Module1d Intro

CCA architectural analysis antje steinmuller

part d - skin systems

Leif Estrada, Arch.Analysis 2010


Pranay Mowji, Madrid Social Housing (Morphosis)


Pranay Mowji, Madrid Social Housing (Morphosis)


Pamela Pascual, Alessandra Marsh, Arch.Analysis 2011










Heidyeh Lavasani, Patio Housing (Neutelings)


Vanessa Carvalho, Jeff Moody, Arch.Analysis 2011






HOUSING TACTICS

teaching

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Module 1b/c: Spatial Analysis + Grain

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UNFOLDED ELEVATION

TYPOLOGY STYDIES

SOUTH

11 TINU01 TINU9 TINU8 TINU7 TINU

UNIT 2 UNIT 3 UNIT 4 UNIT 5 UNIT 6

SOUTH ELEVATION

THIRD FLOOR PLAN

SECOND FLOOR PLAN

(FRONT)

(FRONT)SOUTH ELEVATION

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Anesta Iwan, Bobby Leung, Arch.Analysis 2011


Architect

City / Location

Year Built

Area, # Floors, # Units

Lorcan O’Herlihy Architects

West Hollywood, California

Summer 2009

16,000 SF, 4 stories, 11 Units

Formosa 1140B. Leong, A. Iwan

OFFSET / SHIFTBy o! setting the exterior envelop from the inner wrap-per, there’s a chance for a shift between the openings on both layers. Because of these shifts, variations are created between each unit. Through these studies, the rhythm, as well as the depth of porosity and light penetrations within the units proves the uniqueness of each unit. The struc-ture behind the panels, not only holds up the skin system, but also takes a role in the overall form.

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GRAIN OF OPENINGS (EXT. SKIN) GRAIN OF OPENINGS (INT. WRAPPER) BLOCKAGE SUN RAYSPOROSITY THROUGH OPENINGS

Architect

City / Location

Year Built




Summer 2009



OFFSET / SHIFTBy o! setting the exterior envelop from the inner wrap-per, there’s a chance for a shift between the openings on both layers. Because of these shifts, variations are created between each unit. Through these studies, the rhythm, as well as the depth of porosity and light penetrations within the units proves the uniqueness of each unit. The struc-ture behind the panels, not only holds up the skin system, but also takes a role in the overall form.

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GRAIN OF OPENINGS (EXT. SKIN) GRAIN OF OPENINGS (INT. WRAPPER) BLOCKAGE SUN RAYSPOROSITY THROUGH OPENINGS





Architect

City / Location

Year Built




Summer 2009



WRAP AND DETACHThe panels within the skin system are arranged and coordinated with one another to form a continuous ! ow from the Western (street) to the Southern (landscape) facades, while leaving the other two eleva-tions to ! oat in a detatched manner. The main focus of the design is stressed on the “exposed” Western and Southern facades, as opposed to the implied ”back” Northern and Eastern facades.

SKIN EXPLORATIONThe skin is explored through a series of porosity studies starting from the initial solid/void relationship, to material porosity, to skin layer-ing. The skin system consists of an inner wrapper as well as a com-posite of two panel types that make up the exterior skin o" set from the inner wrapper.

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TYPOLOGYSeeing that there are a couple of similar shapes within the di! er-ent skin panels, they are now isolated by type to " nd any pattern of their locations. But after examining the outcome, there seems to be no pattern as to when and where each panel type is placed and rotated.

Architect

City / Location

Year Built




Summer 2009



TYPOLOGYSeeing that there are a couple of similar shapes within the di! er-ent skin panels, they are now isolated by type to " nd any pattern of their locations. But after examining the outcome, there seems to be no pattern as to when and where each panel type is placed and rotated.

Architect

City / Location

Year Built




Summer 2009





Architect

City / Location

Year Built




Summer 2009



REVISITING GRAINAside from the spatial conditions that make up the grain within the project, the grain of the skin system begins to suggest a dif-ferent understanding of the project. By separating the grain by di-rectionality as well as material, the rhythm generated by each type is revealed. With a larger portion of skin dominated by the orange panels, the red became responsible for the detailed moves. The rhythm of the skin, both vertically and horizontally as a whole is demonstrated through the composite grain diagram.

Architect

City / Location

Year Built




Summer 2009



REVISITING GRAINAside from the spatial conditions that make up the grain within the project, the grain of the skin system begins to suggest a dif-ferent understanding of the project. By separating the grain by di-rectionality as well as material, the rhythm generated by each type is revealed. With a larger portion of skin dominated by the orange panels, the red became responsible for the detailed moves. The rhythm of the skin, both vertically and horizontally as a whole is demonstrated through the composite grain diagram.



Architect

City / Location

Year Built




Summer 2009



GRAIN / VOIDGrain can old inform the “movement” of the “solid.” One hypothesis was the the panels moved in accordance to provide more room for the openings. But when the voids and the grains are juxtaposed against each other, there is only a sense of movement and the grains do not aggressively serve as a “railing” system.

POINT OF CONTACTAs the skin is made up of many small panels that are more in re-lation to each unit, an overall understanding of the form is also needed --looking at how the skin meets the sky and ground. The pushing further within the panel aggregation to see when and where the window openings on the interior wrapper meet exactly edge-to-edge with the panels.

Architect

City / Location

Year Built




Summer 2009



GRAIN / VOIDGrain can old inform the “movement” of the “solid.” One hypothesis was the the panels moved in accordance to provide more room for the openings. But when the voids and the grains are juxtaposed against each other, there is only a sense of movement and the grains do not aggressively serve as a “railing” system.

POINT OF CONTACTAs the skin is made up of many small panels that are more in re-lation to each unit, an overall understanding of the form is also needed --looking at how the skin meets the sky and ground. The pushing further within the panel aggregation to see when and where the window openings on the interior wrapper meet exactly edge-to-edge with the panels.



Architect

City / Location

Year Built




Summer 2009



SPECIFIC POROSITYFollowing upon the previous Unit Identity diagram, each unit then can be analyzed through the level of porosity it receives due to the nature of the varying skin. Each unit di! ers in terms of light quality, visual array, and privacy, allowing the potential residents a customized choice.

UNIT 1 UNIT 7 UNIT 8 UNIT 9 UNIT 10 UNIT 11


SOUTH ELEVATION(FRONT)

(REAR)NORTH ELEVATION

NORTH ELEVATION(REAR)


WEST ELEVATIO

N EAST

ELE

VATI

ON



Architect

City / Location

Year Built




Summer 2009



UNIT IDENTITYThe most signi! cant concept of the design lies on the exterior facade rather than within the unit con! gurations. While the units are very similar to one another, the quality of the skin allows for a di" erentiation, or identity for each unit.

UNIT 1 UNIT 7 UNIT 8 UNIT 9 UNIT 10 UNIT 11


SOUTH ELEVATION(FRONT)

(REAR)NORTH ELEVATION

NORTH ELEVATION(REAR)


WEST ELEVATIO

N EAST

ELE

VATI

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HOUSING TACTICS

teaching

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Module 1b/c: Spatial Analysis + Grain

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UNFOLDED ELEVATION

TYPOLOGY STYDIES

SOUTH

11 TINU01 TINU9 TINU8 TINU7 TINU


SOUTH ELEVATION

THIRD FLOOR PLAN

SECOND FLOOR PLAN

(FRONT)


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Jason Vereschak, Rania Odeh, Arch.Analysis 2011






















Francis Silagon, David Gastaneta, Arch.Analysis 2011










Amanda Cross, Claudine Chiongbian, Arch.Analysis 2011






Colin Deckner, Mateen Mortazavi, Arch.Analysis 2011


Module 01 d 11

Architect

City / Location

Year Designed / Built


Herzog and de Meuron

Tribeca / Location Here

2008 / In Progress

425,000 sf, 57 Floors, 145 UnitsColin Deckner, Mateen Mortazavi, Arch.Analysis 2011


North

East

Control

Control

Control

Control

Control

Control

Control

Control

2 Units

3 Units

4 Units

Public/Amenity

1 Unit

West

South

Negative from Highest & Lowest PointW

ITH

BAL

CON

IES

NO

BAL

CON

IES

By taking each elevation of 56 Leonard Street, the variance between !oors has become aparent. Making a simple bar diagram made it clear to see exactly how much each !oor deviates from one another. The negative of each edge of each elevation is also key because it shows the space created between the building envelope and the building edge.

Module 1D

Architect

City / Location



Herzog&DeMueron

Tribeca, NYC

2008/In Progress

425,000 sqft, 58 Floors, 145 Units

North

East

Control

Control

Control

Control

Control

Control

Control

Control

2 Units

3 Units

4 Units

Public/Amenity

1 Unit

West

South


ITH

BAL

CON

IES

NO

BAL

CON

IES


Mateem M & Colin D.Mateen M & Colin D.

North

East

Control

Control

Control

Control

Control

Control

Control

Control

2 Units

3 Units

4 Units

Public/Amenity

1 Unit

West

South


ITH

BAL

CON

IES

NO

BAL

CON

IES





South

West

East

North

With Balconies

SouthWestEastNorth

WestEastNorth

South

Without Balconies

With Balconies

Composite of Both

Without Balconies

2 Units3 Units

4 Units

Public/Amenity

1 Unit

By creating a plan without detail and only dimensions, it has become coherent how the column sizes vary and align with each other. The elevator and stairs stay constant, but the doorway sizes also vary in size depending on the use.


South

West

East

North

With Balconies

SouthWestEastNorth

WestEastNorth

South

Without Balconies

With Balconies

Composite of Both

Without Balconies

2 Units3 Units

4 Units

Public/Amenity

1 Unit

By creating a plan without detail and only dimensions, it has become coherent how the column sizes vary and align with each other. The elevator and stairs stay constant, but the doorway sizes also vary in size depending on the use.

Module 1D

Architect

City / Location



Herzog&DeMueron

Tribeca, NYC

2008/In Progress

425,000 sqft, 58 Floors, 145 Units



Gustavo DeLeon, WoZoCo (MVRDV)


Chanelle Hurst, Yerba Buena Lofts (Saitowitz)


John Improgo, Nemausus (Nouvel)





Documents

Module1d Intro