WEEK FOUR: THE EPHEMERAL CONTEXT

STUDENT WORK

BACKGROUND
For the last week you have thoroughly investigated the physical, factual evidence comprising your site and its surroundings. However, such tangible bits are only part of the composition of anything we call a place--a mere imprint of many intangible forces working beyond our physical senses. For this next exercise you are to mine the resources of the non-physical context of this place in order to gain a deeper understanding of how the physical has come to pass; and to understand your responsibilities in proposing any alteration of this existing fabric.

VOICES OF THE COMMUNITY (Ian Coltman, Johnny Karam, Wendy Fan, Calder Erwin)
Research Poster: Team "C" (Ian, Johnny, Wendy, Calder)




PHENOMENA (Frank Gonzalez, Jeff Su, Brittany Teeter)
Active forces on the site

sunlight/shadow study:

wind/rain study:



traffic and noise diagrams


NEIGHBORHOOD HISTORY (Kai Pannu, Zephyr Anthony, Sergey Marandyuk)
1920's Historical Context



TYPOLOGICAL CONTEXT: Precedent Studies (Steven Christian, Drew Carson, Angela Previdelli, Felix Velazquez)

ASSIGNED: Friday, 18 April

DUE: Friday , 25 April (PIN UP)

TO DO:

Keep in your teams, and keep your area of scrutiny to that of the previous exercise.

TASK 1 (team A - 3 students): historical context: the past
You are to research all areas of past occupation of this particular parcel of land, and compile a coherent and accurate set of historical documents for the elucidation of the rest of the studio. The aim is to provide a temporal continuum within which one may thoughtfully anticipate future trends. These documents must include the following:
• 1:100 maps in sequence. A minimum of 3, beginning with information prior to human habitation, and ending with the most previous condition prior to the present. These maps are to include natural information such as topography and foliage (abstracted), and all man-made information including all structures, pathways, streets, rail tracks, sidewalks, etc.
o these maps are to be identically rendered, in a drafted, color-coded, figure-ground representation, in order to most easily facilitate a comparison of each time period represented.
• historical photographs/drawings. compile as many perceptual images as possible to accompany each map segment.

TASK 2: (team B - 3 students): phenomenological context: active forces
You are to research and present the 6 most significant forces that are acting on the specific site of the project, but shown in the context of the larger vicinity. Some of these forces may be generated by the surrounding vicinity; and some may occur on a larger scale. It is up to you to determine these 6 forces, but of critical importance are:
• sunlight / shadow
• wind / rain
• noise
• perceived safety
• perceived levels of privacy
Your documentation must include at least one plan / section diagram for each perceived force.

TASK 3: (TEAM C - 4 students): social context: the voices
You are to meet people, listen to what they have to say, and present their opinions to the rest of us.
• Each student must visit the neighborhood engage in a conversation with two (2) separate residents.
o Bring a camera and a note pad or recording device.
o Be polite and positive!
o Try to cover a variety of locations and residents as possible within your group. Try to speak to shop-owners, workers, and residents, young, old, black, white, or brown.
o Avoid knocking on doors or appearing otherwise intrusive, or associated with groups which stand on corners and ask people for money.
o Introduce yourself as a student at PSU's department of architecture who is interested in the opinions of neighborhood residents.
o Ask these people one simple question: "What do you think this neighborhood needs?"
o Ask politely if you can take their picture, if they can give their first name, and their occupation. No other information is necessary, unless they volunteer it themselves!
• Record your conversation and their responses to your question.
• Compose one poster-sized (18 x 24 is preferable) board, which is composed of:
o The photo of each respondent, with his/her name and occupation
o A paragraph quoting his / her response to your question.
• Be prepared to expound up on these conversations.


TASK 4 (team D - 4 students): typological context: the precedent
You are to research and present 4 existing works of architecture which--typologically--represent a similar size, scale, program, and (perceived) architectural significance as our current line of investigation. These works may be as old as the antiquities, and a recent as yesterday, but they must be built.
PARAMETERS:
• size/scale: more-or-less 20,000 sq. foot in footprint. no. stories: (?)
• program: housing for 4-16 'families'. Look for unconventional housing typologies, such as co-housing projects, traditional extended-family compounds (e.g. china, yemen), live/work facilities, certain institutions which incorporate housing /dwelling. Also, look for accessory programs, such as shops, offices, schools.
• arch. significance: you get the idea, but look at some projects by alvaro siza, arne jacobsen, among others.
PRESENTATION (each project):
• minimum of 4 photographs
• plan: figure-ground site plan
• plan(s) / section (s): color-coded diagram(s) showing division of uses within the project
• significant moment: some image which illustrates the importance or uniqueness of this particular project.

WEEK THREE: THE PHYSICAL CONTEXT

STUDENT WORK

BACKGROUND
The parcel of land under your scrutiny for the next nine weeks exists in the middle of a diverse and rapidly changing physical, cultural, and urban milleu. As your assignment this quarter will focus on a community of activities and experiences, it is crucial to investigate the many layers of context within which such an intervention takes place. This particular investigation will cover the FACTS of this context.

The official SITE of your eventual intervention is defined as the northern portion of the block bordered by n. Mississippi, on the east, n. Fremont on the north, and alleyway on the west, and the south property line of 3403 n. Mississippi ave. (150' south of the sidewalk at n. Fremont) on the south. However: for the purposes of this exercise the SITE under scrutiny is to cover a larger, more-or-less rectangular zone ranging from n. Failing on the north, n. Kerby ave on the east, the i405/Fremont bridge overpass on the south, and the i5 corridor on the west (see attached map).



THE SITE:
site (closer in):


ADMINISTRATIVE CONTEXT - Zoning allowances
TEAM B (Felix Velazquez, Drew Carson, Angela Previdelli, Steven Christian)

ZONING:
Central Employment.

This zone implements the Central Employment map designation of the Comprehensive Plan. The zone allows mixed-uses and is intended for areas in the center of the City that have predominantly industrial type development. The intent of the zone is to allow industrial and commercial uses which need a central location. Residential uses are allowed, but are not intended to predominate or set development standards for other uses in the area. The development standards are intended to allow new development which is similar in character to existing development.

• Lot Size - 150' x 100' (18 3/4" x 12 1/2" at 1' = 1/8")
• Floor Area Ratio - 3:1 (15,000 sq ft lot, F.A.R. total of 45,000 sq ft)
• Maximum Height - 65'
• Minimum Setback - 0'
• Maximum Setback - 10' (50% of ground floor facade for one street scape and 100% for other)
• Building Coverage - 100% allowed
  

Models (1' = 1/8")

Maximum envelope for development:

Maximum F.A.R. (Floor Area Ratio):

Individual manipulation of floor planes:

Felix V.

Drew C.

Angela P.

Christian

Individual manipulation of building volume (minus at least 30% of mass):

Felix V.

Drew C.

Christian

Angela P.

ARCHITECTONIC CONTEXT MAPS - Settlement patterns
(Team 'B': Frank Gonzalez, Brittany Teeter, Jeff Su)

SITE MODEL PROGRESS (Ian Coltman, Johnny Karam, Wendy Fan, Calder Erwin)




THE ASSIGNMENT:

ASSIGNED: Friday, 11 April

DUE: Friday , 18 April (PIN UP)

TO DO:

You are to form 4 teams: two teams with 3 students and two teams with 4 students. These team assignments will be allocated by your instructor.
Each team is to focus an intensive analysis of a particular set of factual circumstances surrounding the site. Once all the necessary data are gathered, Each team is to present its findings to the entire studio.


TASK 1: site model (4 students - TEAM C)
• EXTENT: see the attached site map.
• SCALE: 1/16" = 1'-0"
• MATERIAL: (exquisitely, precisely crafted) chipboard for existing. buildings, sidewalks and streets. Sides and base to be of sturdy material, such as wood, plywood, or MDF.
• DETAIL: Massing only--no decoration or fenestration required. leave a void at the entire site location for the insertion of individual models. base must be min. 4" thick. Accurately represent existing topography. paint optional, but only if base, streets and buildings are all of same NEUTRAL color. If portability is desired, you may consider a tall (30") base with casters.

As this is a collective project, it will be incumbent upon you to organize a reasonable and fair division of labor between you and your classmates--as well as to uphold an agreed-upon standard of quality and craftsmanship. Reports of substandard collaboration will be taken seriously, and WILL have a substantial influence on your final grade.

Suggested division of labor:

• Base info: (1 person)
o streets/sidewalks
o trees/telephone poles
o fences
o building footprints
o contours
• Model base
o sides
o feet/casters?
(1 person)
o contours
o streets/sidewalks
(1 person)
• Model
o exist. buildings (1 person)
o 'void'
o trees/poles
o fences
TASK 2: architectonic context: the kit of parts (3 students - TEAM B)
You are to research, define, and identify the most common and influential architectonic features found in the neighborhood. This 'kit of parts' must be defined by you, and must only include physical aspects of existing man-made and/or natural structures in the surrounding blocks. Start out by distinguishing individual building-types, and giving them names. (e.g. the 'slab', 'the bungalow', etc.) Then identify one or two distinguishing features of these building types (for example, 'the porch', 'the solid box', 'the window-wall'...etc.). Then identify the 4 most prevalent materials in this vicinity. These documents must include the following:
• 1:100 site map, color-coded by 'part' and material.
• photograph/drawing legend, identifying a single example of each 'part' as it occurs in its context, and showing 4 examples of each of the 4 materials, with a key reference to the map.

TASK 3: cultural context: activity/typology (3 students - TEAM A)
You are to research the current activities which occur in the neighborhood, and compile a clear and meaningful set of documents which describe the current activities present in all locations. As your maps take shape, patterns will develop. These documents must include the following:
• list / legend of ongoing activity discovered through fieldwork. These activities are to be discovered, and must be defined as general, and on-going. More specifically, such things as 'living', 'making', 'relaxing', 'transacting', 'waiting', 'eating', etc.
• 1:100 map, color-coded to activity. Be sure to distinctly identify all 'mixed' activities, where they occur.
• 1:100 map, color-coded, showing building heights.
• 1:100 map, color-coded, showing only the 'living' activities, but making a distinction between single-dwelling, 2-4 dwellings, and 4+ per parcel. hint: if it looks like a house but has multiple mailboxes, it's more than a single-dwelling.

TASK 4: administrative context: what the zoning will allow (3 students - TEAM D)
You are to research and establish the uses and physical parameters that are legally possible on this site, as determined by the city of Portland Planning and Zoning code.
Follow these steps:
• Research:
• look on www.portlandmaps.com, enter 3425 n. Mississippi ave for your search.
• Click the link to maps on the upper right.
• Scroll down to the zoning section. Look at the 'description', and click on it. It will link you to a page on the city's planning and zoning website.
• Once in that website, find the description title of your zone, and click on it. This will open up a .pdf file to download on your computer. This .pdf file contains all the base zoning regulations that pertain to any property in this zone. It's a 34 page document, so skim through it and concentrate your initial search to the following criteria:
o General purpose of the zone
o 'primary' allowed uses
o lot size
o floor area ratio ('F.A.R.')
o Height
o Setbacks
o Building coverage
• There will be sections defining these terms (read them!) and a number of tables describing the maximums and minimums for these standards. These tables will be your guide.
• Documentation / presentation
• Combining the lots at 3425, the two contiguous un-addressed lots to the west, and 3403 to the south, you are to build a series of models at 1/8" = 1'-0 scale.
o All models: must have a horizontal base of sturdy material (foamcore, masonite, or similar) which includes the entirety of the combined lots, plus 10' on either side. For now, consider the site flat.
o Model (one for the team)1: using basswood sticks, build a wireframe 'cube' which inscribes the maximum volume within which one can build on these combined lots. This 'cube' will be determined in plan by the setbacks and building coverage guildines at the ground floor, and in section by the maximum allowed building height.
o Model 2 (one for the team): preserve the wireframe cube, but insert a series of horizontal levels or 'floors'. The number of these levels must be determined by the F.A.R. for this zone. Note that the F.A.R. is determined by lot area before consideration of setbacks or building area. Therefore, you might find yourself extending these levels outside the 'cube'.
• One level must be the ground floor.
• The uppermost level must be a minimum of 12'-0" below the top of the cube.
o Model 3 (one for each student in the team): preserve the wireframe cube, but modify the horizontal levels so that they all fit within the cube, and respect any setbacks that are required at upper building heights. Keep the area of all combined levels to meet the F.A.R.. In so doing, you will most likely have to add intermediate levels. Make sure these intermediate levels are vertically offset no less than 10'. Use your creativity and imagination in determining this composition, but also consider the cube's orientation to such things as sun angle, neighboring conditions, etc.
o Model 4 (one for each student in the team): preserve the wireframe cube and the floor area of the levels, but remove a minimum of 30% of volume from the material inside the cube, introducing at least one interior void which extends vertically from roof to ground, and one interior void which extends horizontally from one face of the cube to another. Re-shuffle the levels to preserve the F.A.R. and introduce 'walls' to accommodate this modification. Be sure to clearly illustrate the distinction between solid and void, surface, and line.
for everyone:
• While some research teams have strict presentation criteria to meet, others do not. At the very least, there must be a consistent and clear format that is established within each team.
• Each of you must bring back one STRONG IMPRESSION from the site--some sense you get from being there, that establishes it as a unique place. Bring 1 image to back this impression up, and be prepared to discuss it in class.


TEAMS

TEAM A
• Zephyr
• Kai
• Sergey


TEAM B
• Frank
• Jeff
• Brittany


TEAM C
• Johnny
• Ian
• Calder
• Wendy


TEAM D
• Angela
• Felix
• Xtian
• Drew

THE FIRST TWO WEEKS: the domestic ritual

STUDENT WORK

BACKGROUND
You will have been assigned an investigation of one of the agreed daily rituals of 'dwelling'. What are the spatial implications of this ritual? How do the spaces for these activities relate to the human body? How to they relate to the senses--vision, smell, sound, touch, and taste? What are the physical implications of this relationship: the quality and quantity of the surfaces and materials that define this space? How may they facilitate or celebrate this activity through texture, material, light, placement, solidity, opacity, transparency, etc?

LOUNGING / RELAXING (Brittany Teeter)
initial designs by Jeff Su: interior perspectives:models: reinterpretations:
model 1: model 2:model 3:plan 1: plan 2: public vs. private/circulation vs. stasis plan 3: neighboring spaces/rituals Section 1:



PURGING/EXCRETING (Felix Velazquez)
Initial Concept: (By Brittany)

First Drawing

Second Drawing
Third Drawing
Initial Concept Model One
Initial Concept Model Two

Starting Model (Brittany's Model)Skeleton Model
First cast model
Final Cast model
Interior View
Drawings

Public

Private
Neighboring
Section
Graphic Plan


GREETING AND FAREWELL (Ian Coltman)
Original Concept: (Developed by Steven Ross Blake Christian)

---------------------------------------------------------------------------------------

Iteration #1: Concrete Cast

Iteration #2: Stick Model


Iteration #3: Hybrid Model



Plan

Section


Usage Diagrams


GATHERING / CONVERSING (Calder Erwin)
Week Two Models:

Cast/ Linear material exploration












Cast (only) material exploration













AWAKENING / BREAKING FAST (Steven Christian)
Initial Concept (by Drew Carson)

Drawings:


Model:

Reinterpretation (by Christian)

Casted Model:

Wire Frame Model:

Hybrid Final Model:


Plan:

Section:

Diagrams:




COOKING (Angela Previdelli)
Basswood model: Cement Model: Final model:
neighboring activities circulation private and public floor plan section

BATHING/SHOWERING/GROOMING (Drew Carson)
Model:
Plan based on human grid:Section based on human grid:


Public/Private:


Stasis/Circulation:



EATING (Kai Pannu)

Sergey Marandyuk's initial drawings:




Sergey Marandyuk's Study Models:

Reinterpretations
composite model:
Cast Model:



Eating Plan
Ciculation / Stasis Public / Private


PLAYING & MAKING (Sergey Marandyuk)

Initial Perspectives from Johnny Karam:

Initial Models from Johnny Karam:

Cast Model:

Line Model:

Final Model:

Plans:


MEDITATING/EXERCISING (Wendy Fan)
initial work from Calder Erwin

drawings:

models:

reinterpretations:


plan:

section:

diagrams:


DRESSING (Johnny Karam)
Initial Surface Models and Perspectives from Frank Gonzalez: Cast Model:Line Model:Final Model: Plan:Section: Public/Private and Circulation/Stasis Diagrams: Program Diagram:

ORGANIZING / MANAGING (Frank Gonzalez)
initial work from Wendy Fan

drawings:

study models:

reinterpretations: linear material model: cast material model:

model:

floor plan:
section:
usage diagram
neighboring activities



READING / STUDYING (Jeff Su)
Initial Models from Angela Previdelli:

Combination Model (Reading/Study):

Section Drawing:
Plan Drawing:
Circulation/Privacy/Neighboring drawing:



SLEEPING / COUPLING (Zephyr Anthony)
model:

plan

section

diagram study


STUDENT WORK EXPLAINED:

THE ASSIGNMENT

ASSIGNED: Wednesday, 02 April
DUE: Friday, 04 April
TO DO: Part I: (in studio): drawings
• With charcoal on newsprint (or suitable substitute) draw freehand, the ideal spatial qualities of your assigned activity. Imagine this space as something which celebrates this ritual.
o Make 2 (min.) perspectival drawings--views from the inhabitant of the space.
o Concentrate on the essential qualities of this space--the nature of the surfaces defining it, and their relationship to light and shadow. You are defining the stage of container for this ritual.
o Avoid familiar images and elements, such as furniture, cabinetry, fixtures, plants, etc.
o Each drawing should be of a single view; the aggregate of views defining the space as a whole.
o Think of the body.
o Think of the senses.
o Think of the number of bodies served at any given time.
o Think of the degree of containment / enclosure.
o Think of the distances between surfaces: walls, floors/ceilings.
o Think of the contours and qualities of these surfaces: texture, layers, levels, openings, etc.
Part II: (due Friday): models
• Once these drawings are complete, you are to make a physical construction of this space. o This construction is to be made from surfaces only.
o The construction must be approximately 8" x 8" x 8". At least one dimension of it must be of this size.
o There is no scale requirement to this construction, yet each construction must be of a scale relative to the human body: include a credible scale figure in each of your constructions.
o Make a minimum of three of these constructions, and make sure they are complete and ready for discussion by the beginning of studio, Friday.
o These are not museum pieces, so don't be afraid to work quickly. Just make sure there is sufficient craft to clearly illustrate your intentions.



DAILY DWELLING RITUALS DEFINED:

SLEEPING / COUPLING LOUNGING / RELAXING

SEPARATING / REUNITING EXCRETING

PLAYING / MAKING MEDITATING / EXERCISING

CONVERSING / GATHERING AWAKENING / BREAKING FAST

BATHING / GROOMING MANAGING / MAINTAINING

READING / STUDYING DRESSING

COOKING EATING


ASSIGNMENT 02

BACKGROUND
How does the structure of a volume determine its character and its psychological impact? How can the ideas of others be interpreted and developed? What is discovered when one's own ideas are interpreted and developed by others?

ASSIGNED: Friday, 04 April

DUE: Monday for pin-up, 07 April

TO DO:
• Give your best charcoal drawings and best model / constructions from assignment 01 to another student in the studio. Allocations will be determined randomly, by your instructor.
• Once you have the new drawings and model in your possession, you are to make 3 more constructions.
o These new constructions should be considered as further development of the ideas proposed in the material you've been given.
o It may seem as though you are doing pure production on someone else's work; but as you proceed, you will discover plenty of opportunity for individual expression.
o Just don't abuse it for the sake of your own vanity--you must try and remain true to the ideas you've been given.
• The successive constructions shall be executed as follows:
• Keep to the same size.
• Incorporate a scale figure.
• You may remove up to one surface for the sake of clarity.
• Execute the constructions in the following sequence:
o Model 1:
• It must be made entirely of cast material, such as plaster-of-paris, 'rockite', or other solid substance. Take care not to make a mess in studio or in the Unitus building! Do not dump plaster/cemtent, etc. down any drains!
o Model 2:
• It must be made entirely from linear material: in this case, use basswood sticks--preferrably 3/32 x 1/8. Avoid stacking up this material to make solid surfaces or volumes.
o Model 3:
• With the working knowledge you've developed from the previous constructions--and with a keen sense of the quality of space expressed in the drawings and original model given to you, this last construction must be a combination of all three previous materials (surface, solid, line).
• Use each material in the manner you discover is most appropriate to not only express the spatial qualities of the ritual celebrated, but also most structurally appropriate to complete the volume.

All materials from assignments 01 and 02 must be complete, pinned-up / presented, and subject to discussion on Monday, 07 April.