Programming Two

Urban Program

Architectural Program



Green Program

Conceptual Models:

Ideas include Open Score, Mobile Design, Assembly, Transportation, and Site Specific upon Environmental 'mood'
Site Components

Conceptual Composition One

Conceptual Composition Two

Conceptual Composition Three

Conceptual Composition Four

Music As...Project,. It was not a Stop but more of a Roundabout

INspiration: Looking toward music for concept/site/programming ideas

In the 1950’s, composers such as Earl Brown and Gyorgy Ligeti questioned the linearity of musical scores, where the composer would recite the score perfectly without any improvisations, and sought out a flexible score that could offer both the performers and the composer choices rather that a set path for a musical work. Their choices may be dependent on their current moods, and the atmosphere in which they are currently in. This flexibility was obtained through the use of sections and fragments within the score, where rearranging the parts was not only endlessly possible, but encouraged. This lead to a measure of unpredictability in the final work of music. Traditional logic, predictability and linearity was exempt from the music process. Ligeti looked at Calder Mobiles (shown below) for analogies to this idea, where the color, shape, and elements of the pieces were fixed, while the movement of these pieces and thus the compositions were constantly in motion.

This idea is similar to architecture in which for several decades, architecture was communicated without a sense of interpretation. The building (musical work) was communicated through building plans (scores) that were to be performed exactly as planned regardless of the current mood or atmosphere of the site or the user.

The mobile idea of the music center follows the question of linearity Brown and Ligeti performed in music, where the architect (composer) cannot always predict the final outcome. The construction of the center is communicated through building plans, each with a sense of flexibility in the final outcome. This flexibility is sought out to let the current site conditions (mood/ atmosphere) and the users be the determining factor in the building’s composition, thus making it site specific, just like a static building. The static element in a music score, being the staff, and the shape and color of the calder mobile's pieces, is architecturally analogous the building frame, while the sections and fragments will be the panels used to wrap the frame, offering a series of options. The chosen configuration will be relative to the site to account for sun paths, access points, weather conditions, views, and context.

Mobile Case Study 1

Chanel Mobile Art Pavilion

Architect: Zaha Hadid

Client: Chanel

Year Completed: 2008

Typology: Mobile pavilion set to exhibit contemporary art and Chanel products all across the world, from Paris, Tokyo, and New York.

Key Facts: Two elements seperated by a court yard, the structure is a series of continuous curved components, each approx. 2.25m wide, covering a lighweight steel frame that can be assembled and unassembled in under a week. The overall size of the pavilion is 29m x 45m totaling 700sqm. The height is only 6m with the floor raised 1m above the existing ground surface. Exterior lighting allows multiple effects on the structures surface for a variety of programs for different cities. The glazed ceiling adjusts to different temperature and climate conditions of the current city it enters.

More information:

http://www.chanel-mobileart.com/

http://zahahadidblog.com/projects/2007/06/13/zahas-travelling-exhibition-pavilion-for-chanel

Mobile Case Study 2

Prada Transformer

Architect: Rem Koolhaas and AMO Think-Tank

Client: Prada

Typology: A Mobile exhibit for music, art, fashion, and theater performances

Year Completed: 2008

Key Facts: A 20m high tetrahedron structure set to accommodate cultural, artistic, and fashion events for Prada. The structure, which is covered by a smooth elastic membrane, can be rotated to best suit the chosen event, with 4 different facades that can become the floor, walls, or ceiling. These facades, all built in a steel-frame, are unique by their shapes, being a hexagon, a cross, a circle, and a rectangle. LG Electronics supported the Transformer along with Hyundai Motor Co. and others.

More Information:

http://prada-transformer.com/

http://www.youtube.com/watch?v=Tc5dZ7lnoG0&feature=player_embedded

Mobile Case Study 3

Austrian Pavilion at Expo 2010

Architect: Span and Zeytinoglu

Client: World Expo 2010 Shanghai

Year Completed: 2010

Typology: A temporary pavilion to showcase Austrian music, from Baroque to Contemporary

Key Facts: Music is the concept, reflecting continuity and seamlessness ssthroughout the architecture’s various spaces. Those spaces include the chamber, a restaurant, shop, offices, and a VIP Area. Each area was diagnosed and created through mathematical and geometrical processes that embody SPAN, which is known as one of the most innovative architectural practices.

More Information:

http://www.dezeen.com/2009/04/09/austrian-pavilion-at-expo-2010-by-span-and-zeytinoglu/

http://www.span-arch.com/show_content.php?hid=3

Mobile Case Study 4

Mobile Art Gallery Concept:

Architects: Victor Paixao, Miguel Felipe, Muralha, Paula Sertorio, Thiago Florez, Andre Mack and Bruno Castro

Client: London 2008 competition organized by Arquitectum

Typology: A mobile barge set to travel down the Thames River in London to showcase art.

Key Facts: The transparency of the building offer different perspectives of the city as it travels down the river. Internal and external spaces seem to blur. Three ellipses were generated to evoke the three different uses of the space while a second layer of glass uses a ‘switchable glass” system controls the opacity of the glass given a particular use. Uses include temporary exhibitions, an auditorium, multiple observation areas, and cafe areas.

More Information:

http://www.dezeen.com/2009/01/21/adaptable-architecture-gallery/

Monumental Day for the Thesis

Last week and this week was I was mostly engaged with the site considerations for the music facility. Though not fully happy about it, Downtown seemed like the best place for maximum exposure, easy access, culturally well defined already...but it was not enough! While talking to Jorge today, I expressed my doubts about this site and, in passing conversation, my fascination with mobile architecture. As our attention turned down that avenue, Jorge asked me to do some deep research on this idea. Here's the verdict:

Going Mobile would fulfill my objectives of appealing to the masses on its maximum level, while offering every part of san diego, southern california, the state, the nation, and even beyond a higher chance of experiencing music through this facility, instead of statically placing it in Downtown San Diego. Picture this: Your home town agrees to have the Traveling Sound Lab (as its called for now) for friday thru sunday, featuring music lessons, lectures, and free-playing times during the day and musical performances during the night. Now you know its not going to stay around like a permanent building would, so you take advantage of it and go see it before it moves to the next city.

This idea also frees up the space into a more simplified version (program currently in the making) and the site...a parking lot is all thats needed!!

Now before I get too excited, I must consider the constraints that this naturally creates, such as construction, it better be simple, building materials, and acoustics. These three especially will be hurdles to research my way through.

Think its too far out there? There are some precedence studies that I will be conducting this week among others. Stay tuned.