P02 - Floating Spaces

 

Conceptual drawing

Conceptual Sketches

Garrett Callen  |  Yasmine Jafari

What if Everyone Lived in Just One City?...It is Possible

Bardi's Bowl Chair

Lina Bo Bardi has been an inspiration throughout the studio process, thus far.  She believed that Architecture was centered around the human experience and should encourage creativity, speculation and interpretation.  Bardi's chair is a masterpiece. It transformed the way one could sit, encouraging a relaxed posture. Much like her architecture, it placed human interaction at the heart of the design.

This studio's goal is to forget what had been known and strive for the future through research, discovery and innovation.  Utilizing a mindset similar to Lina's, we may just be able to revolutionize the way people sit, sleep and live.

-http://bardisbowlchair.arper.com/

-Brooks Caton

The Interior of Time

Aldo Van Eyck

Pg. 103

Smithson, Alison. Team 10 Primer. Cambridge: MIT, 1968. Print.

Quote by Aldo Van Eyck:

S,M,L,XL

O.M.A., Rem Koolhaas, and Bruce Mau.  Pg. 499-502.

“Theorem:

Fueled initially by the thoughtless energy of the purely quantitative, Bigness has been, for nearly a century, a condition almost without thinkers, a revolution without program.

Delirious New York implied a latent “Theory of Bigness” based on five theorems.

1. Beyond a certain critical mass, a building becomes a Big Building. Such a mas can no longer be controlled by a single architectural gesture, or even by any combination of architectural gestures. This impossibility triggers the autonomy of its parts, but that is not the same as fragmentation: the parts remain committed to the whole.

2. The elevator-with its potential to establish mechanical rather than architectural connections-and its family of related inventions render null and void the classical repertoire of architecture. Issues of composition, scale, proportion, detail are now moot.

The “art” of architecture is useless in Bigness.

3. In Bigness, the distance between core and envelope increases to the point where the facade can no longer reveal what happens inside. The Humanist expectation of “honesty” is doomed: interior and exterior architectures become separate projects, one dealing with the instability of programmatic and iconographic needs, the other-agent of disinformation-offering the city the apparent stability of an object. 

Where architecture reveals, Bigness perplexes; Bigness transforms the city from a summation of certainties into an accumulation of mysteries. What you see is no longer what you get.

4. Through size alone, such buildings enter an amoral domain, beyond good or bad. 

Their impact is independent of their quality.

5. Together, all these breaks- with scale, with architectural composition, with tradition, with transparency, with ethics-imply the final, most radical break: Bigness is no longer part of any urban tissue.

It exists; at most, it coexists.

Its subtext is fuck context.”

Koolhaas, Rem, Bruce Mau, Jennifer Sigler, and Hans Werlemann. Small, Medium, Large, Extra-large: Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau. New York, NY: Monacelli, 1998. Print.