Sunday, July 26, 2015

lenore makes a section perspective

in my free time i've been working on a section perspective for my vicenza project since I didn't really like the sections I came up with. I think section perspectives are a whole lot more fun to look at, and tells much more of a story of how the building is used.


Saturday, July 18, 2015

how to make section perspective view in revit

i am trying to revise some of my sections in my project, and decided to try the perspective section using revit.

this is most likely something I'll want to know how to do in the future, so I decided to document the steps to do so:

1. Go to the floor plan level you would like the perspective view to be seen from (usually floor 1 or ground floor)
2. make a camera view
3. go to the 3d camera view revit generates for you, and click on "section box"
4. go back to the floor plan view, and choose where to put the parameters for the section box.
5. go back to the 3d view and make sure it is what you want
6. export as image, and up the image quality.

(or you can print as pdf but currently I dont have a pdf printer installed)

Sunday, July 5, 2015

URBAN HILL. Vicenza studio final SP15

This studio was essentially a 7 week long exploration of how a building fits into, and contributes to the Italian "piazza" space. We had one week exploring the piazzas and architecture of Rome and one week in Florence with day trips to Bologna and Sienna. The following 8 weeks of the program was dedicated to our studio project, which is a multi-use building composed of an Arts Center, a Palladio Center, and a permanent market located in the heart of Vicenza. Nearing the end of the studio, we had a 5 day excursion to Switzerland, to study the modern influence just north of Vicenza. 

Here is a noli plan of my proposal. I am responding to three key piazzas of the space. Firstly, piazza signori, which is the long strip of white space. To the right of piazza signori lies piazza Biade. Piazza Erbe lies directly below and parallel to piazza Signori, being the smaller curved strip of space at the bottom.


This set of diagrams analyses the critical components of  Piazza Signori, which helped develop the design of my project.  the first diagram shows how the area in which the piazza signori and piazza biade meet remain an ambiguous unused space, as one does not quite belong to either Signori or Biade. The following diagram shows how the Piazza Signori and piazza Erbe are constantly connected, both through alleyways in the basilica, and the current paths of the site. The next diagram shows the key dead spaces of piazza biade, which I aim to enliven with my project. Next, I analyzed the strong activity centers of piazza signori. This piazza is filled with festivities every weekend and throughout the week. The next diagram indicates how little public seating there is.  I then explored the material and color palette of the piazza, and the vernacular of the buildings, that is, an open ground floor, and fairly closed upper levels with repeating bays.
Here are the diagrams of my project that respond to some of these current issues of the Piazza.
From the top, I begin with how I respond to the level change from Piazza Signori to piazza Erbe. I decide to provide three throughways, in yellow, that circulate people between the two piazzas. The key idea of this project was to slope up the roof of the market building, which brings activity from piazza biade into the slope. Thus, I am able to create plenty of public seating, and the incline provides a natural amphitheater for events. The next diagram indicates where market stalls would be able to spill out, either into the pedestrian alley, or inside the market circulation. The next diagram shows the relationship between the palladio center and the market building. The palladio center acts as if it is sitting into the market building. The last diagram shows where the circulation between the two piazzas belong, in relationship to the building (in blue).
The following two rows of diagrams compares my project, to what currently resides. My project chooses to simplify the shape of piazza erbe, directs pedestrian traffic towards the center of the site instead of at the edge, eliminates vehicle traffic into piazza biade, and lastly diversifies the ground floor of piazza Erbe.

Below are the floor plans, starting from the top level. At this level, I created a rooftop sculpture garden, so that one may lookout into the bustling activity of the piazzas, and also experience the dynamic roof changes. I chose to divide the program of the project into two buildings, one being the Arts center, the other being the palladio center and market.
This is the second level of the buildings. Here, you can see how the slope acts as both an exit from the palladio gallery, or a secondary entrance point.

This is the first level of the buildings. I created a courtyard that may be shared with Palladio's basilica. To enliven the courtyard, I placed a bar inside of the arts center that may spill out into the courtyard. On the palladio center side, I decided to create a narrow threshold that gives access to the archives, that then expands out into the library.
At ground level, or Piazza Erbe level, I show the three main circulation paths into piazza Signori. One being a ramp that leads to the courtyard. This ramp is ADA accessible, while also hovering over the roman ruins we were to preserve. The next path is the main pedestrian path in which the permanent market and commercial spaces provide interest. Lastly, I created a biking path and a small bike station at the edge of the site, so that fast traffic may seamlessly move between the two spaces. The colorful splashes are some ideas of how to bring in public seating, while also responding to the strong presence of children and youth in Vicenza. I wanted to create a playground like space for children to play, while also providing seating for those that want a more private place to relax, as Piazza Erbe is much less open and loud compared to Signori.I also placed a long reflecting pool for both the tower of piazza erbe, and the basilica.


below is a bay section. You can see how I wanted to subtly add color to my facade by using green fins placed at the windows. These fins would splay out at an angle. I decided to use brick, as brick and stone were the primary materials of the area. this section is cut at a sloped roof. I decided that each sloped roof would be composed of a sandwich of glass, pv panel, mechanical louvres, and a diffuser, to create adequate lighting for the galleries.


below is a perspective of the Palladio gallery. 


above is an elevation of the arts center in the pedestrian alley, showing how the modern brick plays with the ancient brick of the medieval wall backdrop.

above is a site section

above you can see how I am playing with organic forms to introduce play spaces, and levels for people to sit and read. I wanted to also bring in green space and water elements using these playful insertions.


here is the main facade of the piazza, facing piazza signori. I wanted to keep the vernacular of repeating bays, and the open ground floor so that it responds to the surrounding architecture.


above is the perspective of the market, in which you may see a strip of the palladio building sunken into the space (the brick piece to the left).

here is the section of the same market space.


with time constraints, I decided to create diagrammatic exterior perspectives that show how the roof slopes and public spaces work.



Here is a section of the arts center. I started playing with how to bring color into the building, such as the graphic work at the stairwell, or the playful profile head shots on the bathroom walls.






Review:
My reviewers would have liked to see the idea of ramps being brought into the building, to provide a more interesting building section. they had thought the pure extrusion of the plan was too simple. The ideas of how the building creates positive spaces for the site were also questioned. Although the small nooks the building creates would be used by cafes or the market, the scale of these spaces in relation to the greater context may need more definition. The thin volumes were more successful on the lower levels, but began to seem heavy on the upper levels. The reviewers would have liked the identity of the thin volumes to be more present on the upper levels, one suggestion being to "crash" the two strips together to create a middle space that may be used for circulation. This crashing of volumes would reinforce the experience of the thin strips through massing. The outdoor slope was praised, however the reviewers would have liked to see more places for people to stop and watch, or places to sit on the hill aside from the ground. The sharp edges of the building also questioned whether the building wanted to be more monumental, and to revisit my intent through form. The reviewers wanted me to overlay clear circulation diagrams to identify where there are key connection points, and to keep circulation paths consistent between the buildings. The pure extrusions could have more dynamism, such as creating screens through the brick.

detail and material presentation

During the studio in vicenza, we had been studying details and materials of Italian and Swiss architecture. For this class, we had to conclude with a final presentation of our choice. My partner and I decided to study the influences of the Ticino region architects, which is the Italian speaking region of Switzerland. Below is my portion of the slides we had presented to the class. 

I found it interesting that Kahn had a strong passion for Roman architecture. He uses the heavy masonry quality and light to shape space. Kahn reinvented historic architecture into a modern development, that strongly influenced the architects in the Ticino region.
We had studied a lot of Scarpa's work, as he was born in Venice, and grew up in Vicenza. Contrasting from Kahn, Scarpa focusses on how detail and small scale ornament may enhance the experience of the architecture. Scarpa's interest in the Japanese principle of "Wabi Sabi" or "beauty in imperfection" was interesting to see interpreted into architecture. 

As he greatly influenced architecture worldwide, Corbu made a strong impact on the architecture of the Ticino region. Corbu was born in Switzerland, in a more industrial region, which may have triggered his passion for the machine aesthetic. Throughout the Ticino region, we saw several works that were grounded in his 5 principles. 

Snozzi was a Ticino region architect that I chose to study. His gymnasium project for the Monte Carasso town in Ticino had been influenced by the three architects I mentioned above. This project site is located in a fairly open portion of the city, making a perfect location for a monolithic type structure.
Like Kahn's work, this building primarily uses top lighting. Snozzi also uses simple geometric volumes such as the rectangular and triangular prisms. The small detail of the retaining wall alludes back to Scarpa's work, regarding the proportion of the detail to the wall, and the use of small squares and dynamic lines. 


Snozzi also takes on the idea of piloti columns to lift the volume of the space and bring in natural lighting on all four sides. This also creates a long stream of ribbon window at ground level of the structure. 

We had also found more contemporary works of architecture in the Ticino region that weren't quite obviously connected to the influences we had studied. This includes the "Palazzo Rosso" of the USI campus. Here, I studied the materials and details used, and how this may contrast from the precedents we had studied. This building uses painted glass panels to bring in vibrant color onto the facade. Similarly to Corbu's "domino house," they use concrete slab floor plates supported by columns so that there may be an open floorplan. This is seen on the facade of the building, with the concrete floor slab exposed. This building also uses fairly standardized, and modular structure and organization in order to make for an efficient building process. This building most likely had been prefabricated so that it could be quickly built on site.

The building also has sliding panel windows that nearly make full height of the walls. Dynamic and transforming facades were quite common in the contemporary architecture we found. In order to keep consistency, the building was composed in a rhythm of bays differing in width, as shown in the diagram to the left. 




Thursday, June 11, 2015

10 beginner tips, Revit

There's a lot of bits and pieces of things I've learned while working on my studio project in Revit. I thought it'd be a good idea to document all these little tips before diving into the production stage of the project and forgetting it all.

1. To make a window fin component....



I have been trying to create a vertical splayed fin piece for my windows to act as both a shading device and potential to add color. It took me several hours of trying to custom create a window that has this edge piece connected to it. Finally, I have decided to just create a window component entirely separate from the window piece.

To do so, I had to create a new family using the "general wall based model". After opening this, I need to assign it to appear in the "windows" family group so I can easily find it in the project file. Afterwards, I was easily able to create an extrusion onto the wall that was at an angle so that I could just attach this piece to the window opening. This could be done to create a custom sill as well. I had also found out a wall (or "host") can not have both a cut and an opening. This was incredibly frustrating because I was trying to create a splayed cut into the wall with the edit window component (this is why I need to create a custom window feature from scratch using the general wall based model).

2. Curtain walls and cut geometry are helpful combined!! I have been easily making window openings using the curtain wall and clicking on "modify profile" to adjust the opening size. After, in plan view, I click "cut geometry" on the opening and it created the window for me.

3. Floors should be created on the inside of the wall so that when walls are adjusted, the floor adjusts with it.

4. Walls could be "attached to a base" or roof, to easily attach walls to the roof at any angle.

5. I was creating a pitched roof slope by choosing a "define roof" edge, and then choosing a high slope pitch. Then, using the edit profile tool, I could adjust the pitch to the correct height by dragging it down.

6. Walls could be custom created using the edit type tool and assigning different material types and thicknesses. A material could be created in the materials library as well.

7. To create views for rendering, you need to go to the camera, and then direct the view.

8. Landings for ramps and stairs are automatically created for you by clicking the length of the first segment, and then clicking the second segment. The gap in between will be automatically filled with a landing.

9. To create plan views, you need to go to the elevations and duplicate an elevation, and adjust to the specific height level. Then, go to View, plan view, and it creates a floor plan associating to that elevation.

10. To create topography, you need to go to the site and set points at certain heights. This will automatically create the topography lines for you. Each automatic point is set to 0, so you must assign the elevation. You can create a building pad so that the building may sit into the landscape.

More to come perhaps as I continue with this studio business...


Wednesday, June 3, 2015

MId Review VICENZA! spring term.




















This studio I am working on revitalizing the corner where piazza signori and piazza biade meet in historical downtown Vicenza, Italy. The site is located adjacent to Palladio's basilica. We must preserve the medieval wall of the basilica and ancient roman ruins. Our program consists of an art museum, a palladio center and a permanent food market, as well as temporary outdoor market space.

Currently the piazza biade (the empty space to the left of the site) remains unused. To revitalize the piazza, I decided to slope this portion up so that the permanent market may remain beneath the slope. The slope would act as an amphitheater seating like space for events to take place, or for children to play on. The piazzas of the site currently are heavily used for events and almost always crowded with people. The concept was then to slope the rest of the site down. Currently Piazza Signori (the area northwest of the basilica remains 2.3 meter above Piazza Erbe, south west of the basilica). On the lower slope level, I placed two rectangular buildings, one consisting of the art museum, the other the palladio center. Ideally, I would be creating both a playful park-like space for the many children and families of Vicenza to enjoy, while also transforming the public space into a more useful topography for events.

The galleries of the art center would be enclosed by sliding panel walls, colored on the outward facing side. This volume would be enclosed by a glass envelope so that the spectators on the market hill may view the facade and see a large collage of colored panels. The facade would transform for each new exhibit. This way, the architecture speaks to the public, as one notices a different facade when the exhibit changes. The stairs would come up between the glass envelope and the volume of the art gallery.

The palladio center would become a juxtaposition to the art center, in which the external material would be solid stone. The gallery of the palladio center would also be a rectangular volume in which the stair travels around. The gallery would be stone with large windows so that as one travels upwards, they may peer into the gallery spaces and view in. The other side of the building would hold the rest of the program being the library, archive and offices.

During mid review, I had been heavily advised to reconsider the exterior envelope of the art center, as glass becomes quite hot and consequently create a greenhouse effect onto the interior space. The idea for the sliding panels to transform had also been too theoretical, as many artists prefer large empty spaces, and wouldn't be interested in designing the circulation of the gallery.

My design had also provided too many channels in between piazza erbe and piazza signori, and it was suggested that I place the palladio center next to the hill so that I eliminate one alleyway.



trying to understand the sliding walls and how it relates the the facade

taking breaks at a magnificent park in the area that has incredibly cute bunnies everywhere along with turtles and chickens and roosters and birds.
 understanding stairs are way more confusing than you would think.
going over review requirements and sketching out diagrams
 generating first ideas. Always interesting seeing where ideas take you and tracing back to the beginning.


 First ideas exploring how color can be introduced into the museum on the ceilings, having different platforms laying over each other.


Old models turning into useful containers.

a little slope for people to sit into. brainstorming how the brick hill can have carved little pockets of seating, perhaps painted colorfully for people to sit and view.



























With the information and input collected during review, I had decided to keep the concept of the sloping hill, and redesign the rest of the program with this concept, and come up with a scheme that uses the space more efficiently.