georgepatrick mo`oheau racospace

student design portfolio

let me ask you about space

What is space?What are the characteristics of space?Is space empty or full?Is space implied?What are the implications of space?How is space perceived?What do we search for in a space?Is space seen or felt?What feelings do a space cause?Are emotions provoked from space?How can space be organized?Where is space extracted from?Is space interior or exterior?How is space organized?Where do spaces overlap?Can space overlap?How do you decompose a space?How is space seen?How do we transform a space into space?What is the morphology of space?Can space be contextualized?What is the concept of a space?Is space a medium with which we live in?Is space a disturbance?Does space circulate towards a path?How does a space transition into space?What is the lack of space?Where does space go?What is space?

let me tell you how to start a

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architectural elements“in his ‘The Four Elements of Architecture (1851),’ the

German archiect Gottfried Semper, who was influenced by

the industrial revolution, proposed four essential formatice

motives in architecture: the hearth, the enclosure, the mound,

and the roof. his proposition brought up a revolutionary

impact against the simplistic notion of formal development

from quasi-mythical origins in architecture, the importance

of his theory is to explain these four motives through their

corresponding material-functional categories: ceramics,

weaving, stone-masonry, and carpentry. from this point,

architecture was to be viewed as materialistic and tectonic

realization providing structural stability, functional comfort,

and aesthetic pleasure as the ancient Roman architect

Vitruvius. this materialistic and tectonic understanding of

architecture becomes one of the central foundations in the

theory of modern architecture. with learning and practicing

traditional elements of architecture, a student is encouraged

to explire and implement new elements by making hybrids

from the traditional elements.”

- hyoung-june park

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figure and ground“individual perception of environment or phenomena

surrounding us is unique. it becomes the source of individual

creativity and originality in developing design. he percieves

various sensory inputs by separating them with different

levels of attention, attraction, awareness or interest according

to his experience, euducation, situation, or background. when

we assume the sensory inputs are recognized as a whole unit,

‘Figure,’ our spontaneous attention is made from the whole

unit. in return we are not aware of or we do not get into what

is called, ‘Ground.’ however, this,’Figure,’ and, ‘Ground,’

interpretation is perceptual and changes momentarily as

our heart and mind wonders around in time and space.”

- hyoung-june park

process > translation.part 2

a. to change in composition or structureb. to change the outward form or appearance ofc. to change in character or condition

transformation

a symbolic relationship in which both species benefit

mutualism

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mapping.part 1

“to terms of magnitude, and of direction, must we refer all of our conceptions

of form. for the form of an object is defined when we know its magnitude,

actual or relative, in various directions; and growth involves the same

concepts of magnitude and direction, related to the further concept, or

‘dimension,’ of time. before we proceed to the consideration of specific

form, it will be well to consider certain general phenomena of spatial

magnitude, or of the extension of a body in several dimensions of space.”

-on growth and form

D’arcy Wentworth Thompson

angular magnitude - amount of rotation of a line about a fixed point

head - 156 ˚

lower leg - 88 ˚

foot - 96 ˚

upper arm - ∞˚

lower arm - 121 ˚

upper body - 178 ˚

what is line?“Line - A point has no dimension or scale. When made visible as a dot, the point establishes a position in space.

As the dot moves across a surface, it traces the path of a line - the quintessential element of drawing We rely

principally on the line to portray the edges and contours of objects we see in visual space.”

-Form, Space, and Order

Francis D.K. Ching

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let me tell you about the object of space

mapping.part 2

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from any angle the physical traits of the

site are noticeable; a man, 5 feet 10 inches

with a strong confident manner. however,

it is the sections that lie beneath the surface

that tell the interests, culture, and history

of the site; family, spontaneity, humorous,

hawaiian royalty, powered by the mana of

the mo`o aumakua, mo`oheau

“site works, site specific, site inflected, site readings, site seeing,

site response, site conditioned, site interpretation. contemporary

architecture is replete with such phrases. for many, a site’s

characteristics are not simply circumstances to be accommodated or

mitigated. instead, a site’s physical and sensual properties are sources

for design expression. site concerns permeate the design process,

leaving their compartmentalized role in preconceptual design analysis.

the repositioned site concerns challenge the modern divide between

rational site analysis and intuitive, creative conceptual design: design

as site interpretation, and site as program, not surface , for program.”

-site matters: design concepts, histories, and strategies

Carol Burns and Andrea Kahn

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“every child is an architect. imagination helps transform

wood or lego blocks into palaces, ships, or flying

machines and create caves, nests, and casltes under

tables and behind dressers. young builders and users

of space can develop into makers of houses and cities.

although children have a relatively underdeveloped

capability to formulate, express, and test spatial ideas,

the ideas are locked away in the imagination awaiting

to be made into object.”

- hyoung-june park

out of a box

architectural precedents

“history studied in the academic sense of seeing our place within a continuum,

or in the strictly scholarly sense of knowing the past, can limit our knowledge as

architects to little more than names, dates and style recognition. seeing between

and beyond layers of historical styles can make history a source of enrichment for

architectural design. history transcends the moment and reveals an architectural

idea. the search in this study reflects history to us in architectural form. the technique

for this search is a careful examination and analysis of buildings. the desired result

is the development of theory to generate ideas with which to design architecture.”

-Precedents in Architecture

Clark and Pause, 2005

phillips exeter academy library - louis kahn>

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“the formative idea of relating repetitive and unique elements entails the design of built form through the establishment of relationships between components which have multiple and singular manifestations. fundamental to this idea is the understanding of unique to be a difference within a class or a kind.”

-Precedents in Architectureclark and pause

repetitive to unique

“the nature, identity, expression, and relationship of units to other units and to the whole are relevant considerations in the use of this idea as a design strategy. in this context, units are considered as adjoining, seperate overlapping, or less than the whole.”

-Precedents in Architectureclark and pause

unit to whole

“together, the articulation of the conditions of movement and stability form the essence of a building. since circulation determines how a person experiences a building, it can be the vehicle for understanding issues like structure, natural light, unit definition, repetitive and unique elements, gemoetry, balance, and hierarchy.”

-Precedents in Architectureclark and pause

circulation to use space

“at a basic level, structure is synonymous with support, and therefore exists in all buildings. at a more germane level, structure is columnar, planar, or a combination of these, all which a designer can intentonally use to reinforce or realize ideas.”

-Precedents in Architectureclark and pause

structure

“our intuitive understanding tells us that some architectural forms are

more complex than others. the fact that Michelangelo’s motif on Porta

Pia is more complex than, for example, some arched passage by Alberti

is beyond discussion. but what exactly does that mean? Is it more

complex because it takes more words to describe? perhaps, but in that

case the complexity would depend on the eloquence and knowledge of

the one who is describing it. or is it because it is

more difficult to build? a large-span suspended

bridge is definitely more difficult to build than

a stone gate, although it does not look more

complex. so, what is the criterion for the comparison

of the complexity in this case?”

-The complexity of architectural form:

some basic questions

faculty of architecture,

University of Belgrade

maze design / transformations of form

starting with a base line maze plan, the exercise was

aimed at the transformations of form. where the overall

function and path stays the same, the complexity of the

form changes from linear to angular to curvilinear.

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Children are born into the world with a full range of emotions: enthusiasm, excitement, joy, courage, fascination, thrill, determination, energy,

and irrationality yet eagerness. These are the same emotions felt by the typical adult, however, the quality that sets children and adults apart

is experience with these emotions. Children use fantasy to replace inexperience. A child, for example, hears the howls of wind at night. With

no prior experience to provide a clear answer as to what the noise is coming from, the child’s only way to cope with this new experience is to

fantasize about what could possibly be making the noise: a ghost, a wolf, or maybe a monster under the bed. Not knowing the true cause of the

noise, fantasy becomes the coping mechanism for children to deal with the broad real world.

Fantasies not only allow for an explanation of the real world, but they can also allow a child to escape from the real world. It is quite

often for children to have a specific and unique retreat. This pretend place will allow children to look at the realities of the world in a fantastic

sort of way. The created scenario will further enable a child to examine the real world. Peter Pan is a classic story of a type of retreat. Among

many other themes in the story, the idea of growing up is the main theme throughout the story. In the story, Wendy Darling is faced with the

reality that she will one day have to grow up and be removed from her brothers. Wendy retreats to the fantasy world of NeverLand where she

is faced with encounters that bring her to the realization that growing up is not all bad.

Fantasy and reality are considered to be two separate entities. Children use one to cope with the other. Knowing that few things

are absolute, can this division be absolute? Do the two worlds cross? Is the fantasy world an extension of the real world or is it merely an

escape? In the film Pan’s Labyrinth, director Guillermo del Torro addresses this question by portraying what seem to be two separate worlds.

Throughout the movie, del Torro taunts his audience, at times implying that the two worlds intersect, but for the majority of the movie

presenting visual evidence that the worlds are separate. It is not until the two worlds collide that the viewer knows the directors view.

The film takes place in Fascist Spain in the year 1944 following the Spanish Civil War. Ofelia, an imaginative young girl, is sent to live with

her new stepfather who is a captain in the Spanish Army, and a man who has a great deal of concern with detail and control. Ofelia is placed

in a situation in which she is powerless and is treated with brutal cruelty by the captain. She escapes from the realities of her stepfather to

a fantasy world as real as the one she inhabits with her stepfather. At night Ofelia is confronted by a faun who convinces her that she is the

princess of a mystical underground realm. However, Ofelia must pass a series of three tests to prove that her princess soul has remained intact

and that she is in fact a princess.

The movie begins as many fairytales do with a voiceover speaking the quintessential phrase, “A long time ago,” however; the structure of the

movie is merely a deconstruction of the typical fairytale. In essence the main characters of the movie are preserved to the typical fairytale

structure. The story of Pan’s Labyrinth is a complex sort of fairy tale illustrating simple character prototypes. By creating simple characters on

are fantasies an escape or an extension from the real world?

a complex story line, the director allows the persona of the fairy tale characters to have a more memorable impact on the viewer.

The antagonist in Pan’s Labyrinth is Captain Vidal. Portrayed as a full fledged fascist, characterized by strict rules, the captain is a “control

freak.” Only concerned with the real world, the captain focuses on the minutest detail. One of his character quirks is checking his watch to be

sure that everything is on time.

The protagonist of the story is the ten-year-old Ofelia. Ofelia is the exact opposite of Captain Vidal. This opposition between antagonist and

protagonist is true in most fairy tale stories. Ofelia lives life through her imagination, filled with fascination, unlike her stepfather who cares

only for tangible truths. She is a character of non-conformity and optimism. She is a simple character who reads stories, fantasizing and

internalizing them.

Through these two characters, the story unfolds, and the question of the division between reality and fantasy is explored.

The movie’s opening scene introduces the question. Shot in reverse, the scene shows Ofelia lying down with blood receding to her nose. This

scene repeats later in the movie, but with a different importance. The commentary on this particular scene is the typical opening fairy tale

phrase, “A long time ago.” In The Uses of Enchantment, Bruno Bettelheim, states, “This deliberate vagueness in the beginnings of fairy tales

symbolizes that we are leaving the concrete world of ordinary reality”. This opening statement sets us apart, into a completely different

time and setting from the real world. It creates a delineation of the two worlds and the reader of fairy tales or the viewer in this instance

can spiritually separate from the real world. The opening scene of the movie although given the typical fairy tale opening phrase the viewer

still visualizes the real world, a girl who appears to be dying in reverse. With this opening scene, del Torro immediately questions the idea of

fantasy and reality as two different things.

The opening fairy tale story continues, as the movie transitions to the actual fairy tale setting and the first characteristics of the fairy tale

world are evident. The first images of the fantasy world are mundane. A monotone underground cliff environment, the world is characterized

by a curved array of columns and clusters of domes. A few disparately spaced diminutive light sources provide the only offset color. The

buildings of the fantasy world do not appear to be organized or to follow any sort of particular rules; rather, the structures mimic the

randomness of the subterranean cliffs they hug. The movie transitions to the above ground real world. A tattered building depicts the

real world. A world dominated by rules is made real by a structure dominated by columns, lines, repeating shapes, and parallelism. The

organization of the building is more symmetrical than in the fantasy world. The deteriorating condition of the building reflects the realistic

time period of the story and its setting.

The events of the real world are relegated to one general setting, a summer cottage in a country area, backed by a forest. The cottage is

residence to the Captain and his troops. Straight lines, parallelism, repetition and symmetry dominate the cottage, mirroring the same

characteristics that were used to introduce the real world.

While the majority of events that take place in the real world occur in the same setting, the events of the fantasy world occur in various places

that stem from the real world settings. Ofelia’s first encounter with the fantasy world comes shortly after her arrival to the summer cottage.

Fascinated by an insect that Ofelia encounters, she quickly follows the insect to a tall stone wall in the forest which appears to be the entrance

to a labyrinth. Before being able to proceed, however, Ofelia is diverted by a house servant.

That night in her room, Ofelia is visited by the same insect, who transforms into a fairy and leads Ofelia back to the wall and into the center

of the labyrinth. Here, Ofelia is faced with a large circular aperture in the ground, which resembles a large pit with concentric circles and a

winding staircase. It is in this space where Ofelia first encounters the faun who reveals to her that she is the reincarnated princess of the under

realm. At this place, the faun gives Ofelia a book, “The Book of Crossroads,” that will guide her through her journey of tests to prove herself

as the princess. In this section of the story, the real and fantasy world overlap: the real world’s stone wall marks the entrance to the fantasy

world’s labyrinth, and the fairy insect reveals herself in the cottage of the real world.

The film continues to play with this idea that the two worlds encounter similar spaces at the same times in the development of their separate

stories. This mirroring of spaces occurs again upon Ofelia’s first test. The Book of Crossroads leads Ofelia through the forest behind the

summer cottage. At the same time Ofelia takes this journey, through the forest, the captain and his troops set out in search of rebels through

the same forest. Del Torro edits this scene by cutting back and forth between Ofelia, and the captain and his men. As the camera focuses on

the characters, the natural world addresses the question. Although both Captain Vidal and Ofelia are in the same forest, tall, linear, column-

like trees are the primary visual associated with the captain, while mid-height rather random ferns are the visual of Ofelia. The control of the

real world and the more disorganized fantasy world inhabit the same setting.

The film contains two dining room scenes that depict the similarities between the real and fantasy worlds. On the evening that Ofelia returns

from her first test she finds that the captain has a few companions over for a small dinner party. The camera shows the captain is seated at the

head of a long rectangular table. Behind the captain lies a rectangular fireplace that creates the light in the room. The guests flank each of the

long ends of the table, just as tall columns flank the walls on either side of the fireplace in the room.

Ofelia is faced with a corresponding scene when she must complete her second test. For her second test Ofelia must journey to the lair of the

Pale Face Man and retrieve a knife that resides in one of three doors. Upon entering the lair of the Pale Face Man Ofelia enters a long corridor

accented with columns that arch at the top. While this corridor appears to be along a straight axis, the corridor actually takes a curve in path.

From this corridor, Ofelia is lead into a circular room that is accented by a circular arrangement of columns with a more rounded table. At the

head of this table is an older pale human-like creature with no eyes. Just as in the captain’s dining room the head seat is backed by a fireplace

however, in this scene the fireplace takes the shape of a half circle.

Through a simple examination of these three series of scenes and through the examination of the characters it can be induced that the

director created intrinsic spatial characteristics for particular characters based upon the characteristics of the character. For any space that

is associated to the captain or his fascist regime is characterized by many linear elements. Never in any scene associated with the captain is a

curvilinear element seen as a dominant element. Even the organization of the spaces conforms to an organization that seems to be based upon

very tightly controlled rules. Using the characteristics of the captain, the director creates spaces associated to the captain that replicate his

character.

The same is true for any space that is affiliated to Ofelia. While the captain is a detailed oriented strict man, Ofelia is a free spirited imaginative

girl. In any space associated to Ofelia the director portrays the space with less linear rule and more curved elements.

Beyond the physical geometrical characteristics that the director creates for the specific types of spaces, the director also uses color and

mechanics to make a subtler differentiation between the two worlds. The captain is created as a cold spirit associated with cold greens and

shades of cold grey. Opposing this cold trait, the spaces affiliated with Ofelia or the fantasy world are of a warmer color, using many reds and

oranges.

From a mechanical standpoint, during scenes that are associated with the captain, the camera swipes are in either a direct horizontal or

vertical movement. Again the same is true for Ofelia where the director uses the characteristics of Ofelia to mimic the way the camera will

move when showing scenes of fantasy.

The qualities of these characters extend to any scene that is associated with the real world or the fantasy world, not just these three series

of scenes. By creating two distinct sets of characteristics the director is able to suggest to the audience that the two worlds are distinctively

separate. The movie seems to argue that the fantasy world stems from the real world; it is just a way for Ofelia to cope with and to escape

from the realities of her real world.

This conclusion is illustrated in two components of the movie. The first is the similar characteristics of the captain, the pale face man,

and the faun. The walls of the pale face man’s room are decorated with paintings of a monster killing and eating little children. In essence the

pictures depict the monster as a destructor of innocence, similar to the fascist captain. Other qualities of the captain are seen more clearly

in the faun. The faun first appears as a guide to Ofelia helping her on her quest. It is not until Ofelia disobeys him that he exhibits the same

characteristics of the captain. The faun seeks to manipulate and control Ofelia giving her one more chance, saying to her that she must always

obey and listen to his every word. The director again establishes the relationship between the captain and the faun when captain is sitting at

the dinner table and the fire from the fireplace creates this visual that gives the captain a set of horns similar to the faun.

The second is when Ofelia first shows her fantasy world, not the fantasy world that is completely manifested by her quest to prove that she

is the princess, but her everyday fantasy that stems from her joy of reading. Before her first night of sleep in the summer cottage Ofelia’s sick

and pregnant mother asks Ofelia to tell her unborn baby brother a story to ease him to sleep. Ofelia tells him a story of a rose that rests on the

top of a mountain, which when plucked by a person will make that person immortal. The problem lies around the mountain. The only way to

get to the rose is through poisonous veins that surround the mountain.

The story Ofelia tells to her brother stems from her self desire to gain immortality. Her fantasy is illustrated in the first scene; Ofelia

is portrayed as being brought to life, or dying in reverse when the blood recedes back to her nose. Throughout the movie, the only time she is

truly happy is while she is on her fantasy journey to prove that she is the immortal princess. At the end of the movie Ofelia’s understanding

of the rose story is finally realized: only those who are willing to dare against the odds of death will be allowed to reach immortality. This

understanding is ultimately realized when Ofelia is shot by her stepfather and she takes her place as the immortal princess in the under realm.

The director uses these two instances to introduce the idea that fantasy could possibly be a result of personal experiences of the real

world.

So far the director has made a strong distinction that the fantasy world is separate from the real world, even though some of the events of

fantasy may have been contracted by imagination because of real world events, the fantasy is still separate from the real world. However, the

director also creates a subtle more unnoticeable argument that fantasy world is an extension of the real world and that both are essentially

“real”. The director does this by introducing objects that are present in both worlds.

Upon meeting the faun for the second test, Ofelia tells the faun of her mother’s sickness. The faun gives Ofelia a mandrake and tells her to put

the mandrake root in a bowl of milk under her mother’s bed and every night put two drops of blood on the root and her mother will become

well again. Ofelia returns from her second test and does exactly what the faun tells her to do and her mother begins to become well just as the

faun had promised. This is one of the first instances in the movie where the two worlds begin to collide and affect each other. Ofelia’s mother

begins to become very healthy up until the point where the captain discovers the root under the bed. It is this mandrake root that offers the

first sign of the fantasy world and the real world being the same. The scene ends with Ofelia’s mother throwing the mandrake into a fire and

becoming rapidly ill once again.

By watching closely it can be noticed that while the house keeper was preparing a dinner earlier in the movie, she just happened to be cutting

mandrake roots. Although, the movie does not particularly suggest that the root came from the real world, the director creates a scenario

where this conjecture is completely made by the viewer. What the movie does indicate, however, is that the mother was becoming well once

Ofelia had placed the root under her mother’s bed, and it was ultimately the destruction of the root that causes the death of her mother.

The second object that shows this phenomenon of the two worlds crossing is a magical piece of chalk that the faun gives to Ofelia before she

encounters the Pale Face Man. The piece of chalk that Ofelia is given is to be used as a sort of key to create portals. When Ofelia traces a door

on any wall with the chalk the outline actually becomes a door. Unlike the mandrake root that can be indicated as coming from the real world

because it was seen earlier in the movie, this is the first time the chalk is seen. Later in the movie during Ofelia’s third and final task when

she is to fetch her half-brother from her stepfather’s room, Ofelia leaves the piece of chalk on one of the tables in the room, which is soon

discovered by the captain.

These two very small props, coupled with the early events of the movie lay the foundation for a viewpoint that reality and fantasy overlap.

The last and final indication of the director’s perception of real and fantasy occurs in the last scene. Ofelia is told to bring her newborn half-

brother to the labyrinth where he will be sacrificed so that Ofelia can take her place in the under realm. As she hesitates to give the faun her

baby brother, the captain enters the scene. This last scene is the only scene in the movie in which Ofelia is depicted in her fantasy world and in

the real world at the same time. While Ofelia sees both the captain and the faun, the captain only sees Ofelia, but nonetheless, all three are in

the scene at the same time. At this seen it can be argued that the fantasy world is not real because the captain does not see the faun. True, the

captain does not see the faun, however that only indicates that the fantasy world is not real to him. For Ofelia, the fantasy world is just as real

as the real world.

In Pan’s Labyrinth, Guillermo del Torro has created a movie of two worlds which seem to run be side by side. Are the worlds separate? Do

they coexist? Do they overlap? Del Torro seeks to confuse and mislead his audience. If the movie’s last scene most clearly states his thesis, the

answer is not black and white. The answer is that reality and fantasy are separate and one in the same. Through Ofelia’s perceptions, it is seen

that for her there is only one world, which is a combination of both fantasy and the real world. Although many children use imagination and

fantasy as a coping mechanism to deal or escape from the real world, in this story Ofelia uses the real world and her fantasy world together as

a way to gain her everlasting desire to acquire immortality. Just as the story of the rose suggests, Ofelia dares death in the real world to gain

immortality in her “real” world.

Bibliography

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairytales. Edited by Alfred A. Knopf. New York, New York: Vintage, 1976.

Hughes Jr. PhD, Robert. Relationships: Helping Children Understand Emotions. May 12, 2009. http://missourifamilies.org/features/divorcearticles/divorcefeature2.htm (accessed March 15, 2010).

Sokolof, Alexandra. Fairy Tale Structure and your List. Novermber 20, 2008. http://thedarksalon.blogspot.com/2008/11/fairy-tale-structure-and-your-list.html (accessed March 15, 2010).

Pan’s Labyrinth. Directed by Guillermo del Torro. 2006.

Notes

1 Robert Hughes Jr. PhD, Relationships: Helping Children Understand Emotions, May 12, 2009, http://missourifamilies.org/features/divorcearticles/divorcefeature2.htm (accessed March 15, 2010).2 The number three is very common to be seen in the typical fairy tale story structure. It is a number that signifies power, logic, and soul, three important characteristics of fairy tales. Whether it is a set of three tasks or three siblings, the number three has been seen throughout many fairytales. Alexandra Sokolof, Fairy Tale Structure and your List, Novermber 20, 2008, http://thedarksalon.blogspot.com/2008/11/fairy-tale-structure-and-your-list.html (accessed March 15, 2010).3 Alexandra Sokolof, Fairy Tale Structure and your List, Novermber 20, 2008, http://thedarksalon.blogspot.com/2008/11/fairy-tale-structure-and-your-list.html (accessed March 15, 2010). 4 Bruno Bettelheim, The Uses of Enchantment: The Meaning and Importance of Fairytales, ed. Alfred A. Knopf (New York, New York: Vintage, 1976). 62

> in

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image taken from Pan’s Labyrinth cover art

let me tell you about the element of space

> D

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the site of waimea bay beach park is

characterized by very distinct geographic

aspects, both aesthetically and culturally.

the beach is accented by a mountain on

either side and a river that flows from

deep within the valley into the ocean.

culturally water is representative of life.

interpretation of the site, and application

of this idea derives a concept where the

mountains act as protectors of life

/waimea bay beach park //lifeguard station design

image from google earth

the mountains personify the rhythm of the

deisgn.

the axis mimics the circulation of the river

which flows between the mountains.

the datum line is characterized by the bowl

shape of an approaching wave.

rhythm//axis//datum

fp.01 fp.02

3 form struttura roof assembly

light gauge steel floor joist

light gauge steel U channel

light gauge steel U channel

3 form struttura floor

lokahi stone concrete wall

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the rigorous training that is involved

in an architecture school can evoke

much stress upon a student. stress

provoked by an abundance of work,

approaching deadlines, and even a

creative block. in many instances a

student is able to get back on track by

simply taking a break. however, where

is this break to be taken? where is a

student to go simply to take a break,

clear the mind, or regain some creative

thought?

/UHM school of architecture //courtyard shading design

So I run far away,No place in mind.

I just follow my dreams,Leaving the day far behind.

Then I stop and I look,And there's no one around;But I hear a sweet voice,

So I don't make a sound..."

"Was it a place that existsOnly in my dreams?

What's this place for,And what does it mean?"

"I guess that's what I amScraping this cold earth

For a piece of myselfFor peace in myself

"Examples: Say a lack of cash;

A just-avoided freeway crash;

An allergen that's in the air;

The barber says you're losing hair;

Fifty on a spavined horse;

Attorney's letter re divorce;

Wetness, dryness, heat or cold;

Callow youth or getting old

Stress from pains to pleasures range

The common element is change

Adapt or die, and that's a fact

And so our bodies must react..."

the design began with inspirations of

brainwaves. particularly brainwaves

that are associated with stress and

relax. when brainwaves are above 18

Hz, typically called beta waves, usually

there is a result of tenseness, anxiety,

stress, and nervousness. alpha waves

which show a frequency of 8 to 13 Hz, is

related with daydreaming, fantasizing,

and creative visualization.

as the schematic design developed the

programmatic and site issues further

influenced the design, however the

formal ideas of rhythm in structure

heavily begin to show its influences

on the design, through implementing

ideas of how nature takes form from

repetition.

3/4" Galvanized Steel Rod

Glue Laminated Wood

1/2" Rope

Koa Wood Seat

3/8" Galvanized Swing Hook

Glue Laminated Wood

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/kaneohe//house design

located on a shore in kaneohe, backed by the ko`olau mountain range, the site overlooks the entire east side of the island of oahu with a panoramic view which captures the east coast, stretching from china mans hat to the kaneohe military base.

the sitethe site is located in the he`eia ahupua`a. in the ancient hawaiian days he`eia was a major cultivator of kalo (taro). kalo is significant in hawaiian culture as it was the first born son of papa and wakea, namely, earth mother and sky father. from kalo was born the first person.

the significance

With great slime was the birth from the brainBy "Papa who sought the earth" (people),By "Papa who sought the heavens" (chief),By Papa the great producer of lands,By Papa who lived with Wakea.Haalolo was born a woman.Accompanying its birth were anger and jealousy.Wakea became false to Papa.Changed the days and months,Ordered the nights of Kane towards the last of the monthAnd the nights of Hilo to be first; p. 69And established sacred tabus across his threshold.Such was the house that Wakea lived in.The food of the parent chief became sacred;The Ape, so bitter, became sacred;The Akia (sour) became sacred;The Auhuhu (pungent and bitter) became sacred;The Uhaloa for its life-giving properties became sacred;The Laalo, so acid, became sacred;The Haloa that grow by the edge of the patch became sacred.Plant the Haloa, the leaves will grow tall;So grew the sprout of Haloa in the day and Thrived.

Ha'ae wale ka hanauna loloO Papa-huli-honuaO Papa-huli-laniO Papa-nui-hanau-mokuO Papa i noho ia WakeaHanau Ha'alolo ka wahineHanau inaina ke ke'uHo'opunini ia Papa e WakeaKauoha i ka la i ka malamaO ka po io Kane no muli neiO ka po io Hilo no mua iaKapu kipaepae ka hanu'uKa hale io Wakea i noho aiKapu ka 'ai lani makuaKapu ka 'ape ka mane'one'oKapu ka 'akia ka 'awa'awaKapu ka 'auhuhu ka mulemuleaKapu ka 'uhaloa no ke ola loaKapu ka la'alo ka manewanewaKapu ka haloa ku ma ka pe'aKanu ia Haloa ulu hahaloaO ka lau o Haloa i ke ao la Pu--ka--

ka wa umikumakolu

the storythe thirteenth era

a section from the kumulipo, creation chanttranslation by Queen Lili`uokalani

spatial organization

spatial deformation

massing model

massing deformation

fp.01fp.02

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Project Program:Site in Hilo, Hawaii 450’ x 450’

30ft, grade from North to south1.5 acres are edible crops

40 person hotel (restaurant/Bar/ Lounge (1500 sq. ft.)

Required Plumbing Fixtures & Electrical Load:Hotel: 25 Toilets, 25 Lavatories, 25 bathtubs 25 service sink

Restaurant: 2 Toilets, 2 lavatories, 1 service sinkElectrical Usage: 14.5V amp/sq Ft.

Community Center: 1 toilet, 1 lavatory, 1 service sinkElectrical Usage: 2.5V amp/sq Ft.

Total Electrical Usage: 13,751 v AMP OR 46,920 BTU/HR

Water demand Program:15- 2 person rooms at 60 gallons/day per room = 1800 gal/day Total

10-1 person rooms at 50 gallons/day per room =500 gal/day total1- 30 person restaurant with bar/lounge and toilets at 12 gal/day =360 gallons per day

1-100 person community center at 5 gallons/day per person =500 gal/dayTotal building use daily +3160 gallons

Total Building Use per year +1,137,600 gallons

To satisfy the Overall demand(before water reduction methods)

Manual Calculation:584,000 = 86.1 inch x ft 2 (catchment) x 0.625

10,200 ft 2 x 6 = 61,200 ft 2 catchment area

/hotel-community center //sustainable design

the form of the design was completely influenced by passive design strategies. the three roof tops slope towards the pond water catchment storage which filters the rain water using a slow sand filter. the water is then used mainly for irrigation and for toilet fixtures.

Catchment Pond Area 38,200 sq/ft1ft surface depth3ft filter depth 1ftCistern Depth

Community Center Catchment Surface Area13,957 sq.ft.

Hotel Roof Catchment Surface Area14,000 sq.ft.

Catchment Pond Area 38,200 sq/ft1ft surface depth3ft filter depth 1ftCistern Depth

Community CenterCatchment Surface Area13,957 sq.ft.

Hotel RoofCatchment Surface Area14,000 sq.ft.

summer solstice

spring equinox

winter solstice

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cross ventilation

the roofs were also designed to increase the efficiency of indirect day lighting, as well as to increase cross ventilation. to allow more efficient day lighting the roof allows for solar rays penetrate far in the building during low winter sun angles and during summer the solar rays are reflected in from the north side of the building.

to allow for increased ventilation the roof slope funnels the prevailing winds low through the south side of the building and causes the hot air to rise and exit at the upper north side of the building. the pv panels are also operating more efficiently by being able to be cooled by the exiting air.

the assignment calls for the design of a presidential library for

the 44th president of the united states, Barack Obama. following

tradition and legislature, this library will honor the president,

his life, and his presidential accomplishments. the chosen site

is located in the kaka`ako district of Honolulu. bordered by the

waterfront and a redeveloping community, the proposed library

and museum will enhance the vibrancy of the area with additional

education and cultural experiences.

/Barack Obama//presidential library design

although the given project site is in hawai`i it would be unforgiveable to

completely forget the other location which had strong influence on the

values of obama; illinois. therefore, the design was inspired by an idea

of having sister libraries, one based in hawai`i and the other based in

illinois. while both libraries would contain similar research documents,

the libraries would differ by their museum characteristics. the library in

hawai`i would museum galleries that depicted obama’s illinois side, and

the library in illinois would museum his hawai`i side. upon visiting either library a person would be able

to experience the two sides of obama, the site of the library depicting one side and the actual library

depicting the other side. representing illinois through its vertical fashion, the design is also inspired by

the ocean front property where the library is to be located.

a b c d e

section a

section b

section c

section d

section e

fp.01

fp.02

fp.03

restaurant

loading dock

lobby/entrance

gallery b

gallery a

research & document storage

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“enclosure comes in many forms, from the walled compound accessed through a gate to the

roof held aloft by columns. the former delineates the exact boundaries of enclosed space; the

latter provides a reading of the space bounded by the roof’s projection...wall, roof, and columns,

individually and in combination, make almost all architecture. we read the space they delineate,

and we sense place within the volume they indicate. the built environment, as a composition of

enclosure forms, indicates volumes. indeed, space defined by forms of enclosure may be most

powerful when the form leaves part of that volume undefined. the walled compound open to

the sky, the roof held aloft without walls, or even a group of freestanding pillars - each is a

configuration that may give us a reading of space more evocative than the fully enclosed room

or building.”

-the Structure of the Ordinary: Form and

Control in the Built Environment

N.J. Habraken

/formal and implied elements//sculptural pavillion

image by: extracts of local distance`

before beginning to code a new set of spaces

or environments, it is important to develop

the ability to read the context in which you

are operating. this project begins with the

reading and building of that context. a 2D

graphic image was analyzed using only line.

the line drawing was again anaylzed as a

texture drawing which was translated to a

graphic texture collage. in the final analysis

the collage was again translated into a relief

model.

/part 1/reading

from the translation from 2D graphic to relief became

apparent a series of major spaces which can be seen in the

relief model. the spaces were analyzed and intensified by

adding parallel vertical elements and perpendicular to that

horizontal spanning elements. with each addition came a

new series of spaces.

/part 2/intensifying

major space from relief model spaces from vertical elements

addition of vertical elements

spaces from horizontal spanning elements

addition of horizontal elements

spaces from horizontal planes

addition of horizontal planes

A B C D

A B C D

path through spaces

the walls are situated to be connectors of two completely separate

spaces. although one particular wall may be connecting two spaces,

in each of these spaces that same wall would be experienced in two

different ways. for example, in one space that wall would appear

ten feet in height originating from the ground. in a different space

that same wall appears to be three feet in height and doubled in

thickness, but is elevated off the ground to at head height.

spatial concept model

section A

section B

section C

section D

Diminishing Perception while Intensifying EssenceSculpture: Standing Woman by Alberto Giocometti

after the development of spaces, the

design was given purpose with the

introduction of sculptural pieces. the

sculptures were placed along the path

intensifying the space one last time.

/part 3/inhabiting

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Organic Meets MechanicalSculpture: Dead Leg by Richard Deacon

Playful ExteriorSculpture: Big Crinkley by Alexander Calder

When Line Ends Separation of Space is UndoneSculpture: Metronomic Irregularity by Eva Hesse

what is space?

as ignorant-space-dumb-students beginning in architecture school, we are taken through a journey of seemingly pointless exercises that in no way appear to be connected to architecture. even though at first we are not able to make the logical connections, the goal is not the formation of the logical senses. instead, the formation of our “spatial sense.”

through either interpretation of words to line, figure versus ground, analysis of literal or cultural, understanding of precedents, or even the interaction of path and form, the ultimate objective is literacy across media. but not just a normal literacy, yet, understanding written dialogue, graphic media, and diagrammatic models as a spatial literacy.

once we have gained this inti al insight to our “spatial sense,” we can begin to create our own series of spaces. the exercises are used as models of how to analyze the spatial boundaries of a site, the spatial context of culture, and the spatial organization of purpose. all the while we are still gaining a further understanding of our “spatial

sense.” we are learning from and building on to this sense.

the years of architecture school truly are the formative years of our understanding of space. just as new-born children use their early childhood years to fully develop their senses, as students we use these few early years to develop our “spatial sense.” the exercises that we are given in architecture school are aimed at not only the realities of the built environment but also towards the understanding of architecture; the art of space.

through it all I hope to one day be able to answer the questions, and, ultimately the one question, what is space?

me ko`u aloha a me ho`omaika`i pumehana

mom dad

edward

alexanderaunty leo

heather

puna

kapua