MICHELLE MARSHALLQUALIFYING DESIGN STUDIO

INT 601-03 / FA15

PROCESS BOOK

TABLE OF CONTENTSF1.1: MASSING STUDYF1.2: SPATIAL STUDYF1.3: JOINT STUDYF2.1: CATALOG: DISSECTION, OBSERVATION, & MAPPINGF2.2: 3D LINEAR STUDYP1.1: ACTIVITY MAPPINGP1.2: PAVILIONP2: LIVE/WORK

F1.1: MASSING STUDY

SIDE ELEVATION NEGATIVE SPACE POCHE

FRONT ELEVATION NEGATIVE SPACE POCHE

F1.2: SPATIAL STUDY

CONTROL STUDY 01: POSITIVE SPACE

MOVEMENT

DIRECTION

IMPERFECTION

ASYMMETRY

CONTROL STUDY 02: NEGATIVE SPACE

MODEL FRONT ELEVATION

WE WILL ALWAYS FIND IMPERFECTION IF WE LOOK FOR IT. WE WILL FIND GOOD IF WE LOOK FOR IT.

Top Elevation

MODEL RIGHT ELEVATION

Back Elevation

INSPIRATION: BEAUTIFUL IMPERFECTION

Negative Space ModelBack Elevation

Negative Space ModelSide Elevation

REDUCTION MODEL

REVISED REDUCTION MODEL

• BEND TO FIT• SENSE OF MOVEMENT• SENSE OF DIRECTION• SENSE OF PURPOSE• AIRPLANE• DIAGONAL

F1.3: JOINT STUDY

JOINT MODEL AND DRAWINGS

VERBS: TO GATHER - MAGNETIC, A UNIFIERTO SURROUND - ENVELOPE, KEEPTOGETHER, COMFORT

JOINT MATERIAL EXPLORATION

The joints between different materials and shapes and spaces are pretexts for generating texts. It is a sign of things to come. It achieves the change of conditions. It solves practical, social, historical & individual functions.

The gaps are a window into what is to come. They provoke curiosity. They gather attention.

A door is an invitation to gather: to be surrounded within its walls.

FOAM MODEL 1

FOAM MODEL 2 FOAM MODEL 3 FOAM MODEL 4

PAPER MODEL 4PAPER MODEL 3PAPER MODEL 2PAPER MODEL 1

FINAL JOINT MODEL

JOINT MODEL DRAWINGS

Top Elevation

Side Elevation

Front Elevation

Isometric Perspective

F2.1: DISSECTION, OBSERVATION, & MAPPING

Stamping: 3 Methods were attempted -Natural stamping, ink stamping and graphite. Ink was the mostSuccessful.

Curve study:The interesting result was the irregularity of the longitudinal curve of each star point.

Decomposition: Difference of 1/16 inchBetween first and lastPhotos

Diagram 1:Inner structure of star formation was com-pared to center in each section

Diagram 2: Circles were drawn using a radius of the center compared to theExterior points of each section

Diagram 3: Each section was drawn using scribble poche technique toHighlight light vs. Dark andIllustrate the depth of eachSection

F2.2: 3D LINEAR STUDY

WIRE MODEL 3WIRE MODEL 2WIRE MODEL 1

WIRE MODELS BASED ON INNER STAR DIAGRAM

BASS MODEL 1BASS MODEL 1BASS MODEL 1

BASS MODELS BASED ON OUTER STAR DIAGRAM

BASS MODEL 1

LIGHT VS. DARK

These modelsRepresent theDiagram above in their depiction of the diversity in size, color & saturation of each section.

STRING MODELS 1,2 & 3

The focus is on the irregularity andcentrality of the starfruit. Itillustrates that no two points of the fruit have the same radius in respect to the center, neither are they regularly spaced. TheBeauty of their unique placement around the core evokes a feeling of movement. The end points and the changing colors throughdecompostion are alsoreferenced through the oxidation of the metal.

CONCEPT

AMPLIFICATION OBFUSCATION

PROCESS SKETCHES

P1.1: ACTIVITY MAPPING

ACTIVITY MAPPING PLAN VIEW

DIAGRAM SET 1

DIAGRAM SET 2

DIAGRAM SET 3

DIAGRAM SET FINAL

KEY

FACE (WHITE)

SHOULDERS (GREEN)

ARMS (PURPLE)

TORSO (RED)

HIPS (BLUE)

LEGS (YELLOW)

FEET (BLACK)

DIAGRAM SET 1

DIAGRAM SET 2

DIAGRAM SET FINAL

ACTIVITY MAPPING ELEVATION VIEW

KEY

FACE (WHITE)

SHOULDERS (GREEN)

ARMS (PURPLE)

TORSO (RED)

HIPS (BLUE)

LEGS (YELLOW)

FEET (BLACK)

AFTER TWOMBLY...ONE EVENING BY IDRIS KHANAFTER DUCHAMPT BY IDRIS KHAN

1:1 SCALE DIAGRAMS AND INSPIRATION

HEAD MOVEMENT ARM MOVEMENT

DANCE DIAGRAM BY ANDY WARHOLMOTION STUDIES BY ETI-ENNE-JULES MAREY

LEG MOVEMENT FOOT MOVEMENT

MODEL INSPIRATION:SLAT DANCE BY OSKAR SCHLEMMER ANDRED AND BLUE CHAIR BY GERRIT REITVELD

ACTIVITY MAPPING MODEL 1

POSITIVE SPACE NEGATIVE SPACE

MODEL INSPIRATION:SLAT DANCE BY OSKAR SCHLEMMER ANDRED AND BLUE CHAIR BY GERRIT REITVELD

ACTIVITY MAPPING MODEL 2

POSITIVE SPACE NEGATIVE SPACE

P1.2: PAVILIONP1.2: PAVILION

SITE ANALYSIS/OBSERVATION: Morgan Library

Abundance:• space• light• verticals• horizontals

Lacking:• Harmony between the old and

new• space for rest and reflection

Soft Edge

Intermediate Edge

Hard Edge

KEY:

Soft Edge

Intermediate Edge

Hard Edge

KEY:

Inspired by the materials around it, the pavilion incorporates elements from the Morgan library and from Renzo Piano’s three courtyard pavil-ions which join the original structures.

Burnished Cherry Wood

Tempered Safety Glass

Granite

Materiality of Spaces

CONCEPT

RENZO PIANO CREATED A HUGE VOLUME OF SPACE AND LIGHT THAT BREAKS SHARPLY FROM THE DESIGN OF THE HISTORICBUILDINGS THAT IT JOINS. THE PAVILION INTERRUPTS THIS VOLUME AND OFFERS A PLACE FOR PAUSE AND FOR ORIENTATION. IT SEEKS TO HARMONIZE THE OLD AND THE NEW BY ALLOWING EXPLORATION OF THE TRANSITIONAL SPACE FROM VARIOUS HEIGHTS AND BY INTEGRATING COLOR AND TEXTURAL ELEMENTS FROM BOTH. ITS SHAPE PAYS HOMAGE TO BOTH THE VERTICALITY AND LINEARITY OF THE SPACES AS WELL AS THE DIAGONAL MOVEMENT OF SWINGING A BAT FROM LOW TO HIGH.

CONCEPT MODEL 1

CONCEPT MODEL 2

Inspired by Luis Barragan: Los Clubes

CONCEPT MODEL 3

Inspired by Mark Fornes: The Very Many

• Seating for approximately 200 spectators

• Inside, the concrete construction is clad with wood, outside fully sealed with a hotsprayed polymer same color and tex-ture as clay tennis courts.

• The roof dips down towards the south side, raised 7 meters towards the north, creat-ing an informal tribune.

• The wide glass frontage allows extensive natural lighting and provides a view across the waters of the adjacent IJ-lake.

INSPIRATION

“The Couch” at IJburg tennis club: a sculptural red clubhouseby Dutch architects MVRDV, Amsterdam

Peaceful Private Views Out Curtain Walls

The New Whitney Museum By Renzo Piano

SKETCH MODEL

FINAL MODEL

• INTERRUPTION: The location and stone wall and center staircase of the inserted pavilion are intended as an interruption of the cavernous space within the Morgan Library Pavilion.

• PAUSE AND ORIENTATION: The variety of seating options from different vantage points provides the opportunity to stop, to rest, and to get one’s bearings within the space.

• EXPLORATION AND APPRECIATION: During the pause, one can visually explore the interior and exterior from different heights, experiencing the harmony between the old and the new.

PAVILION SITUATION AND USAGE• The inserted pavilion sits

in proximity to the far curtain wall of Renzo Piano’s central pavilion, briefly overlapping onto the southern pavilion.

• Patrons can climb the central stairway and sit on side stairways to pause or to view the entire space from differ-ent levels as well as the exterior garden.

• At the back of the insert-ed pavilion are smaller stacked seating areas for rest and orientation

• Patrons have options for varying levels of privacy in the vast space around them.

PLAN, SECTIONS AND ELEVATIONS

Plan Section Front

Section Back

East ElevationWest ElevationSouth Elevation

North Elevation

EAST SECTION

P1.2: PAVILIONP2: LIVE/WORK

THE GARMENT• Entirely handmade in paper by Polish fashion designer Bea Szenfeld• Designer born in Poland in 1972, living in Sweden since childhood and graduated in 2002

from Beckmans College of Design• Known for her EXTRAVAGANT silhouettes and shapes, often displaying a breathtaking

DYNAMIC structure and OVERSIZED proportions in ORGANIC and non-organic forms.• Unique take on retro and secondhand materials; commissioned for artists such as Björk.• Plays on HUMOR and VOLUME• Models are dressed in nude body suits and encased in a huge paper structure• Szenfeld has not used any form of 3D printing to create this collection• Uses simple cut-and-glue technique

THE CLIENT• Swedish artist who specializes in origami and white paper sculpting inspired by nature• Lives alone with guide dog who helps maneuver the streets because of garmet limitations• Obsessive, fastidious, perfectionist who works in white and hates smudges and fingerprints• Artist always wears protective gloves which have become a part of her daily attire• Runs workshops regular classes for people of all ages, not more than 5-10 at a time• No fixed schedule except during the class hours, attends various promotional events• Entertains friends and family often• Frequently travels internationally and displays collections and photographs from travels• Needs work and display space for projects that range from small decorative to human scale• Needs storage space for paper supplies for work and classes• Live/work space should embody unique magnificence with humble materials • Appreciate colorful environment where white artwork will stand out

THE MAQUETTE600+ circles cut from paper plates at different radii. Wavy pieces were placed between each plate and threaded through theirapproximate center to create the appearance thickness and also allow for movement.

Base structure had to be sturdy using illustration board in order tosupport multiplesuspended circlestructures. Strong glue was used to affix thecircles to the base.

This process led to a greater understanding of the structure of thegarment and the skill, time and attention to materiality and detail required to complete a project like this.

More than fifty hand-cutcircles ofvaryingdiameters are threaded through their centers and suspended on a knotted string tocreate one of more than fifty collections that areattached to the base structure.

Eachcollection of circlesoverlaps andinterconnects with adjacent collections.

THE LOFT

Abundance:

• Windows• Light• City Views• Concrete• Steel/Iron• Hallway

space• Open Space

Scarcity:

• Foliage• High end

finishes• Private Space

4pm light effects from south and west

Network of beams and pillars

Concrete “pit” along window walls

Painted concrete floor with light

Concrete ceiling beams

Steel casement windows

Entrance hall with orange painted floor

THE BUILDING: 475 Kent Avenue, South Williamsburg

ANNUAL SOLAR PATH

Neighborhood:

• Industrial Feel• Hasidic Jewish and

Hispanic demo-graphic

• Influx of families and young people

• Built 1911• Approximately 100 units• Artist Lofts• Former Pasta Factory (V. La Rosa)• Converted to Artist lofts in 1998• Shared Roof Deck

Abundance:

• Artists & Families• Housing projects• Warehouses• Transportation• Parks & playgrounds• Graffiti

Scarcity:

• Streetscaping• Curb appeal• Pedestrian traffic

Kent Ave• Upscale shops and

services

Roof deck with graffiti

BROOKLYN WIND STATISTICS

SUMMER

WINTER

EASTSOUTH

N

Apt. 10J

ACCESSIBILITY

THE PROGRAM

• SPACE for transition and freedom of movement to accommodate the size of the garment.

• DESTINATIONS for rest, creativity and teaching, exhibition, and entertaining.

• Abundant STORAGE to place creative pieces and to simplify the space.

• Allowance for AIR FLOW and to reflect movement in the paper creations

• DISPLAY for and personal items that are accessible and visible while wearing the garment.

• PRIVACY in the most light filled corner of the loft.

Inspired by the movement of the curtain andhanging chair in the wind, the shape of theceiling takes its form from the dirction andstrength of the wind throughout the space

tracks the fluid and irregular motion of the curtain in the wind shows the angle of the chair swing in the wind

THE CONCEPTThis project intends to create A SYMBIOSIS by responding to the shape of the structure and mimicking the flow of the WIND through the space.

It replicates elements of of the garment using aSUSPENDed and RADIATING ceiling that INTERCONNECTs with other design planes.

ARCHITECTURAL INSPIRATION

Kunsthaus Bregenz by Peter Zumthor Smales Farm Technology Office Park, Auckland, NZ

Suspended CommunityLibrary in China

SUSPEND

Kengo Kuma, Workspace and Care, Osaka

Tunnel of Love, Ukraine

Farewell Building, Detroit Cooling Tower of Abandoned Power Plant

LAYER/STACK

RADIATE

CONCEPT MODEL 1

Suspend

CONCEPT MODEL 2

Radiate

CONCEPT MODEL 3Suspended Radiation

CONCEPT MODEL 4Suspended Radiation

SKETCH MODEL: SUSPENSION AND RADIATION

Above: Plan and section preliminary sketchesBelow: sketch model pieces placed in plan view Hallway Sketch Model with suspended and stacked elements

COMPLETED PERSPECTIVES OF SKETCH MODEL

Top Left: View from north west window toward suspended bed platform

Bottom Left: Fiew from North East Window toward westwindows

Top right: View from south west window toard hallway of stacked and radiating ceiling structure

THE DESIGN SOLUTION

Iterations of final floor plan

Above: Initial sketchesBelow: Final iteration sketches

FINAL LOFT MODEL

Undulating ceiling treatment which begins at the top of the entrance door and rises to ceiling height at the end of the hall.

View from northeast corner of loft looking west to see bed platform and core on the left.

View from west win-dows toward hallway (through kitchen area).

Shower and toilet space at the core of the loft.

View from northeast corner of loft with suspended work table that bisects the core wall. Suspended bed platform can be seen in the disance. Ceiling radiates from the octagonal center column andsimultaneously undulates starting with large waves from the northwest corner of the loft. Waves become smaller following the direction and intensity of the wind as the ceiling treatment reaches the hallway at the south east corner of the loft.

Aerial view of the core without the ceiling treatment.

ShowerRoom

ToiletRoom

Sink and Vanity

Dressing Room

Suspended bed which disects the core wall

Suspended work table which disects the core wall

Suspended kitchen work station and seating which disects the core wall

A core that radiates from the center octagonal column and mimics the diagonals and lines of the interior wall.

Features include adressing room, a shareddouble sink, separate toilet and rain shower rooms.

All surroundingfunctional furnitureslices through the core and is suspended from theceiling for additional support.

As one enters the loft space from the hallway, a rotating purple display wall is situated at the facing corner of the core structure. This wall is specifically designated to display and store the garment. As it rotates inward, the garment is concealed in the dressing room, which can be accessed on the opposit side of the core.

CEILING PLAN

One of the most notable features of the proposed space is the ceilingtreatment which radiates in undulating waves from the octagonal centercolumn and covers the entire ceiling.

The waves are largest near thenorthwest corner as the sun and wind are both strongest from that corner and travel through the apartment at a virtual diagonal toward the south and east.

This answers the client’s need herenvironment to embody a uniquemagnificence made with humbilematerials. Possible materials would be a light compressed cardboard in white, thin strips of flexible bamboo in a light shade or aluminum rods. This could allow for gentle movement in the wind.

Ultimately, the goal is to have theceiling converge into the core walls in almost a funnel effect so they are a unified piece of work.

The radiating pattern is spacedfurther as it reaches the hallway as both light and wind are more wanting in this particular space. Tocompensate, a linear skylight is placed along the east wall of thecorridor for almost the entire length and the darkest areas.

Additionally, tiny pin downlights will be randomly disbursed andsuspended from the ceiling to shine between the ceiling treatment and create a magical effect. The intention is to create suspense as one reaches the main loft space.

REFLECTED CEILING PLAN

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