Toward an Edge: Second Semester Studio Final Project

What does it mean to arrive at an edge? Is it merely a limit, a boundary… the end? Or does an edge imply something more? An apotheosis, maybe.

An analysis of Le Corbusier’s Unité d’Habitation in Marseilles, France, yielded a under­standing of the edge as opening rather than closing, as possibility rather than hopelessness, as mythical rather than ordinary. Read the rest of this entry »

Communicative Action: First Semester Studio Final Project

For the final studio project with Prof. Jim Williamson, we designed a facility for visiting scholars. The site was set on a relatively small sports facility with squash courts in the Cornell Campus. One of the purposes of the assignment – which heavily influenced my proposal – was to begin to understand how to read a site as a tool for design.  We were each asked to envision a building that would reflect (or reject) the life of a visiting professor.

For me, visiting professors live in constant negotiation. Travelling endlessly from one academic institution to another, they repeatedly have to come to terms with new places, other people, and the world of ideas. This project recaptures this condition of having to negotiate between different and often opposing aspects of life. In the proposed building, architectural elements – such as walls, doors, level changes, sky lights, and floor patterns – co-exist in conflict and tension to each other, displacing notions of cohesivity. Thus, the disagreement and miscommunication within the architecture summons people into a kind of communicative action, i.e. individuals are called to reconcile these oppositions. Nevertheless, there is no right way of dwelling in this space, but it is always up to the inhabitant to decide in which manner he/she wishes to experience it.

Here are the plots and model I used in my presentation…

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Space as Meaning and Misunderstanding: Phenomenal Transparency

Visual interpretation of the negative space in the Herbert F. Johnson Museum.

My dad once told me that there are two kinds of architects: the ones who can understand spatial transparency (the privileged) and those who cannot (the rest). Robert Slutzky and Colin Rowe develop in “Trasparency” and “Transparency 2″ (from Architecture Culture: 1943-1968, by Joan Ockman) an understanding of how a building’s formal structure can demarcate spaces. They single out two types of transparencies: the literal and the phenomenal.  The first refers to how a material like glass, although physically “transparent,” is still tangibly present in the structure’s form. In contrast, phenomenal transparency allows for a simultaneous perception of different spatial locations within the same space. The idea is that, like in an optical illusion, forms are suggested –or implied, as Peter Eisenman would prefer to say– rather than depicted. In other words, it allows for spatial stratification within given limits. Phenomenal spaces are never different, but differentiated. Like in Cubist paintings, phenomenal forms are suggested, not stipulated. The viewer defines what he/she sees.

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First Explorations in Drawing

Herbert F. Johnson Museum: Exploring how the negative space of the facade blends in with its environment.

As part of the first exercise for first-year drawing class of the M.Arch. I at Cornell’s Architecture School, my classmates and I were asked to go around the campus and free-hand draw three structures. The assignment was completely open, as we could draw anything we wanted to portray. The purpose of the exercise  was to begin thinking about how we “see” buildings and how we can represent those ideas about them. I centered on the Herbert F. Johnson Museum, the Sage Chappel, and Uris Library. I wish to share part of my outcome… Read the rest of this entry »