves that embraced flyers into the jet age.

In order to capture the concept of flight, Saarinen used curves to create spaces that flowed into one another. The exterior’s concrete roof imitates a bird in flight with two massive “wings.” The interior consists of a continuous ribbon of elements, all whisking themselves in from the exterior, so that ceilings continously run into walls and those walls become floors.

TWA TerminalEero Saarinen, JFK International Airport, NY , 1962

Kakamigahara CrematoriumToyo Ito. Kakamigahara, Gifu, Japan, 2007

With soft lines and an undulating roof, Japan’s Meiso no Mori funeral home and crematorium was built to commemorate the dead in a secular and liberating fashion.

Toyo Ito designed the Meiso no Mori (Forest of Meditation) Funeral Hall crematoria for the “park cemetery” at Kakamigahara City, in Gifu Japan. Completed in 2006, the seamless white concrete flows freely alongside a reflective lake with glass underneath.

“Rather than the heavy, dignified architecture usual with crematoria, we imagined a soft place, as if a gentle snowfall had settled lightly upon the site to form a broad and generous roof.”

CONCRETE PAVILIONEmmanuel Garcia & David J. MulderUnbuilt Work, 2013

This project uses Eero Saarinen’s TWA Termina & Toyo Ito’s Kakamigahara Crematorium as structural precedents.

The construction techniques are completely understood, explained and reiterated under a new context.

UNDERSTAND, COMBINE, TRANSFORM & REPEAT

ARCHITECTURAL REMIX

UNDERSTAND COMBINE TRANSFORM

What is your precedent study about?

How does it communicate the message?

Create rules (filters) and apply them

• context• tectonics• materials• program• scale

CONCEPTUAL

PHYSICAL

SIMILARITIES DIFFERENCES

BUILDING SITE

Delia Gott

Image

THANK YOU!