1996.07.16
(unique) architectural drawings
Going back to the set of architectural drawings mentioned in note 53, I would like to see the drawings both straight forward documentation and I would also like to see a bunch of drawings that make use of all the different CAD capabilities like perspectives of plans such as the Campo Marzio, collages of different models, odd scale/rotation mutations of plans (and maybe even elevations, axons and perspectives). I just thought that I might be able to scale/rotate some of my building models and then do drawings of them--perspectives but also plans elevations and axons. Such drawings may actuallyy no longer belong to the realm of architecture, and may actually start to represent virtual sculpture.
Back to the architecture drawings, I should also experiment / record as much about x-hatch as I can. What I should do is go through my record pages and the flat file and the use folders and make a real list of the drawings that I can already process. From the list I can then write the captions, and it is the labeling and general information that will really make the drawing collection also an incredible document.
1996.07.21
projects mentioned since December 1995
16. the Parkway project
23. Venturi’s Wilke House
25. 2d input for future model construstion
48. Promenade Architecturale documentation
49. full 2d documentation of all 3d models
55. composite domestic plans at same scale
56. composite domestic elev. at same scale
60. record Goldberger/Rotunda/Man analysis
61. record group elevations
62. record (and finish) Phila 2d and 3d data
63. digitize paint chip plan
64. Campo Marzio - contiguous elements
68. Schinkel’s Berlin
69. Mayor’s House
70. Wacko House
71. Zurich - perspectives
72. Zurich - collage w/Savoye
73. Zurich - collage w/Bye
74. Zurich - collage w/Hurva
75. large fantastic architectural plan (VMA?)
76. Bye and Absecon collage
77. Houses under a commom roof
78. imaginary settings for compared 3d models
80. Zurich/Savoye comparative analysis
1996.07.28
Strasbourg documentation
Last night (in bed) I did some major rethinking of the Strasbourg document. First of all, I want it to be as good as it can be and essentially that means more and better drawings plus more text and overall a more adventurous presentation /layout. These ideal can be readily accomplished by more work and more h_line processing. (The more work refers to some additional modeling work like the pilotis of the 226 x 226 hotel - ala Venice Hospital, the thickening of the level 3 window/glass moullions, and the possibility of adding auditorium seats.)
As for generating more perspectives/axonometrics, I should be generating as many views as it takes to give a full view/understanding of the building. This boils down to more aerials, more exterior close-ups, some more interiors, and overall more views taken from non-pedestrian vantage points. I also thought that I should be enhancing the final perspectives so they have more texture. I would love to provide shadows / shading (and I could with the aid of the rendering capability), but I also know that much more work would then be involved. I will just have to experiment and/or just bite the bullet and go at it. In perparation for this, however, I can process a sample of line types and line weights that will halp define the textures that are at my disposal. (Line type mean dot lines, dash lines, short dash lines, x-hatching and their overall spacing.)
One example of what I can experiment with is the hatching of the people in the perspectives. This is only one of the things that I could then sort-of standardize. I might also set a policy concerning how to deliniate those elements that are behind glass. This isn’t really much actual work as much as it is editorial attention. I also want to generate a sample of the Arris fonts at different sizes and at different line weights. I’m not exactly sure, but I might then experiment with adding text/notes to some of the drawings as another means of adding texture to the drawings.
The other aspects of the document that I rethought concern the introduction and the possibility of adding a new premiere chapter about the makeup / constitution of the model itself. This chapter is still tentative because the information provided may just become part of the general introduction. In any case, the data/draw-ings would be a pictorial explanation of the model as it is divided into various layers of data, and there will also be a number of drawings that depict the before and after hidden line process. Again, this is an example of providing more drawings and specifically drawings that are now capable of being prodused (manifested) because of the capabilities of CAD, especially 3D modeling. (I’m just now thinking about the contents of the model chapter; I’m not sure whether it should actually be an appendix thye chapter rather than the first chapter. Upon further reflection, however, if the chapter can and does ultimately give a clear and concise demonstration of how the model is made and then used, then it should be the premiere chapter because it underscores the novelty of the entire “virtual museum” concept.)
This brings me to the introduction itself. Since the Strasbourg document is the first document of the Virtual Museum of Architecture, an explanation of the museum itself will be appropriate. In broad overview, the introduction will begin with my thoughts on architectural drawings as “texts” of architects the same way that musical scores are the “texts” written and read by musicians. This idea will lead to how 3d CAD modeling allows unbuilt architecture to be “played” the way an orchestra performs a symphony. (Reference here will first be made to how a finished design--an actual building--is like the performance of a symphony, and here Geothe’s idea of architecture as “frozen music” also comes into play--the constructed building as a symphony frozen in a specific slice of time.) And in turn, I will explain how 3d modeling allows an investigation, a “visit,” to the Palais des Congrès. This is where virtuality is then elaborated upon (virtual construction and then virtual existence) and then specific things learned by visiting Strasbourg virtually will be presented. Finally the concept of a virtual museum will blossom when the full potential of 3d modeling is taken advantage of by placing a variety of buildings at the same scale into a virtual context, a virtual museum.
The above is only a pre-outline, but the thesis does follow through. Along with my idea of drawings as text, I now also have historical precedent in Vitruvius who, (as I read in Chora, volume one) also called for architects to write. Now I have to take the Strasbourg document to its next level of development, and that means I have to generate rough drafts of the introduction, preliminary drawing lists of all the proposed chapters, including a rethinking of the drawings done/used thus far, and an overall outline of the entire document, i.e., chapter order, chapter points, acknowledgments, notes, multiple use of drawings at various sizes/scales. In general, I like the narrative that the two chapters thus far attempt to express. I just want to additionally find a way to “jazz” up the presentation of the narrative by making a full use of my CAD and desk top publishing capabilities. I now feel fine with the loose layout (the captions and the page numbers will remain in their current positions), but I will take new advantage of 8.5 x 11 invisible frames where it will be of benefit.
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1996.07.28
organization of cad data
More on the Strasbourg document: I will be generating many new drawings (perspectives mostly) because I am in the process of reorganizing the model database as well as adding some new 3D data. Concerning the organization of the overall building documentation, I will be start by presenting many more exterior and aerial perspectives before documenting the interior of the main building. While presenting the site I will be also be addressing the hotel complex and how I have interpreted the minimal data available. (I will be dedoing the 226 x 226 hotel with Venice Hospital type pilotis and perhaps even demarcating the elevation with 226 x 226 panal a la Zurich.)
I have also thought of adding an appendix type section to the document where I can present all the generated drawings that I have done over the years but that are not being used in the formal documentation. The format of the extra drawing appendix could be with the drawings smaller, like the way the catalogue sections of exhibit catalogues are small drawings are adjacent to extended captions.
(I just remembered that I will be including a section featuring the model composition itself, and perhaps that is the section where I address the 226 x 226 hotel.)
1996.08.02
Strasbourg documentation
With my decision to start a revision of the Strasbourg model, I now realize that I should first do a complete (experimental) final printout of the first version. This first version will be a quick follow through of all the ideas for he document that I want to carry out. Since I already know that this is not the final version, I am thinking that I will therefore be more spontaneous and adventureous in my execution and in turn be giving myself more opportunities to evaluate different techniques.
I will be making a stab at all the sections that the final document will contain (or might contain). I can make a rough draft or outline of the introduction and I can also organize the notes I already have. I can do the model composition chapter--perhaps without cleaning up the axonometrics because who knows what axon angle I may ultimately use. The catalogue section and the comparative analysis will also be done. I like this idea because I can now jump around from task to task, Letting each section grow sporatically, as well as letting the layout develop sporatically.
Just thinking now about the model composition breakdown, I think the approach I will take is one of using whatever axan angle (and/or perspective view) best illustrates the quality of each respective layer.
The whole point of this first version exercise is for me to learn as much as possible along the way.
1996.08.03
Stirling interpretations
I have decided on a document centering on James Stirling's three masterful interpretations: the Stirling/Le Corbusier Olivetti projects, the Düsseldorf / Altes Museum connection, and the Cologne promenade architecturale. This will be a very full document featuring four virtual buildings (Düsseldorf, Cologne, Stirling Olivetti, Le Corbusier Olivetti). Schinkel's Altes Museum and the Le Corbusier architectural promenade buildings will be featured but not documented.
The secondary point of the document is to exhibit a largely undisclosed circle of design influence and intentions between Schinkel, Le Corbusier, and Stirling. I have already well thought out the specific connections between Stirling and Le Corbusier and Stirling and Schinkel, but I will also be introducing a possible Le Corbusier/Schinkel connection in the "architectural promenade" of the Altes Museum. Although this circle of three architects is important, the main point will be to demonstrate the methodology of Stirling's art of architectural interpretation.
The three discussions of the three Stirling projects bring up Stirling's submission to Roma Interrotta and will be using that "design" as an example of another Virtual Museum of Architecture, and as yet another example of Stirling's fine art of interpretation and reinterpretation.
The document will end with a discussion of how the circulation sequence of the Altes Museum is very similar to the Le Corbusian architectural promenade formula, therefore suggesting the possibility that Le Corbusier may have found inspiration at the Altes Museum. I also have to mention how Boullée inspired the Altes Museum and this then brings up the French/German crossover--cross fertilization.
The notion of cross fertilization makes me now question whether I should intentionally discuss Stirling's interpretations as part of an architectural chart. If nothing else, I could actually generate a genealogical / chronological chart showing how all the buildings throughout the document are related to each other. This genealogical chart could become something of a semi-standard item for the Virtual Museum of Architecture, and even if the direct relationships between buildings is not shown, it would be very nice to see a chart of the buildings I have in chronological order and at the same scale (the drawings could be plan and elevation). There is already an example of this in the Italian Renaissance Architecture book that I have.
Concerning the three basic sets of building comparisons, I just wanted to mention some geographic comparisons, etc.:
1. Le Corbusier's Olivetti is in Milan and Stirling's Olivetti is in Milton Keyes, and both projects remained unbuilt. Further note how inspiration for the Stirling Olivetti project that did get built very likely came from the metal housing project of Le Corbusier and also from the section of the Venice Hospital.
2. The geographic connection between Düsseldorf and Berlin is no stretch at all. Stirling was merely "when in Roming it."
3. The Cologne/Strasbourg comparison is very close geographically and therefore I might be able to raise some points regarding the possible French/German roots of the architectural promenade.
I have yet to write down my basic ideas with regard to the Olivetti comparisons:
1. the long curve of the office building.
2. the low rise manufacturing building.
3. the "free-form" social programmed component.
4. Stirling's further interpretation of the glass skin - Leichester, Olivetti built, Milton Keyes, Düsseldorf, (Cologne?) - the interstitial glass bond.
5. What of the "free-form conference area under glass? Is there a precedent for this in Le Corbusier's's Olivetti or any other late Le Corbusier building or project? Is it a paradigm like the stage set at Strasbourg?
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