_____________________________________________________________________________________ the catholic university of america —school of architecture and planning — spring 2021 — arpl 202: architectural design I — instructors: julio bermudez (coordinator) and francesca hankins _____________________________________________________________________________________ PROJECT 1 : THE BOX OF MIRACLES Introduction This assignment is inspired in a short text written by architect Le Corbusier on the miraculous possibilities afforded by the simplest architectural geometry: a BOX! Yet, we hardly need the Modern master to remind us of the wondrous nature of buildings. Since time immemorial, peoples across Earth have counted on the ineffable dimension of architecture to design and build spaces that make us enjoy, realize and celebrate our immanent and transcendent natures. The ability of seemingly inert form, space, light and matter — architecture —to make us shiver in awe for its ability to lovingly protect/connect us with mother nature, gracefully help us live together, or invoke and secure the presence of God, is extraordinary, miraculous indeed!

“Box of Miracles” by Le Corbusier

He [she/the architect] can create a magic box enclosing all that your heart desires. Scenes and actors materialize the moment the magic box appears; the magic box is a cube; with it comes everything that is needful to perform miracles, levitation, manipulation, distraction, etc. The interior of the cube is empty, but your inventive spirit will fill it with everything you dream of—in the matter of performance of the old Commedia dellArte. 1

Assignment This exercise introduces you to ways to expand your design thinking. Good architecture never comes from domesticated minds and hearts but from agile, inquisitive, and free people eager for new challenges and opportunities In this case, you will need to turn your attention toward imagination (not reason), experience (not analysis), conceptions (not pragmatics), uniqueness (not series), and emotion (not detachment). We are asking you to let go of all your architectural preconceptions and inhibitions (even the ones you learned so far in school) and go for the unbelievable, the impossible … the Miracle!

1 Le Corbusier, “The Core as the Meeting Place of the Arts”, in Jose Luis Sert, Ernesto N. Rogers, and Jacqueline Tyrwhitt (eds.) The Heart of the City: towards the humanization of human life (London: Lund Humphries & Co. Ltd., 1952), 41-52. Quote in p.52.

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Procedure The design process is an act of active and progressive interpretation ('reading') that is informed by its own unfolding. The emphasis is on how the 'reading' evolves as a continuum, how each stage is read in the context of the other ones, and finally how the whole process/transformation is grasped at once. You will need to use a three-stage methodology grounded on metaphoric-analogical leaps that demand you to (1) address conception and experience at once, and (2) manifest your insights through specified depictions. Stage 0: Box of Miracles Brief (three)

Task: definition of the Miracle program and precedents Format: text and imagery (given) Assigned: by lottery Date: Monday 25 January during class time (after setting up the sections and other logistics)

Stage 1: Two-dimensional Assemblage

Task: produce your best interpretative synthesis of the brief in such a way that opens and yet defines the Miracle as a design problem suitable to understanding and exploration. Format: Collage/Video/Painting (up to the student) with a poem (max. 200 words) — found or written (or a piece of music). Graphic work should not be smaller than 20”x20”. Due: Friday 29 January at 2:10pm

Stage 2: Conceptual/Experiential Section

Task: produce one conceptual/emotional section representing the most significant architectural experience(s) that will enable the Miracle to occur. Format: Depending on your investigation use charcoal, pastel, graphite, mix media, photomontage or digital media (at will). Your section should be in one 24”x36” sheet (horizontal or vertical). Due: Monday 1 February at 2:10pm

Stage 3: Three-dimensional Assemblage

Task: produce a negative and positive space construct (interior and exterior) that embodies, holds, and propitiates the enactment and celebration of the Miracle. Format: physical model not larger than 24" nor smaller than 10" in any direction. Due: Friday 5 February at 2:10pm

To begin, ask yourself a few simple questions: What and how does my Miracle make me think, imagine, hear, taste, touch? And why? Does it feel cold, dry, dark? Is it a scary or liberating experience? Does it unfold in silence? How long does it last? Do I need to prepare for it? How do water, air, earth and fire relate to it? Does anything inspire me in the given precedents? Your initial interpretation of the brief will be progressively but significantly transformed by moving forward into the next stages. In other words, you will use the brief to see architecture anew. Your job is to allow ‘your’ Miracle the chance to take place. You need to bring it forward through your architectural imagination. What are the ‘architectural qualities’ of your Miracle? Is there any spatial, technical, luminous, or compositional structure? Or, rather, it is its symbolic, thematic, and experiential content what is mostly relevant? How do you want people to feel inside your Miracle box? Outside? Does entry matter? Your box must hold, embody, and allow visitors to celebrate, express, and experience the Miracle. Evaluation This individual project counts for 20% of the semester grade. All three works will be presented for the Friday 5 February Review. The design will be evaluated using the following criteria:

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1. Demonstration of insightful and progressive interpretation of the Miracle Brief. Breadth,

depth, and creativity of the design/interpretive process. Risk-taking and clarity of the inquiry 2. Strength of the architectural idea (parti) in relationship to the Miracle. Clarity in articulating

conceptual and experiential orders. Relationship between intentions and design. 3. Interaction between representation, thought, and design products.

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Other References: Massimo Scolari (drawings), Giovanni Battista Piranesi, Hieronymus Bosch, James Turrell, Georgio de Chirico, Claude-Nicolas Ledoux, Viktor Timofeev, Archigram, Superstudio, Marshal Brown (collages), Bennett Neiman (bebop series) Paolo Soleri (drawings), John Hejduk (Mask of Medusa) and M.C.Escher.

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Miracle 1: Alchemy Story: a never observed substance along with directions for how to use it to convert led into gold (in 4 steps) have been found in an old castle of central Europe. Initial scientific tests suggest that this may indeed be the long sought-after lapis philosophorum (also called Chintamani in the East). Your Miracle box will allow for the alchemic process and its magic to take place undisturbed yet accessible to those with an open mind. Issues: Nature (3P), transformation, birth, observation, testing, Magic/Science References: http://en.wikipedia.org/wiki/Alchemy; http://en.wikipedia.org/wiki/Philosopher's_stone Precedents: Francis Bacon’s Paintings (specially all his triptych series), and Lebbeus Woods (various works)

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Miracle 2: Elixir of Life/Immortality/Eternal Youth Story: 10,000 amphoras from the Neolithic time still holding liquid said to be the elixir of life have been found in the middle east. Initial scientific tests show that it confers remarkable healing power and genetic transformations to animals along with an indefinite extension of their natural life span, thus supporting the claim. Who will be the first to quench the thirst of immortality we all carry within? How do we keep the amphoras safe and yet study, celebrate them? Issues: I (1 P), presence, eternal life, timelessness, drinking, Myth Provocative references: http://en.wikipedia.org/wiki/Elixir_of_life, the Epic of Gilgamesh, the Eucharist Precedents: Mark Rothko paintings (from 1949 on) and Alberto Campo Baeza’s Porta Milano (2009) and Elsa Peretti Foundation

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Miracle 3: Meeting the Maker Story: It is said that where Earth and Sky meet, we shall find the Maker. Some have told us that in reality, He is only found with a sincere, child-like heart. For certain, meeting the Maker is not for the timid or non-seeker. Yet, selfishness and desire will close one’s path to Him. Meeting the Maker delivers everything: ultimate beauty, truth, and goodness. Issues: Meeting (2P), God, aleph, paradise, mystery, Religion, References: The Annunciation, the Burning Bush, Paradise, the Garden of Eden Precedents: Giotto’s paintings (specially the Frescoes of the Upper Church of Assisi (late 13th early 14th C.), Etienne-Louis Boullée’s Cenotaph for Sir Isaac Newton (1784), and Douglas Darden (various)

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LEVELS OF UNDERSTANDING/ DESIGN RESPONSE

1. Illiterate Confusion: Design/understanding does not match information provided. Interpretation is poor or misleading. Completely chaotic or simplistic translation. No PARTI/REALIZATION.

2. Literal/empirical Interpretation: Design/understanding is a result of direct and conventional interpretation. No meanings besides the ordinary become available. One view is enough to grasp the complexity of the response. Obvious or simplistic PARTI/REALIZATION (i.e. stereotypical, uncritical). One or very few interpretations.

3. Rational-logical Interpretation: Design/understanding pushes the conventional interpretation but remains rationally bound to the ordinary. Not a significant contribution to existing interpretations or knowledge. There is little excitement in the resulting work. The PARTI/REALIZATION is primitive and stiff. Order is perhaps too rigid and monotonous. Design clearly satisfies the requirements of the project but lacks 'passion', 'wonder', novelty. Many interpretations but all quite similar.

4. Creative-original Interpretation: Design departs from straight-forward rationality yet has internal logic. Unexpected meanings are found that expand existing interpretations or knowledge. The work shows a loose order with diverse emphases and open-endedness. Design PARTI and intentions (or REALIZATION) are observable and frame the proposal. The project/response still 'feels' the pressure of responding to the problem. Many diverse interpretations.

5. Metaphorical-Poetic Interpretation: Design/understanding finds a 'transcendental' theme or issue that departs from the assignment and yet solves it. The proposal opens up a 'world' of meaning, finds a new vision of the issue at hand or discovers a new issue altogether. Design PARTI and intentions (or REALIZATION) are strongly tied to metaphorical or analogical thinking. Potentially infinite interpretations.