Sp13 Module1 Intro-1D

CCA architectural analysis antje steinmuller
part d - skin systems

Jason Vereschak, Rania Odeh, Arch.Analysis 2011
Pranay Mowji, Madrid Social Housing (Morphosis)
identifying skin
Pranay Mowji, Madrid Social Housing (Morphosis)
Heidyeh Lavasani, Patio Housing (Neutelings)
grains + zones
Reina Reyes, Void Space Hinged Space (Holl)
Reina Reyes, Void Space Hinged Space (Holl)
Sean Wong, Rue de Suisse (Herzog DeMeuron)
component relationships
Michael Chang, Kitagata Apartments (Sejima)
Pamela Pascual, Alessandra Marsh, Arch.Analysis 2011
porosity
Souzan Kachbi, Moriyama House (Nishizawa)
Vanessa Carvalho, Jeff Moody, Arch.Analysis 2011
Vanessa Carvalho, Jeff Moody, Arch.Analysis 2011
dimensional logics
drawing sets
Francis Silagon, David Gastaneta, Arch.Analysis 2011

Architect
City / Location
Year Designed / Built
Area, # Floors, # Units

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE COLOR
RELATlONSHlP
questions and hypotheses
Cassie McDonald / Eduardo Dana, Arch.Analysis 2012

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Architect
City / Location

..
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CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP

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Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP

Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE COLOR
RELATlONSHlP

Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE COLOR
RELATlONSHlP
Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP
Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP
Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP
Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP

Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP
Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP

Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE DEPTH
Architect
City / Location

..
. '
CASSlOPEA MCDONALD
EDUARDO DANA
MODULE D:
FACADE/PROGRAM
RELATlONSHlP
Colin Deckner, Mateen Mortazavi, Arch.Analysis 2011
Module 01 d 11
Architect
City / Location
Herzog and de Meuron
Tribeca / Location Here
2008 / In Progress
425,000 sf, 57 Floors, 145 Units
North
East
Control
Control
Control
Control
Control
Control
Control
Control
2 Units
3 Units
4 Units
Public/Amenity
1 Unit
West
South
Negative from Highest &
Lowest Point
W
I
T
H

B
A
L
C
O
N
I
E
S
N
O

B
A
L
C
O
N
I
E
S
By taking each elevation of 56 Leonard Street, the variance
between oors has become aparent. Making a simple bar
diagram made it clear to see exactly how much each oor
deviates from one another. The negative of each edge of each
elevation is also key because it shows the space created
between the building envelope and the building edge.
Module 1D
Architect
City / Location
Herzog&DeMueron
Tribeca, NYC
2008/In Progress
425,000 sqft, 58 Floors, 145
Units
North
East
Control
Control
Control
Control
Control
Control
Control
Control
2 Units
3 Units
4 Units
Public/Amenity
1 Unit
West
South
Lowest Point
W
I
T
H

B
A
L
C
O
N
I
E
S
N
O

B
A
L
C
O
N
I
E
S
Mateem M & Colin D. Mateen M & Colin D.
North
East
Control
Control
Control
Control
Control
Control
Control
Control
2 Units
3 Units
4 Units
Public/Amenity
1 Unit
West
South
Lowest Point
W
I
T
H

B
A
L
C
O
N
I
E
S
N
O

B
A
L
C
O
N
I
E
S
South
West
East
North
With Balconies
South
West
East
North
West
East
North
South
Without Balconies
With Balconies
Composite of Both
Without Balconies
2 Units
3 Units
4 Units
Public/
Amenity
1 Unit
By creating a plan without detail and only dimensions, it has become coherent
how the column sizes vary and align with each other. The elevator and stairs stay
constant, but the doorway sizes also vary in size depending on the use.
South
West
East
North
With Balconies
South
West
East
North
West
East
North
South
Without Balconies
With Balconies
Composite of Both
Without Balconies
2 Units
3 Units
4 Units
Public/
Amenity
1 Unit
By creating a plan without detail and only dimensions, it has become coherent
how the column sizes vary and align with each other. The elevator and stairs stay
constant, but the doorway sizes also vary in size depending on the use.
Module 1D
Architect
City / Location
Herzog&DeMueron
Tribeca, NYC
2008/In Progress
425,000 sqft, 58 Floors, 145
Units
Gustavo DeLeon, WoZoCo (MVRDV)
Chanelle Hurst, Yerba Buena Lofts (Saitowitz)
John Improgo, Nemausus (Nouvel)
HOUSING TACTICS
teaching
DUAL%LAYER%EFFECTS
The%skins%unique%outcome%is%achieved%through%the%offset%
and%the%shifting%of%openings.%In%this%stage,%the%study%of%the%
skin%is%further%pushed%into%the%interior%conditions%of%the%
space,%in%terms%of%visual%porosity%and%light.
SUN%EXPOSURE
POROSITY%OF%SKIN%SYSTEM
EXTENSION%INTO%INTERIOR
GRAIN OF%OPENINGS%
(EXT.%SKIN)
GRAIN OF%OPENINGS%(INT.%
WRAPPER)
BLOCKAGE POROSITY THROUGH
OPENINGS
SUN RAYS
Module 1b/c: Spatial Analysis + Grain
MASKING VS. IDENTIFYING
Formosa exhibits two contrary attitudes: (1) to mask
the units into one intergrated whole and (2) to create
unique experiences within each unit. The skin
creates an irregular pattern that does not disguish
one unit from another from the exterior, while
producing varied interior conditions among the units.
UNFOLDED ELEVATION
TYPOLOGY STYDIES
SOUTH
1 1 T I N U 0 1 T I N U 9 T I N U 8 T I N U 7 T I N U
UNIT 2 UNIT 3 UNIT 4 UNIT 5 UNIT 6
SOUTH ELEVATION
THIRD FLOOR PLAN
SECOND FLOOR PLAN
(FRONT)
(FRONT)
SOUTH ELEVATION
Architect
City / Location
Year Built
Lorcan OHerlihy Architects
West Hollywood, California
Summer 2009
16,000 SF, 4 stories, 11 Units
Formosa 1140 B. Leong, A. Iwan
THIRD FLOOR PLAN UNIT POROSITY
Anesta Iwan, Bobby Leung, Arch.Analysis 2011
Architect
City / Location
Year Built
Summer 2009
OFFSET / SHIFT
By osetting the exterior envelop fromthe inner wrap-
per, theres a chance for a shift between the openings on
both layers. Because of these shifts, variations are created
between each unit. Through these studies, the rhythm, as
well as the depth of porosity and light penetrations within
the units proves the uniqueness of each unit. The struc-
ture behind the panels, not only holds up the skin system,
but also takes a role in the overall form.
WESTERN FACADE STUDIES
SOUTHERN FACADE STUDIES
GRAIN OF OPENINGS (EXT. SKIN) GRAIN OF OPENINGS (INT. WRAPPER) BLOCKAGE SUN RAYS POROSITY THROUGH OPENINGS
Architect
City / Location
Year Built
Summer 2009
OFFSET / SHIFT
By osetting the exterior envelop from the inner wrap-
per, theres a chance for a shift between the openings on
both layers. Because of these shifts, variations are created
between each unit. Through these studies, the rhythm, as
well as the depth of porosity and light penetrations within
the units proves the uniqueness of each unit. The struc-
ture behind the panels, not only holds up the skin system,
but also takes a role in the overall form.
WESTERN FACADE STUDIES
SOUTHERN FACADE STUDIES
GRAIN OF OPENINGS (EXT. SKIN) GRAIN OF OPENINGS (INT. WRAPPER) BLOCKAGE SUN RAYS POROSITY THROUGH OPENINGS
Architect
City / Location
Year Built
Summer 2009
WRAP AND DETACH
The panels within the skin systemare arranged and coordinated with
one another to form a continuous ow from the Western (street) to
the Southern (landscape) facades, while leaving the other two eleva-
tions to oat in a detatched manner. The main focus of the design is
stressed on the exposedWestern and Southern facades, as opposed
to the implied back Northern and Eastern facades.
SKIN EXPLORATION
The skin is explored through a series of porosity studies starting from
the initial solid/void relationship, to material porosity, to skin layer-
ing. The skin systemconsists of an inner wrapper as well as a com-
posite of two panel types that make up the exterior skin oset from
the inner wrapper.
SOLID / VOID (EXTERIOR SKIN)
POROSITY OF MATERIAL
POROSITY OF MATERIAL
COMPOSITE ELEVATION
SOLID / VOID (INNER WRAPPER)
POROSITY STUDY (EXTERIOR SKIN)
TYPOLOGY
Seeing that there are a couple of similar shapes within the dier-
ent skin panels, they are nowisolated by type to nd any pattern
of their locations. But after examining the outcome, there seems
to be no pattern as to when and where each panel type is placed
and rotated.
Architect
City / Location
Year Built
Summer 2009
TYPOLOGY
Seeing that there are a couple of similar shapes within the dier-
ent skin panels, they are nowisolated by type to nd any pattern
of their locations. But after examining the outcome, there seems
to be no pattern as to when and where each panel type is placed
and rotated.
Architect
City / Location
Year Built
Summer 2009
Architect
City / Location
Year Built
Summer 2009
REVISITING GRAIN
Aside from the spatial conditions that make up the grain within
the project, the grain of the skin system begins to suggest a dif-
ferent understanding of the project. By separating the grain by di-
rectionality as well as material, the rhythm generated by each type
is revealed. With a larger portion of skin dominated by the orange
panels, the red became responsible for the detailed moves. The
rhythm of the skin, both vertically and horizontally as a whole is
demonstrated through the composite grain diagram.
Architect
City / Location
Year Built
Summer 2009
REVISITING GRAIN
Aside from the spatial conditions that make up the grain within
the project, the grain of the skin system begins to suggest a dif-
ferent understanding of the project. By separating the grain by di-
rectionality as well as material, the rhythm generated by each type
is revealed. With a larger portion of skin dominated by the orange
panels, the red became responsible for the detailed moves. The
rhythm of the skin, both vertically and horizontally as a whole is
demonstrated through the composite grain diagram.
Architect
City / Location
Year Built
Summer 2009
GRAIN / VOID
Grain can old inform the movement of the solid. One hypothesis
was the the panels moved in accordance to provide more room for
the openings. But when the voids and the grains are juxtaposed
against each other, there is only a sense of movement and the
grains do not aggressively serve as a railing system.
POINT OF CONTACT
As the skin is made up of many small panels that are more in re-
lation to each unit, an overall understanding of the form is also
needed --looking at how the skin meets the sky and ground. The
pushing further within the panel aggregation to see when and
where the window openings on the interior wrapper meet exactly
edge-to-edge with the panels.
Architect
City / Location
Year Built
Summer 2009
GRAIN / VOID
Grain can old inform the movement of the solid. One hypothesis
was the the panels moved in accordance to provide more room for
the openings. But when the voids and the grains are juxtaposed
against each other, there is only a sense of movement and the
grains do not aggressively serve as a railing system.
POINT OF CONTACT
As the skin is made up of many small panels that are more in re-
lation to each unit, an overall understanding of the form is also
needed --looking at how the skin meets the sky and ground. The
pushing further within the panel aggregation to see when and
where the window openings on the interior wrapper meet exactly
edge-to-edge with the panels.
Architect
City / Location
Year Built
Summer 2009
SPECIFIC POROSITY
Following upon the previous Unit Identity diagram, each
unit then can be analyzed through the level of porosity it
receives due to the nature of the varying skin. Each unit
diers in terms of light quality, visual array, and privacy,
allowing the potential residents a customized choice.
UNIT 1 UNIT 7 UNIT 8 UNIT 9 UNIT 10 UNIT 11
SOUTH ELEVATION
(FRONT)
(REAR)
NORTH ELEVATION
NORTH ELEVATION
(REAR)
(FRONT)
SOUTH ELEVATION
W
E
S
T

E
L
E
V
A
T
I
O
N E
A
S
T

E
L
E
V
A
T
I
O
N
Architect
City / Location
Year Built
Summer 2009
UNIT IDENTITY
The most signicant concept of the design lies on the
exterior facade rather than within the unit congurations.
While the units are very similar to one another, the quality
of the skin allows for a dierentiation, or identity for each
unit.
UNIT 1 UNIT 7 UNIT 8 UNIT 9 UNIT 10 UNIT 11
SOUTH ELEVATION
(FRONT)
(REAR)
NORTH ELEVATION
NORTH ELEVATION
(REAR)
(FRONT)
SOUTH ELEVATION
W
E
S
T

E
L
E
V
A
T
I
O
N E
A
S
T

E
L
E
V
A
T
I
O
N
HOUSING TACTICS
teaching
DUAL%LAYER%EFFECTS
The%skins%unique%outcome%is%achieved%through%the%offset%
and%the%shifting%of%openings.%In%this%stage,%the%study%of%the%
skin%is%further%pushed%into%the%interior%conditions%of%the%
space,%in%terms%of%visual%porosity%and%light.
SUN%EXPOSURE
POROSITY%OF%SKIN%SYSTEM
EXTENSION%INTO%INTERIOR
GRAIN OF%OPENINGS%
(EXT.%SKIN)
GRAIN OF%OPENINGS%(INT.%
WRAPPER)
BLOCKAGE POROSITY THROUGH
OPENINGS
SUN RAYS
Module 1b/c: Spatial Analysis + Grain
MASKING VS. IDENTIFYING
Formosa exhibits two contrary attitudes: (1) to mask
the units into one intergrated whole and (2) to create
unique experiences within each unit. The skin
creates an irregular pattern that does not disguish
one unit from another from the exterior, while
producing varied interior conditions among the units.
UNFOLDED ELEVATION
TYPOLOGY STYDIES
SOUTH
1 1 T I N U 0 1 T I N U 9 T I N U 8 T I N U 7 T I N U
SOUTH ELEVATION
THIRD FLOOR PLAN
SECOND FLOOR PLAN
(FRONT)
(FRONT)
SOUTH ELEVATION
Architect
City / Location
Year Built
Summer 2009
THIRD FLOOR PLAN UNIT POROSITY

Sp13 Module1 Intro-1D

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CCA architectural analysis antje steinmuller

part d - skin systems

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