2011 - 2012 studio explorations

T A B L E O F C O N T E N T SS E M E S T E R I I 2 0 1 2 A P R I L

2 0 1 1 S E P T E M B E R

S E M E S T E R I

DIGITAL ECOLOGIES

GEOMETRIC ABSTRACTIONS

TCHGLI - THE BEAUTY OF DISSONANCEComprehensive Projec t @ Studio with Professor Armando Monti l la

SIRCUIT SERRA - STC RIO HEADQUARTERSCompetit ion Submiss ion @ Studio with Professor Armando Monti l la and group

“SERENE BUT PRET TY SLICK”From R hino to Model @ Visual izat ion with Professor Douglas Hecker

H igh Museum Projec t @ Studio with Professor Cr iss M i l ls

REDESIGN, RECONFIG, REHABILITATEMar tha M itchel Square @ Studio with Professor Cr iss M i l ls

LEARNING FROM ZUMTHORI nterpret ing the Pavi l l ion @ Studio with Professor Cr iss M i l ls

A GATEWAY TO THE ARTS

THE STUDIO CIRCUSTransformations @ Studio with Professor Cr iss M i l ls

FROM PAINTING TO MODELEl iminat ing the ground plane @ Studio with Professor Cr iss M i l ls

T A B L E O F C O N T E N T SS E M E S T E R I I 2 0 1 2 A P R I L

2 0 1 1 S E P T E M B E R

S E M E S T E R I

DIGITAL ECOLOGIES

GEOMETRIC ABSTRACTIONS

TCHGLI - THE BEAUTY OF DISSONANCEComprehensive Projec t @ Studio with Professor Armando Monti l la

SIRCUIT SERRA - STC RIO HEADQUARTERSCompetit ion Submiss ion @ Studio with Professor Armando Monti l la and group

“SERENE BUT PRET TY SLICK”From R hino to Model @ Visual izat ion with Professor Douglas Hecker

H igh Museum Projec t @ Studio with Professor Cr iss M i l ls

REDESIGN, RECONFIG, REHABILITATEMar tha M itchel Square @ Studio with Professor Cr iss M i l ls

LEARNING FROM ZUMTHORI nterpret ing the Pavi l l ion @ Studio with Professor Cr iss M i l ls

A GATEWAY TO THE ARTS

THE STUDIO CIRCUSTransformations @ Studio with Professor Cr iss M i l ls

FROM PAINTING TO MODELEl iminat ing the ground plane @ Studio with Professor Cr iss M i l ls

SEMESTER IIDIGITAL ECOLOGIES

TC HGLI - T HE BEA UT Y OF DISSONANC ECompr ehensive P ro je ct @ Studio with Pr of essor Armando Montilla

SIRCUIT SERRA - ST C RIO HEADQU ARTERSCompetition Submission @ Studio with Pr of essor Armando Montilla and gro up

“SERENE BUT PR ET TY SLICK ”From Rhino t o Model @ Vi sualization with Pr of essor Do uglas Hecker

GLITCH - THE BEAU-TY OF DISSONANCE7 Week Compre-hensive Project @ Studio with Professor Ar-mando MontillaI n d i v i d u a lSpring 2012

THE HIGHLINE - THE NATURAL, THE INDUSTRIAL AND THE 21ST CENTURY PLAYGROUND

EXPERIENCE ANALYSIS OF NEW YORK’S MOMA AND GUGGENHEIM - THE FOCUS OF ART VERSUS THE DOMINANCE OF ARCHITECTURE

LEARNING FROM V&A KENGO KUMA - THE SKIN OF DISINTEGRATION

WHEN ARCHITECTS WERE INVITED TO DESIGN THE HIGHLINE, THEY WERE MEZMERIZED BY THE HIGHLINE’S MYSTICALITY - “HOW DID A JUNGLE BLOSSOM ON TOP OF AN ABANDONED INDUSTRIAL TRAIN TRACK RAISED 20FT IN THE AIR IN JUST 20 YEARS WITH BARELY ANY SOIL TO BEGIN WITH IN A CITY LIKE NEW YORK?” THIS HIDDEN TREASURE MUST HAVE BEEN A SPACE TIME GLITCH! NOW WHAT WHAT KIND OF KUNSTHAL WOULD FORM IN A SPACE-TIME GLITCH?IN THIS PROJECT STUDENTS WERE CHALLENGED TO DESIGN A 60,500 SQFT KUNSTHAL AT AN ABANDONED SITE BETWEEN 19TH AND 20TH STREET NEXT TO THE HIGHLINE. IN ADDITION, THE FINAL MODEL WAS TO BE A MASSING MODEL CONSTRUCTED AT 1/32 SCALE AND MADE ENTIRELY OUT OF ACRYLIC. MY PROPOSED SOLUTION TO THIS DESIGN PROBLEM WAS TO EMPHASIZE ON THE MYSTERY OF THE HIGHLINE AND UTILIZE THE DISINTEGRATING PATTERNS OF THE DEFABRICATED LINEAR RIBBONS OF THE PARK TO CREATE A POETIC NARRATIVE ABOUT THE RUINS OF THE FUTURE. VISITORS ARE TELEPORTED TO A VARIETY OF SPACES GENERATED BY A PROGRAM THAT IS GRADUALLY DISAPPEARING.

E L E V A T I O N S O F T H E A N T I - F O R M - M O M E N T S B E F O R E T E L E P O R T A T I O N

C O N C E P T W A L L S E C T I O N D I A G R A MHow can I make this formally intensive structure look lighter? As if it is about to teleport?

T r e a t m e n t o f F l o o r s l a b sThe sound of walking on wood brings the naturality of the highline into the museum, while the Lightbending PMMA layer will teleport interior movement onto the exterior wall to create a seemingly moving skin

S T R U C T U R A L C O N S I D E R A T I O N S O F T H E A N T I - F O R M Two sculptural structural meshes will hold all the disintegrated pieces together while influencing the shapes of the interior spaces

T H E U N U S U A L E G R E S S The geometries of the service sector of The Glitch generates an unusual egress that take the hypotenuse of the building for faster escapes while still following the code

GLITCH: THE BEAUTY OF DISSONANCE PROJECT 8: THE HIGHLINE KUNSTHALL

MODEL IN SITE CONTEXT

View from Highline - Looking up when walking on Highline

Highline

Translucent ConcreteGlass bottom andReceded reinforced concrete slab to create visual void

Reinforced Concrete Light Bending Polymethyl

Methacrylate (PMMA)

Teak Wood (Highline)

controls the amount of light penetration

1 9 T H S T R E E T

2 0 T H S T R E E T

10TH AVE

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

Site Boundaries DisintegrationMimicing the disintegrated ribbon patterns of the highline

New Formation Directional Force of Highline

Avoiding 20th Street

19th street

The UNusual egress offers the same travel distance as the usual egress with the additional option of a shorter diagonal path for those who are running down the stairs.

Children and the eldery often travel at a different pace and often accidents happen under stressful situations. By providing different options of travel for different people, the unusual egress may lessen or eleminate accidents due to crashing.

The usual - Looping vertically down and escaping through transfer tunnel

FOR THOSE WHO FRET AND RUN

FOR THOSE WHO ARE CALM OR SLOW

FOR THOSE WHO ROLL

THE USUAL EGRESS

THE USUAL EGRESS - FLATTENED OUT

THE UNUSUAL EGRESS

THE HIGHLINE - THE NATURAL, THE INDUSTRIAL AND THE 21ST CENTURY PLAYGROUND

EXPERIENCE ANALYSIS OF NEW YORK’S MOMA AND GUGGENHEIM - THE FOCUS OF ART VERSUS THE DOMINANCE OF ARCHITECTURE

LEARNING FROM V&A KENGO KUMA - THE SKIN OF DISINTEGRATION

WHEN ARCHITECTS WERE INVITED TO DESIGN THE HIGHLINE, THEY WERE MEZMERIZED BY THE HIGHLINE’S MYSTICALITY - “HOW DID A JUNGLE BLOSSOM ON TOP OF AN ABANDONED INDUSTRIAL TRAIN TRACK RAISED 20FT IN THE AIR IN JUST 20 YEARS WITH BARELY ANY SOIL TO BEGIN WITH IN A CITY LIKE NEW YORK?” THIS HIDDEN TREASURE MUST HAVE BEEN A SPACE TIME GLITCH! NOW WHAT WHAT KIND OF KUNSTHAL WOULD FORM IN A SPACE-TIME GLITCH?IN THIS PROJECT STUDENTS WERE CHALLENGED TO DESIGN A 60,500 SQFT KUNSTHAL AT AN ABANDONED SITE BETWEEN 19TH AND 20TH STREET NEXT TO THE HIGHLINE. IN ADDITION, THE FINAL MODEL WAS TO BE A MASSING MODEL CONSTRUCTED AT 1/32 SCALE AND MADE ENTIRELY OUT OF ACRYLIC. MY PROPOSED SOLUTION TO THIS DESIGN PROBLEM WAS TO EMPHASIZE ON THE MYSTERY OF THE HIGHLINE AND UTILIZE THE DISINTEGRATING PATTERNS OF THE DEFABRICATED LINEAR RIBBONS OF THE PARK TO CREATE A POETIC NARRATIVE ABOUT THE RUINS OF THE FUTURE. VISITORS ARE TELEPORTED TO A VARIETY OF SPACES GENERATED BY A PROGRAM THAT IS GRADUALLY DISAPPEARING.

E L E V A T I O N S O F T H E A N T I - F O R M - M O M E N T S B E F O R E T E L E P O R T A T I O N

C O N C E P T W A L L S E C T I O N D I A G R A MHow can I make this formally intensive structure look lighter? As if it is about to teleport?

T r e a t m e n t o f F l o o r s l a b sThe sound of walking on wood brings the naturality of the highline into the museum, while the Lightbending PMMA layer will teleport interior movement onto the exterior wall to create a seemingly moving skin

S T R U C T U R A L C O N S I D E R A T I O N S O F T H E A N T I - F O R M Two sculptural structural meshes will hold all the disintegrated pieces together while influencing the shapes of the interior spaces

T H E U N U S U A L E G R E S S The geometries of the service sector of The Glitch generates an unusual egress that take the hypotenuse of the building for faster escapes while still following the code

GLITCH: THE BEAUTY OF DISSONANCE PROJECT 8: THE HIGHLINE KUNSTHALL

MODEL IN SITE CONTEXT

View from Highline - Looking up when walking on Highline

Highline

Translucent ConcreteGlass bottom andReceded reinforced concrete slab to create visual void

Reinforced Concrete Light Bending Polymethyl

Methacrylate (PMMA)

Teak Wood (Highline)

controls the amount of light penetration

1 9 T H S T R E E T

2 0 T H S T R E E T

10TH AVE

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

W. 19th St.

W. 20th St.

Site Boundaries DisintegrationMimicing the disintegrated ribbon patterns of the highline

New Formation Directional Force of Highline

Avoiding 20th Street

19th street

The UNusual egress offers the same travel distance as the usual egress with the additional option of a shorter diagonal path for those who are running down the stairs.

Children and the eldery often travel at a different pace and often accidents happen under stressful situations. By providing different options of travel for different people, the unusual egress may lessen or eleminate accidents due to crashing.

The usual - Looping vertically down and escaping through transfer tunnel

FOR THOSE WHO FRET AND RUN

FOR THOSE WHO ARE CALM OR SLOW

FOR THOSE WHO ROLL

THE USUAL EGRESS

THE USUAL EGRESS - FLATTENED OUT

THE UNUSUAL EGRESS

5 Service and Loading

4 Security and Cleaning Sta� O�ce

3 Gallery

6 Auditorium Lobby & Gallery

1 Backstage

Auditorium

1 4 Restaurant (Outdoor)

3 Restaurant (Indoor)

1 Meeting Room

Gallery

5 Patio

4 Gift shop

3 Storage and Workshop

1 Lobby

5 Gallery

4 Sta� O�ce

3 Gallery

1 Classroom

Meeting Room

8 Gallery

7 Gallery

9 Outdoor Gallery

4 Gallery

3 Classroom

1 Gallery

Gallery

8 Outdoor Gallery

7 Gallery

6 Gallery

5 Outdoor Gallery

4 Outdoor Gallery

3 Outdoor Gallery

1 Gallery

CEO and Event Planner O�ce

8 Outdoor Gallery

7 Outdoor Gallery

1 Outdoor Auditorium

+ 4 ’ 0 0 ” “ L o w e r B a s e m e n t ” + 1 7 ’ 0 0 ” U p p e r “ B a s e m e n t ” + 2 9 ’ 0 0 ” L o b b y L v l + 3 9 ’ 0 0 ” L v l 1 + 4 9 ’ 0 0 ” L v l 2 + 5 9 ’ 0 0 ” L v l 3 + 7 3 ’ 0 0 ” R o o f

7 STAGES OF DISAPPEARANCE

Glitch also plays with the idea of the Analogue City created by the highline. Since the Highline is a park raised 20ft above New York’s ground level, The Glitch also raises its ground plane to match the “new city”. Hence, levels below the highline are considered basements.

5 Loading and Services

4 Auditorium

3 Backstage

1 Highline Entrance

Highline

7 Lobby

6 Restaurant

11109 12 Outdoor Auditorium

11 Classroom

10 Central Meeting Room

Gallery

Outdoor Gallery

Gallery

Outdoor Gallery

Gallery

G A L L E R I E S - F L U I D A N D E V A P O R A T E

P L A Y A N D W O R K - D I S I N T E G R A T E

C I R C U L A T I O N - S O L I D A N D C E R T A I N

5 Classroom 2

4 O�ce

3 Cafe

1 Lobby

Central Meeting Room

6 CEO and Event planner o�ce

13 Meeting Room 2

11 Auditorium

9 Gift Shop

10 “Underground” Restaurant

H ighl ineH ighl ine Gallery

Gallery

GalleryGalleryGallery

Gallery Gallery

Gallery

Outdoor Gallery

1 9 t h S t r e e t 2 0 t h S t r e e t

S E C T I O N A S E C T I O N B

While teleportation may disintegrate in a seemingly random fashion, it must configure to an algorythm in order to reintegrate the defabricated pieces as they arrive at their destination. Hence, the programmatic elements of The Glitch follow a particular spatial hierarchy.

Circulation, bathrooms and service spaces are located at the same position on each floor. Visitors may utilize the ‘solid’ programs to orient themselves within the shifting chaos.

Administrative spaces and the cafe are loctaed at the 20th street wing of the building, while the public entertainment spaces, such as the restaurant, auditorium and gift shop are located at the lower 19th street wing as they take advantage of the highline as the backdrop.

The galleries are loosely defined as they flow between the disintegrating yet defined administrative and entertainment spaces. The outdoor galleries are on the patios generated by the process of disintegration.

O r d e r w i t h i n t h e A n t i - F o r m : T h e s y s t e m o f d i s a p p e a r a n c e

5 Service and Loading

3 Gallery

6 Auditorium Lobby & Gallery

1 Backstage

Auditorium

1 4 Restaurant (Outdoor)

3 Restaurant (Indoor)

1 Meeting Room

Gallery

5 Patio

4 Gift shop

1 Lobby

5 Gallery

4 Sta� O�ce

3 Gallery

1 Classroom

Meeting Room

8 Gallery

7 Gallery

9 Outdoor Gallery

4 Gallery

3 Classroom

1 Gallery

Gallery

8 Outdoor Gallery

7 Gallery

6 Gallery

5 Outdoor Gallery

4 Outdoor Gallery

3 Outdoor Gallery

1 Gallery

CEO and Event Planner O�ce

8 Outdoor Gallery

7 Outdoor Gallery

+ 4 ’ 0 0 ” “ L o w e r B a s e m e n t ” + 1 7 ’ 0 0 ” U p p e r “ B a s e m e n t ” + 2 9 ’ 0 0 ” L o b b y L v l + 3 9 ’ 0 0 ” L v l 1 + 4 9 ’ 0 0 ” L v l 2 + 5 9 ’ 0 0 ” L v l 3 + 7 3 ’ 0 0 ” R o o f

7 STAGES OF DISAPPEARANCE

Glitch also plays with the idea of the Analogue City created by the highline. Since the Highline is a park raised 20ft above New York’s ground level, The Glitch also raises its ground plane to match the “new city”. Hence, levels below the highline are considered basements.

5 Loading and Services

4 Auditorium

3 Backstage

1 Highline Entrance

Highline

7 Lobby

6 Restaurant

11109 12 Outdoor Auditorium

11 Classroom

10 Central Meeting Room

Gallery

Outdoor Gallery

Gallery

Outdoor Gallery

Gallery

G A L L E R I E S - F L U I D A N D E V A P O R A T E

P L A Y A N D W O R K - D I S I N T E G R A T E

C I R C U L A T I O N - S O L I D A N D C E R T A I N

5 Classroom 2

4 O�ce

3 Cafe

1 Lobby

Central Meeting Room

6 CEO and Event planner o�ce

13 Meeting Room 2

11 Auditorium

9 Gift Shop

10 “Underground” Restaurant

H ighl ineH ighl ine Gallery

Gallery

GalleryGalleryGallery

Gallery Gallery

Gallery

Outdoor Gallery

1 9 t h S t r e e t 2 0 t h S t r e e t

S E C T I O N A S E C T I O N B

While teleportation may disintegrate in a seemingly random fashion, it must configure to an algorythm in order to reintegrate the defabricated pieces as they arrive at their destination. Hence, the programmatic elements of The Glitch follow a particular spatial hierarchy.

Circulation, bathrooms and service spaces are located at the same position on each floor. Visitors may utilize the ‘solid’ programs to orient themselves within the shifting chaos.

Administrative spaces and the cafe are loctaed at the 20th street wing of the building, while the public entertainment spaces, such as the restaurant, auditorium and gift shop are located at the lower 19th street wing as they take advantage of the highline as the backdrop.

The galleries are loosely defined as they flow between the disintegrating yet defined administrative and entertainment spaces. The outdoor galleries are on the patios generated by the process of disintegration.

O r d e r w i t h i n t h e A n t i - F o r m : T h e s y s t e m o f d i s a p p e a r a n c e

SIRCUIT SERA - STC RIO HEAD-Q U A R T E R S2 Week Competition Submission@ Stu-dio with Professor Armando MontillaGroup Spring 2012

VALERIE OR, JACKIE BATANGLO, MARY ROBERTS, WESLEY HASSEL

YOUR CAR HAS BEEN CHARGED!

DRIVE/ STAND BYDRIVE/ STAND BY PARKING MODE

Fin-like Photovotaic Panels absorb sunlight to generate electricity as

the amount of sunlight exposure for each panel - maximizing energy input. The energy is then converted to electricty to power the Headquarter as well as charge smart cars. Extra power will either be stored or transported into the City Energy Grid that covers most of Rio De Janerio.

This wall is an Ombae System that signals users when their cars are charged. The computerized wall crates 3D images through optical-tile pixels that generate light and shadow. This system is particularly useful for those who are waiting on the beach while their vehicles are charging in the slow charge tower.

The boardwalk canopy transfers electricity through the veins and roots to the charging level.

P R O J E C T 7 : S T C R I O H E A D Q U A R T E R SThis project was an idea submission for the STC RIO competition. We were given 2 weeks in a group of 4 to develop a 16100 m2 Headquarters for the launch of electric cars in Ipanema, Rio de Janerio. The learning goals for this project was to master Rhinoceros 4.0 and build team work skills within a tight deadline.

D e s i g n s t r a t e g y : T w o t o w e r s , o n e b o a r d w a l kI p a n e m a B e a c h

P r a c a G e n O s o r i o

YOUR CAR HAS BEEN CHARGED!

DRIVE/ STAND BYDRIVE/ STAND BY PARKING MODE

Fin-like Photovotaic Panels absorb sunlight to generate electricity as

the amount of sunlight exposure for each panel - maximizing energy input. The energy is then converted to electricty to power the Headquarter as well as charge smart cars. Extra power will either be stored or transported into the City Energy Grid that covers most of Rio De Janerio.

This wall is an Ombae System that signals users when their cars are charged. The computerized wall crates 3D images through optical-tile pixels that generate light and shadow. This system is particularly useful for those who are waiting on the beach while their vehicles are charging in the slow charge tower.

The boardwalk canopy transfers electricity through the veins and roots to the charging level.

P R O J E C T 7 : S T C R I O H E A D Q U A R T E R SThis project was an idea submission for the STC RIO competition. We were given 2 weeks in a group of 4 to develop a 16100 m2 Headquarters for the launch of electric cars in Ipanema, Rio de Janerio. The learning goals for this project was to master Rhinoceros 4.0 and build team work skills within a tight deadline.

D e s i g n s t r a t e g y : T w o t o w e r s , o n e b o a r d w a l kI p a n e m a B e a c h

P r a c a G e n O s o r i o

��

� ��

F cS c B swap

VEHICLE CHARGING LEVEL - 3 Options

BOARDWALK LEVEL

Sircut Serra takes on the form of Ipanema’s Sugar Loaf mountain landmark and transfers the spirit of Rio’s people to the spirit of sustainability. The boardwalk is enhanced by a bridge that connects the two nodes - Praca Gen Osorio and Ipanema Beach. This invites pedestrians to “climb” the new urban topogra-phy and familiarize themselves with the the new technology. R. Prudente de Morais Elevation Av Viera Souto Elevation

R. Teixiera de Melo Elevation

R. Teixiera de Melo

1 O�ce Tower2 Slow Charge Parking3 Boardwalk and retail4 Indoor retail5 Car dealership6 Fast Charge level

O�ce and Control Tower

Shopping mall

Bridge and Boardwalk

Slow Charge Parking

Battery Swap

Fast Charge

SERENE BUT PRETTY SLICKFrom Rhino to Model@ Visuali-zationwith Pro-fessor Douglas Hecker IndividualSpring 2012

P R O J E C T 6 :

S E R E N E B U T P R E T T Y S L I C K

In this project studnts were to create a rhino model that will first

be rendered then be built at a 1/4” scale. Every student will begin

with a 50’ x 20’ x 100’ block that houses two negative spaces of

choice and develop floor plates, the structural frame, mullions,

environment and background. The second part of this excercise

will then transform a portion of this rhino model into reality - taking

into considering the architectonics of each joint, material and

assembly methods.

P R O J E C T 6 :

S E R E N E B U T P R E T T Y S L I C K

In this project studnts were to create a rhino model that will first

be rendered then be built at a 1/4” scale. Every student will begin

with a 50’ x 20’ x 100’ block that houses two negative spaces of

choice and develop floor plates, the structural frame, mullions,

environment and background. The second part of this excercise

will then transform a portion of this rhino model into reality - taking

into considering the architectonics of each joint, material and

assembly methods.

T H E E X P E R I M E N T : V A C U F O R M

1. Place a piece of plexi in between 2 picture frames

2. Then place the apparatus on top of premade moulds

3. Place the mould and the picture framed plexi inside the oven for approx. 10 seconds to let the plexi melt

4. Take the operation out of the oven and place it on the porus box and turn on the vacum!

5. Remove the plexi from the mould and picture frame and trim as desired.

SEMESTER IGEOMETRIC ABSTRACTIONS

H igh Museum P ro je ct @ Studio with P ro fe ssor Criss M ills

REDESIGN, RE CO NFIG, REHABILI TATEMa rt ha Mi tc hel Square @ Stu dio wit h P ro fessor Criss Mi ll s

LEARNING FROM ZU MT HO RStud io w ith Pr of esso r Cri ss M il ls

A GA TE WAY TO T HE ART S

THE STUDIO CIRCU SMa rt ha M itchel Squa re @ Studio with P ro fe ssor Criss M ills

FROM PAINTING TO MODELStud io w ith Pr of esso r Cri ss M il ls

A GATE WAY TO THE ARTS4 Week High Mu-seum Project@ Studio with Pro-fessor Criss Mills IndividualFall 2011

S I T E A N A L Y S I S :O B S C U R E E N T R A N C EA F T E R N O O N P L AY T I M E

REDESIGN RECON-FIG REHABILITATE 3 Martha Mitch-el Square@ Stu-dio with Pro-fessor Criss Mills IndividualFall 2011

Located at the heart of downtown Atlanta, the Margaret Mitchell Square is the

epitome of the city’s social segregation. Not only is it at the intersection of two opposing city

Center’s Headquarters. As a result, the intersection is regularly crossed by many, yet the

attached square is often ignored and even avoided as the homeless/ transiet occupy and

congrugate in the triangular parcel.

Students were to design a para-architectural piece (within the boundaries of Marga -

ret Mitchell Square) that provides shelter/ parkspace to interact with the homeless/ transient

and particularly those who seek refuge in the public library.

JOURNEYS THAT CROSS THROUGH THE MARGARET MITCHELL SQUARE

JOURNEYS THAT CROSS THROUGH THE MARGARET MITCHELL SQUARE - CLOSE UP

DENSITY OF URBAN ACTIVITY REFLECTED INSIDE SITE

NEW SITE GEOMETRY

LEARNING FROM Z U M T H O R 3 Interpreting the Pavillion@ Studio with Pro-fessor Criss Mills Group Fall 2011

VALERIE OR, HAI MING TAN

BUILDING ZUMTHOR ’S SERPENTINE GALLERY

THE INTERPRE TATION: ROOF RAMPS

ANALYSIS OF THE ZUMTHOR ’S SERPENTINE GALLERY

THE STU-DIO CIRCUS2 Week Transfor-mations@ Stu-dio with Pro-fessor Criss Mills IndividualFall 2011

CIRCUS TH

C U S T H E S

T U D I O C I R C U S

P R O J E C T 2 : T R A N S F O R M A T I O N S

I T E R A T I O N 2 TRANSFORM

E X P E R I M E N T 1 : U N B O X I N G

T H E S T U D I O C I R C U S : A C T I V A T I O N , R O T A T I O N , U N F O L D

FROM PAINT-ING TO MODEL1 Week Eliminat-ing the Ground Plane@ Studio with Professor Criss Mills IndividualFall 2011

ALEXEI VON JAWLENSKY P A I N T I N G T O M O D E L

L i n e s a n d d i r e c t i o n a l f o r c e a n a l y s i s

A p l a y o f h i d d e n p l a n e s a n d f o r m s

V A L E R I E O R F A L L 2 0 1 1 S P R I N G 2 0 1 2 S T U D I O E X P L O R A T I O N S

2011 - 2012 studio explorations

Documents

e s t e r

s e p t e

b e r s e

professor cr iss

e o f c o n t e n t

professor armando monti

rhino t o model

visual izat ion