Model Images

Experiences

Yale Center for British Art, New Haven, Connecticut
Palais Garnier, Paris, France
Villa Savoye, Le Corbusier
Villa Curruchet in La Plata, Argentina, Le Corbuiser, 1959

Chandigarh Secretariat, Le Corbusier

General to Specific- The Cube Model (continued)

A Set of Principles

1. Restrictions

• Through imagination, they transcend the mundane by exploiting, not avoiding, restrictions. The cubes are the creative leaps that happen are possible only because of the existence of establishing boundaries (ex: games)

2. Imagination

3. Nature

• They mark boundary of our control
• The grid defines a territory where we believe we can assert our influence over nature; a mechanism that helpls us divvy up nature, and then becomes a tool to reorganize it down to the scale of the pixel.

4. Materials

5. Form

• All forms have shape, but not all shapes have form
• Form implies some kind of order and signifies an underlying structure. A shape without recognizable organization is "formless"
• Any group of cubes create its own context of legibility

Garden Model drawings

Cubes

The garden model: specific to general

The Cube Models: general to specific; spatial relationships in the cube, sense of boundary in the cube, crossing, and geometric formula

Materials at 1:1 scale tend to be fragments of some larger, never to be realized whole. These disembodied construction details, typically corners and connections, are yet another form of abstractions, impossible to apprehend without their full context.

Purpose: to learn how to develop a system of logic, or language, with each construction that sustains relationship between form and material. The cubes are not intended to imply any direct, linear connection to building design or technology. Instead the exercises are analogs that isolate a very specific set of issues in order to examine the decision making process regarding fundamental material relationships. Construction techniques are just a tool whose mastery opens possibilities. The idea working with plywood is the familiarize students with typical construction materials and methods and the building process. This knowledge will give confidence and appreciation for the craftsmanship required to work with these materials at a job.

How?

This can be accomplished by coming to terms with the materials physical reality. Some are brilliant in their logic while others remain unsolved. These logical systems cannot be preconceived and imposed, but discovered through an iterative, give a and take dialog that links the hands, materials, and the imagination in a feedback loop. This ads us to a clearer understanding of the materials which ultimately shapes a system, a set of rules that integrates the part and the whole.

"confronting material reality is typically not a priority"

The Cube

Simple, Stable, Absolute, Fixed frame of Reference, and Experimentation with ideas related to materials

Garden Model

Illustrating

Separating the Puzzle Pieces

Modeling

Architectural Spaces

Serpentine: plywood form panels held to curved shape with wire, wall is incredibly strong

The Capitol; representation
- Bicameral; two side structures represent the two branches
- Dome; the people
- "Lift" : respect

Bernard Tschumi, Sequences

Sequence includes or implies at least 3 relations: (1) internal relation; method of work, (2) external relations; (a) placing close together of actual spaces (b) program; occurrences or events

Transformational sequence- a procedure (ex: plan and section drawings)

• compression and rotation--primary pathway through the garden, direct
• insertion; the message--fantasy/imagination
• transference; emotion--cupid fountain, romantic
• variation; instance of change--four seasons, (background sheds light) transitioning to the next season
• repetitions--pathways, the distances
• inversions; position of objects in a sequence--the Cupid's fountain at the main entrance, welcoming, resembles love
• dissolution; parts--fantasy (gates), romance (Cupid's fountain), imagination (four seasons), competition (villa)

Spatial sequence- generally structural

• differ by dimension, while maintaining similar geometrical form
• increase complexity
• time sequence
• organized around a thematic structure, a series of variations around a limited number of elements that play a role of the fundamental theme: the paradigm ---structure: villa, elements: fountain, theme: romance/fantasy/imagination

Programmatic sequence- social and symbolic connotations; conclusions or inferences can be drawn from the events

Villa Carlotta at Lake Como is an example of a closed sequence, goes through a process and repeats

Form and Function--form is symmetrical horizontally but not vertically, but the way the pathways function, it hides the lack in symmetry

Programs:

those that...

1. indifferent to the spatial sequence--chapel and the kitchen
2. reinforce it--
3. work obliquely or against it

Sometimes contradict each other.

As sequence of events do not depend on spatial sequences, and vice versa, both can form independent systems, with their own implicit schemes of parts...

SEM- space, event, movement

Cinema--temporary flashbacks, dissolves

Contracted sequence--see the beginning of a use in space followed immediately by the beginning of another in a further space

Frames: the moments of the sequence. Examining architecture 'frame by frame,' as through a film-editing machine

Sequencing the Story

Sequence: how does it work? Multiple paths; (2 primary pathways) 1) direct pathway from the entrance to the villa, 2) a pathway that takes visitors through the entire garden

Purpose: fantasy garden; garden of imagination: a romantic setting where visitors can experience all four seasons in a couple of hours.

Telling the story:

The foreground, middle ground, and background

- Foreground; plays a role of direction
- Middle ground; capturing the season
- Background; a light shines directly through the cross section to excite visitors; looking ahead of what is yet to come; transforming seasons

Depth of focus/ views- compressed (physical space), each pathway is a straight shot; protecting the “surprise”

Distances: the pathways are symmetrical horizontally, but not vertically; which could be the purpose of the major pathway (the one visitors would have to take to see the entire garden) that was made

Time: a consideration; the garden would have a singular pathway if it was not for the direct pathway from the entrance to the villa. That second pathway could have been made for those that just wanted to visit the villa, or was short on time.

Events and Objects:

(1) Cupid fountain located at the main entrance

• God of Love; welcoming visitors with open arms
• Italians believed in Cupids powers which could represent the powers of the owner
• Mischievous; competition

Identifying Topos and Logos

Topos- refers to the natural landscape, common place; physical imposed on the surface of the earth

Logos- refers to a geometrical determination; pattern imposed on the surface of the earth

Discovering the Story

Relationship between the sequence and the space:

• How do it work?
• What is the purpose?

Telling the story

- foreground, middle ground, background

- depth of focus

- focus on the views; "scopophilic"---compressed; is it about the views?

- different distances

- time

- compression of the physical space

- events and objects

- passage way

- zones

- mulit-path or singular path

The Garden as an Architectonic Laboratory

The relationship between humankind and nature is treated within this system of measurements and proportions

"The structure of the landscape architecture was a sort of a theatrical production: the villa walls were broken through, while the horizon formed the visual boundary."

"Landscape never allows itself to be entirely captured in format abstractions."

Key Terms: symmetry, position, spatial depth, flow,

Typology and Invention

"embodies a specific relationship to historical experience. By accepting a type, the designer takes existing general notions of imagery and by doing so acknowledges the ideological significance and content as a starting point for creating a new work"- Argan

• typological moment; tradition or convention
• inventive moment; a break with tradition

Topos- natural landscape as the dwelling place of the gods; magical (mythological)

Locus- geometrically determined, distance is measured and time is related

"Layering"--grid, lines, points, and surfaces within

• Three imaginary layers: (1) the 'natural' landscape (2) the 'agricultural' landscape, and (3) the 'architectonic' landscape

Aspects of landscape archiectonic form: basic, spatial, visual, and programme form

"Garden of Friendship"

Villa Carlotta @ Lake Como by Clerici in 1700---between Tremezzo and Cadenabbia

"Temple of Friendship"---built at the highest point of his garden, covering it with a metal roof so that blinding light bounced off, spoiling Melzi's view.

- When Clerici passed away, the villa was passed to his daughter, Claudia
- 'his' referring to Claudia's husband--Giovanni Battista Sommariva di Lodi
- 'Melzi' refers to Francesco Melzi, Sommariva's rival
- Sommariva was buried in his garden

Iron Gates:
- Swirling "C's" stand for Clerici
- Clerici; the name of the first owner of the Villa
- Statues represent the four seasons

Forest Floors + Lake Como
- Formal setting with the flat surface of water
- Garden sets out to catch the spirit of the water
- Simplicity and horizontally
- More lake than land

XXX_Garden_Catalog01.doc

https://mail.ttu.edu/owa/redir.aspx?C=ee41a880d01d409aa3fe4c8acda2902a&URL=http%3a%2f%2fwww.zamzar.com%2fgetFiles.php%3fuid%3d6269093906376001251665975%26targetID%3dwgKEL4yfnSnLJFQu5ldxYg_I_I

Villa Carlotta at Lake Como,1700