Eric Owen Moss Vertical Studio Jury 11/13/2020

four so that's terrific thank you thank you so much so uh let me tell you in in uh briefly what uh the studio is up to the two projects and the discussion arose actually the discussion which is maybe a discussion in the studio so we have to you have to evaluate that with a couple of projects that we were building one was one was a house on the west side of la one was a bigger building in the center of l.a they're both in la and suddenly the house wasn't a house anymore for all the usual reasons it had a different meaning it had a different purpose it had different uses or did it and what would it mean in an era which has different constraints and parameters or it doesn't or the different constraints and parameters are ephemeral and it'll go back to something or whatever the discussion is and that was applicable as well to the bigger building at la cienega and jefferson which is which is an office tower and suddenly guess what everybody disappeared and a building that everybody wanted nobody wanted nobody um so the we did the first project and i asked the students just so that was took the first four or five weeks whatever it was and we did that and finished that and juried that so this second project which runs from now through the end of the semester so they've been on that about three four weeks which doesn't matter much but just for your frame of reference and i asked them also to show the uh just to put up an image of the original of the first project which may be an antecedent or not there's no obligatory connection but if you're curious you can you uh the jury you can see what they did and comment on that if you choose to do it uh other than that there's there's the usual questions about buildings like this which what is a building like this what's a high-rise building what does it mean what is its purpose there are no setbacks there are no height limits so you can do what you can do if you can do it if you know what i mean on this site uh so why don't we jump into it before everybody leaves um so team team one fire away please hello my name is abdullah and my partner is edin who's that can you wave partner um so our project i'm going to go briefly over the site first so um the side looks is located in culver city i'm here at the section of jefferson um and um here is the some side pictures uh looking into it it's la it's the city of l.a yeah the city of l.a um here's some side pictures looking into the project from different vantage points so from the north east view street view looking into the project northwest view and south uh west view so the project has um very distinct views almost from all directions so one is the beverly hills century uh century city view that is more into the northwest side of the site um the ocean views as well um the vesta views um in the back in the south side downtown views as well um welsher and so on so the first thing um this is a code that we um kind of based our original uh scheme in the first project on and i'm just gonna um quickly go through it so the whole problem of liberating individual creativity versus ordered culture is summed up in these questions intellectually the problem is as all the socrats in the west to what extent can society allow the innovator to offer up new meanings opposed to ongoing cultural forms so this was basically our um code that we based the entire um scheme of uh last of the first project and this is the house so our house was called little mutant it was about the concept was about pneumatic bubbles and their implications into the future and how we could use them to kind of liberate architecture from its formal languages um and this was just an overview section views of the original project from different vantage points and the plans so it was a postcode house that kind of uses this spiral um as a spinal cord that connects the entire um project together so for this project uh we decided to do something that's slightly inspired by where we were before but um kind of like expanding the concept of bubbles or spheres so the cosmos as we know it is um the sphere in architecture has been oh i'm so sorry so the sphere in architecture has been uh has had had oh it had like this important um notation in in ancient times as being you know you know it offered qualities of being infinity god spirituality um existence so it had this kind of important notation in architectural history and many architectural projects like the pantheon and others integrated it into the discussion um the the sphere or the bubbles also have a very important place um when we're speaking about science fiction or the future of architecture um here we could see um high-tech companies like amazon and apple using um the symbolism behind the spear as being symbols of power and and prosperity and wealth and so on and it has always been the case um in many movies and science fiction stories so our program for this building is an office building where we're looking to integrate co-working spaces research and development manufacturing fab labs in a public space so my pro my partner is going to go through the project sequence so we could uh hit the ground uh to make way for this ground piece that becomes the tower podium on the ground floor and uh this is the foundation for uh the podium for the podium and the power wood are placed in the parking and that's an opening on this part of the of the podium that will be that will become a one unified space with the tower and the new ground floor uh this is a structure for the for that for the uh podium and the foundation we added a ground beam uh we added a ground beam uh surrounding this void which will be used to connect this structural system and the tower structural system uh this is the tower that will be placed on the podium and the primary uh structure is the color code green that goes from thick to thin uh from the from the ground floor up and has very and has varied uh heights to to as if catch this to catch this piece from falling down this is a structural system that has a much smaller thickness to maintain the form and the power that connects it with its primary structure uh the first pair of tri-beam is to the first pair of tri-beam which is those multi-color variations is to uh connect all of the primary structure and the secondary structure together uh that's a second that's a secondary and there's a second pair of the secondary structure which is the inside uh profile of the of the tower project and that is also run and that is also connected by this second pair of tribute system that are supported by this trusses and there are still columns uh from the uh that runs throughout the void and connects to the underground parking with steel bracings to further reinforce the uh the heavy load of the tower project these are the steel connections for it and there are ferris wheel rails all right if i just stop right over here there is no reels that are runs uh using the core uh and the inside profile of the tower project the ferris wheel is meant for for circulation it's the equivalent of a elevator but it's a ferris wheel yeah so it's like five parts for each uh rail that goes to one one one of it goes to a counter clockwise direction the other is the other way around all right that's the stairs that's highlighted in blue light blue uh the fire stairs is it goes uh goes around the interior profile of the tower all right these are the parts which are the elevators for each rail that are circular in one direction or the other and this is important because of the postcovid discussion so uh basically there's going to be um continuous circulation around the building and this would help individuals um always be um kind of in their own pod at all times so there's al there's always access to the pods at every level so it's more efficient way of using um circular electric system circulation this is the core enclosure for those fire cells and this is the complete enclosure going down to the conceptual form of it starting with the parking and to the artificial ground you just use that let's there's a walkway to the from this uh from outside the site to the project and that's the main entrance as mentioned in the first few steps that's the spiral stack is that that connects to the void of the podium the slabs that surrounds uh this forest that is and it's meant to be purposed for the research development tower project the bridges that connects from the spiral staircase to the slabs where the bridges are is where the void is and this is a complete watering enclosure of the form uh with the moons that are uh that are separated uh they are from this uh out pieces of the of the volume and are separated these are the structures that are under the the red color uh the color coded weight is the structure that are irregular and uh to extend itself uh to hold on to these wounds so basically in this case we we look at the project as being controlled chaos in the sense of deconstructivism where we basically have a cosmos and um in a way there's moons rotating around it um in a controlled manner um that looks chaotic but um is is more precisely uh meant to be curated in a specific poster to accentuate certain aspects of the form going back to the present to the final thing so these are some drawings of the um project so this is the section showing the um the underground void relationship with the void in the middle of the project with the spiral staircase this is our intention to make this a spiral circus that connects to the slabs this is another view that shows um the relationship between both this is the ground floor plan that with all the entrances um from each direction and the parking ramp a one typical floor and a top view and this is our progress so far thank you what is the um i understand uh what the meaning of the cutouts are um what is the basis for what gets cut out and what remains solid is there are you thinking about it in a in a systematic way as you've been thinking about other things or are they more random um can you share this um the ryan model please so so basically to answer your question um the cutouts were meant to basically um deal with some certain um side views that we think are the prominent around around the site because the side views are basically yes just so i could i clarify i'm not looking for um some absolute you know medical fact why they are where they are yeah yeah we usually use we usually use codes and science and all the rest of that in order to substantiate decisions that they were making just because that you know we would like it that way and i just wanted so you got you you've made a number of decisions based on the sphere the sphere basically has an as an intrinsic logic to it and then that logic plays out and then when you get to the cutouts that logic uh disappears i think intentionally which i think is a positive thing and i'm just wondering is there a basis for um what gets cut out or because even the logic of the structure becomes uh kind of wonky you know uh for holding those things in place uh which might also be might also be what you're after you know uh the rational error fall down uh well right now they will you know but nothing falls down in in in digital space so uh but it's fascinating to me how there is uh a very rigorous logic to how these spheres stand up and then uh right now you're right on the edge of of uh this thing not working um in in the same way that anyways it's uh it's fascinating i mean i like i like uh i like the way you thought it through and uh and what this thing is doing even the uh the ferris wheel is a totally cool idea i'm i'm imagining that people are going to want to stay on that ferris wheel and not go to their office you know so you might have to make those a little bit bigger yeah actually to speak about the moons a little bit we we see them as if of course they're basically um pulled out of the original sphere and we see them as being um small galaxies or um moons or planets that basically in a way um kind of separate from the original core of the cosmos and yeah in a way it's kind of held in place in a very particular uh formal aspect that kind of like um freezes a moment um a very formal moment like a sculpture but still kind of remains to be within the boundaries or the gravitational pull or gravitational force of the whole um uh you know um uh cosmos so it's they're meant to be seen as sculptural elements that um kind of like are radical and and and you know um no i think i think you're there you know verbally that makes sense uh it doesn't make sp makes sense uh and informally in terms of what you're doing you know if those were going to be moons then you might look at the structural lines being more like electromagnetic field and see if you could start to draw some comparison between the two and look for a structural equivalent of those lines like like the the the geometric logic of a of a circle and a sphere um may have lines that that blow out of it uh almost like almost like solar flares like in the sun which there's no geometric logic to it's like looking at looking at a cloud you know but there is another there's even there's there's a not necessarily a logic but there's a there's an implicit there's an implicant order that lies even within randomness and so you may not discover what that is but i think you can um sort of make something up so it looks like uh you know what you're saying the thing begins to take on sort of the formal qualities of of what you're saying you know that these are in orbit but they're almost like asteroids rather than moons you know so anyways i'll stay quiet and let other people talk anna anna andy william anybody want to take a crack at it sure um you know it's funny i i i that's a lot it's a lot of work by the way and i i actually i thought it was i don't know why i was really gonna be annoyed by your presentation with the rotating rhino model and it actually worked and you had me there until you had these kind of things sticking out there like you had like this relentless not relentless logic but you had this you were like building up this kind of symphonic set of pieces and i i really was kind of buying it all never mind the the the net to gross ratio your your amount of floor you're getting for for you know all your construction but these and i know we could say that they're tentative and obviously there's no way to circulate now there's probably not enough structure to hold them up but i don't think solving those problems is going to make it better it just seems like i don't know you know we can discuss of course the cosmos and chaos and all of this stuff i mean all that sounds fine but it seems a little arbitrarily willful when you were you were kind of rocking it there you know the other that ferris wheel circulation one of those there's that type of elevator that never stops like they have them in germany in some places you just hop on and hop off it's like one of those like uh like they use in mine shafts um it could be those like the elevator doesn't the ferris wheel doesn't actually have to stop just like the the london eye and i just wonder so that's it that and the kind of compound curvature that you start introducing into the base which i know looked like what you had on your other project i would just you know rock newtonians you know physics and this you you really made a big headway into it and i would find it more i don't know i would find it more fascinating that way also what once you're post-covered you don't have to be in a pod anymore we're going to get a vaccine and then you just go hug people again and work next to each other no thanks i mean you know if no anna did you want to if you guys don't want to comment i'll comment on i'd like to comment uh briefly i i was just wasting my turn um i really appreciated the image that you showed when we saw a cutaway plan and it was so in other words there was a kind of moment where we could um understand the project not as this kind of revolving thing from far away but a little bit more as something that you're kind of inside of um so i guess my question would be whether or not it needs to be all built um as it is right now in its full kind of intensity or if there are moments in this that are more exciting than others and for me that's the ground plane and the intersection of some of these more complex structural terms so i almost feel like the project could actually be kind of cropped a little bit more carefully because that image was really compelling it was really quite beautiful in fact um i don't know we'd have to go back through the pdf but it's it's basically a plan cut i would like to add um guys so one of the questions that uh in the brief it's talking about uh the high rise uh in the age of povid and and if you like really think what that means it's clearly the medium that we're using right now you know soon so so formally i think the project it's it's very compelling i like the different moves that you guys are doing i would question why is the need to if the big idea is the sphere and i i appreciate so much that you guys are using sphere because that's not something that you often see but why does the parking needs to be needs to resemble you know the way in which we know parking uh how can you find innovative ways of creating spherical parking does it does it you're creating a ferrous wheel for people to move around the building can it be some sort of uh carousel that you know you come you park your car and it moves around and and parks the car for you right so you have like all this uh innovations that you're trying to create and then you go back in the fall to like the the simple structure that we know as a parking so i would i would just you know challenge the project a little bit about that and then uh i think that maybe uh what's not helping this uh pull-outs that you guys are taking from the sphere is the fact that they they they are so uh the thickness of it com competes with the thickness of the the actual volume of the sphere so maybe things somehow get a little bit softened then uh you can give this impression of this thing that is just kind of like just clouds around you know this spherical being just just to follow i got a couple things to say we go on to the next one dean can you take all the protrusions off the screen and just leave the two spheres is it possible that yes this is possible you just you can keep going around did did you have were you still going william or that is that it no that was it eric okay thank you um a couple of things uh in no particular order the parking actually in the existing project on the site is two levels this is not a parking site whether the age of covet or not there's a train the expo line runs through here in both directions there's a there's a stop a few hundred feet away and a project uh at least in a city planning sense to the extent los angeles belongs to any sort of substantial city planning uh doctrine is this is a pedestrian site it's a working side it's an office a lot of digital production and et cetera that are on the side so the parking structure is enormous and and way out of the scale of the project there's more space for the parking than there is in the building and as i said in in the project we're doing on the site there are two levels a little bit on grade so again the emphasis is you walk or your skateboard or your roller blade or whatever you do coming to and from the the train station and that's an essential part of this in terms of an effort to minimize automobiles where that effort goes another discussion the other thing that that i would say and i have a sense andy uh and anna and to some extent william we're getting toward this i think it's if it operationally is quite confused and it's confused in a couple of ways first of all it's surrounded by a ton of jargon which we're trying to get rid of and as somebody said the language may or may not be appealing depending on who's listening but the question is what does it have to do with a project i mean i think there was something about chaos controlled chaos and deconstruction and all of this is kind of nobody knows what those things mean would be my claim and the words however generic they are and whatever meaning they had at one point don't help us very much i don't know whether chaos whatever it is in architecture is a good thing i don't know if it's a bad thing i don't know how you make it i suspect you wouldn't make it by taking pieces out of a sphere that are readily identifiable and pulling them out on structures and i think michael mentioned which won't support them although we don't know whether they're transparent whether they're translucent whether they have floors any of that the other thing i would say is that the project in a conceptual sense has lost its essential conception which was and there was a little bit of a review from the team this is a sphere this is boule or this is the the dome of saint peter's or this is hodges yeah whatever it is and those are colossal spaces why would you make a space like that and fill it up so that the the meaning of the space volumetrically in terms of use understanding which is quite unique of course because i'm talking about public or religious venues now this is an office venue so it's been lost from the inside it's been confused from the outside and in addition to that the the precariousness of this like in this zone in here in other words you got this one and you got this one and this is the ground and this is already a substantial issue and the reason it's an issue is because it's going to roll down somewhere and sisyphus is going to have to chase it so it seems to me it's not only a sphere it's a double sphere and the interrelationship between those two spaces is potentially fascinating so the the first organizational idea and the little discussion about sphere and the history of sphere is completely lost and the other thing i would say is to go back to this discussion and sorry about drawing on you when you make something like this and then you pull all of this structural paraphernalia into the middle of a space when you went to the trouble to kind of to kind of do this and build this and then this you know to hold up the thing on the top it seems to be complete the the interior structure and its magnitude not only fills the space but it seems to contradict the whole meaning of the to the double spheres the intersection between the spaces and you already have a very substantial structure at the base uh which leads into the top so it seems to me the first structure which was the green structure ought to be the structure you got to clear out that central area instead of all of that sort of trust like rigmarole that would have to be defined and explained but i think it runs counter to the meaning of the project so i think to understand it in terms of its you're making something if you think deconstruction has to do with sensibility and if you put a sphere on top of another one and the one on top is bigger and the one on top on the bottom is smaller and they don't balance that's essentially instability right there right that's a lot so you don't have to pull everything apart and by the way pulling it apart in a way which is i think pretty readily recognizable so i think my sense would be to to work on what are the essential organizational issues minimize i think william's point about the parking is really interesting it's a little bit by the way just for williams information only because parking is not an issue or it's a very small issue so the inner relationship of the parking and the va the the the dome that hits the grade may be a topic but they got way too many cars in this thing and then i think mike said something about you know are there any there's a minimum requirement in the project of a couple hundred thousand square feet and it doesn't look to me like with all of the building that that we have achieved anything like that except in the parking area so i think like everybody else i appreciate the intensity of the thing and the effort i think it's already about something that that we know and we understand and we know its limits and i think we have to work our way past it i think it waves its arms too much and no i don't think anybody's waving back anybody else i i i know i agree i think it's you should don't feel like you have to and then another like you keep having good ideas just save them for your next project they don't all have to go in here actually i just want to um ask one last question um i know we're taking so much time but we just don't want to just have a blunt sphere on top of a sphere you know like we want to be more interesting than that and that's why we just want to add something to make it more unique i don't that's the part don't make it it's it's interesting it's what i think what eric's saying is it's interesting you're you're it's possible that you're mistaken just think about that you're a bunch of people are looking at it and saying it's interesting but it's interesting with the moons not interesting like this you know you can well if that you know if if what you're saying was uh accurate then uh i guess it would refute why you're even looking at the original spheres as a precedent right those aren't interesting exactly exactly why do it the other thing is is interesting is a word like controlled chaos it's not so much whether you can say this is interesting because you say it's interesting or because you say what you do makes it interesting one thing is the fact that you claim it to be interesting or what you're doing makes it interesting doesn't necessarily make it so what i would agree with i think andy that that the the idea of the continuous circulation and the movement of that i don't know quite how it works i don't know if you have to jump off so you don't miss your floor i don't know how that works it's an interesting conceptual idea but it it stops at the top at the bottom of the top sphere and the interior of the top sphere has some potentially interesting pieces the the structure that supports elevators so it's okay to have an elevator in the lower sphere it's not okay to have an elevator at the upper sphere i'm not sure why the mechanism on the top couldn't be used as a mechanism on the bottom and i think the problem is and i think i think andy was saying this that what what constitutes interesting is adding more and more things as opposed to and it doesn't because each of the things that are added actually in a conceptual way raise all sorts of questions why they're there what their meaning is how they're supported how they relate to the governing idea as opposed to just taking things and piling them up and so i think what hasn't been explored is the meaning and the implications of the sphere and in the end the sphere might look very different without necessarily conceding that we have this we have this interest in spheres wait a minute they're gone and i do think the imbalance of this sort of eccentricity of the thing has been essentially ignored so that if you're gonna do that and then forget about it and then pull out the top and then claim it's chaos and that's okay because can deconstruction is is in vogue or something but none of that is ratified in the content of the project as far as i'm concerned anyway uh to william or or or anna or or uh andy mikey you guys want to see anything else that we're trying to move to the next one if we can yeah let's move yeah okay thank you a link they're called potter nosters and they use them in germany they seem like they're they're really deadly but they're just continuous elevators that you hop in and off of yeah thank you so much thank you right thanks guys peter trummer likes them [Laughter] okay number two please so um we're gonna just start with our last project when we are dealing with how sports can be like sports activities can be related to um living in the kind of covert issue with a kind of skateboard and um so when we're looking at the site that we're given we're um looking at how we're like entering the building with this kind of pedestrian view this pedestrian um path so um and we're really looking at the like all the surrounding high rise and vistas um we want to like turn the building into an audience stage where you can like see all different views of the sorry different views of the city so i feel like the building um is um twisting like a twisting um audience stage that's offering like views to different um vistas and we also want to combine um this idea of paralleling like residents with office within our building program so we're using the top four as the residence for versus um the bottom part as the office area it's like a parallel relationship during the covet um quarantine relationship so um entering the building we have the pedestrian as well from here as well as the car from the other side and also we're looking at how like structural relationships um deal with the wall and like whether it's like extending some part of the fork standing out and like its relationship with the structure as well as looking at the kind of section how like different um programs can be combined together and then we're like going into details of the models yeah so now hey myself nickel i'll start with the process how it starts building up so this is the site starting with yeah two structural course and then the retail area which is raised on both the sites so just for the entry and exit and this is the close-up of the retail game how is it the flows inside the retail layer the ground floor or the first floor the structural grid the columns and beams from the other side now the structural supports for the retail area so there is an outer space frame uh edge beam uh supporting the structure so just yeah from the other side um yeah so this keeps continue keeps building up the structural frame and the space frame from both the sides uh then this is the central area which was the which is uh so basically the the central space frame has a green roof over it and then auditorium so there are that that's why it's a like huge space frame so now this is how the uh retail area sets up this is the uh small auditorium model so the idea of uh having an auditorium or the retail area is to uh is to like to set up city as a uh performance area and building as a study to set up citizens yeah to set up cities and performing stage and building as an performance area so the views so there's no uh view of angle of the view like the cone angle it's just the city's open like this it's 360 degree panoramic when a panoramic view so then uh that's how it is we have the framed up views which will come up so this is how it is now when uh the building starts building up as the skyscraper or as the high rise so this is one connection which goes up to an office area from the retail area on the other side then these two offices connect these these two are the other offices which connect from the retail area so this is kind of a um so the idea of having like a separate mini offices in in times of covet and also having entire separately uh so that they can be used and you can actually go to office not stay home i guess and then comes up the instruction grid for the connection the connecting the connections these are the flows inside flows up right now it's like a bit monotonous nothing designed specifically but yeah uh now i'll share my line of files again after this yeah so that close the building i'm sorry it's actually not uh presented in a but that's that's it it's coming it's coming up the files heavy it's taking some time no but i mean do you have additional information yeah yeah the top part of the building okay yeah so yeah so these two connected uh connecting members connects with the vertical office like just a sort of tower which is like this so the upper part of the tower is a residential area and the bottom office and then the residential area starts with the there's a swimming pool there are different floors of apartments like penthouse apartments and business apartments and these again open up on all the sites with the views around the site and also the supporting members in between since it's an uh going such the it's can delivering outside we have like supporting members which connects with the in antarctica with the exterior i mean which connects and directly with the exterior grid i'll just um hide this and maybe yeah so that's how these are like steel plates steel truss plates yeah that's it okay thank you thanks guys thank you um if i'm what's fascinating to me is that um both of you your intuition um you're intuitively you've you've created a kind of asymmetric equilibrium i don't know by formally but structurally i mean i could all it's a composite structure which is uh which is pretty fascinating it looks like one one thing is basically pulling away from another but it's actually supporting something else so it's basically that it seems like you're the exploration of things being simultaneously in tension and compression are are pretty really interesting um perhaps you know if i were to stare at it longer i might find uh how that finds a kind of conceptual basis in the project itself but i think the uh the whole notion of equilibrium when something looks like it's not in balance and it actually is in balance that's nature that's nature basically that's what a rain forest is which is different than a botanical garden we tend to build botanical gardens um this is more i sort of push this into into the rainforest anna andy anybody well i i appreciate again the ground plane um there's something about both projects um that kind of resists gravity which is uh really compelling and um thank you for showing the two cores as a kind of starting point because they definitely get completely obfuscated which is wonderful right so that like the structure doesn't um reveal the fact that there is something quite quite vertical as a kind of element that's running through it not quite sure if it works completely but one one thing that i would say is that in the previous projects when the sphere was thickened there was something that i think the students gained from that kind of um the kind of thickness of the poche of the kind of material the matter of the of the piece and here everything stays rather paper thin um and so i would imagine that there are certain moments i mean to give an example where the core shoots through onto the roof terrace and you get these little kind of pockets of just mass um sticking out i think that there are moments where you just you need a little bit more mass you need a little bit more um distinction between like what surface what structure what's the thickness of program and infrastructure and i would imagine that the project could just gain a lot a little bit more of that of that mass in order to accommodate some of these things so they don't feel like they're just added on or slapped on yeah can you can you guys show us what is what is in your view at the moment the final object in other words it's not clear to me what of the structure is is not exposed and what is what's the up to yeah that's what so that's the final oh yeah that's no no no yeah this is the final yeah oh so the floor i don't understand are the the because you're showing two different things is that it yeah yeah that's it so it's open yeah it's some place it's open and some like it's a glass and okay yeah william or andy you guys want to comment on this one at all yeah so i would say guys i i really like the way in which you guys are taking the curve and the curve is being deployed throughout the building um i would agree with anna in in the thickening parts uh comment because like if you look at this it's like you you have like this thin floor there right when this could have had like some sort of thickness that comes and becomes one with the structure here and that on his own is a really strong moment of connection you have like this this this way of kind of like addressing the connections which make these things look more like it if it's just like the creation instead of just like a function so i would suggest just uh you know you have like a very uh side wing that it has like a very uncomfortable posture so work it out by thickening some of the elements instead of just relying on trying to create some sort of torture structural system yeah uh the funny i think like boy if this was built people would certainly notice it uh and you know the the term that comes to mind is like sculptural you know like in in the most kind of um exaggerated sense of it i guess i know to uh um and a couple of things yeah i noticed those little uh kind of ballet tiptoes of the structure that william mentioned they you know doesn't seem quite convincing and um anad mentioned seeing the the cores um i guess it would be interesting to it to have a diagram of exactly the logic of how it works as an office building because i think you discuss that you know that and i think a lot of it i'm wondering how much of it can is sort of independent of the um it's funny you know when we were doing these tall buildings with 2gb years ago when emmett zeifmann was around who had worked at you know big you know kpf and things like that he was showing all of these buildings some really crazy building by zaha hadid et cetera et cetera and then he'd show the the floor plan and they all had a kind of core that went up and you know there's so i'm wondering to what degree you could diagram this as a as a building and we could see this the residential on top the wide spaces the narrow spaces and if some of those are if the sculptural form is making some of those impossible or exactly making it possible or indifferent to it it would be nice to i want to feel more that this isn't this big old you know kind of sculptural paperweight and then you crammed floors in it but somehow that it was the critical part of making the whole thing work that you know i'm not not a functional argument but that there's a you've exploited this apparently exuberant non i would just say nonsense in in in a good way but then it turns out you know that this is what gives you all of these key moments all of these key opportunities and i maybe we would have to go through it again and and i'm not seeing it but it feels a little funny the only other thing was going to be i say was just about this this covid which is not about your your project so i'm gonna argue that in terms of the literal response of a building to covid we're way too slow and scientists are break next speed with a vaccine so it it's not going to matter but what does matter is this psychic collective global psychic trauma that we've all gone through and how we think about public space after that in other words i don't think it's about keeping people apart because you're going to get sick oh you know or do we go into do we want to go into buildings what's it like to be together back you know again like i someone was talking about this on on the radio and i feel the same way i'm like i'm watching some old movie i'm like oh my god they're so close like i'm actually just seeing human interaction through a different lens and that's a maybe a trickier thing to think through what the ramifications are and maybe we're too much in the middle of it to know i think andy it's not so much the health aspect although right now it is it's paramount um i think there is a big questioning as to why people need to be in such close proximity to get things that they can't remember in five years what they did is there something else about life that is more meaningful that we're becoming more aware of since we have to slow down and in that slowdown we become patient and in that patients we begin to see things both outside and inside of our heads in ways that we never saw them before and i think that it really doesn't make sense to pack people into a building in order to do the work of a corporation as well i think that's mike i think i think what what andy said did i you do you have something else to say no yeah i i wanted to say that underneath all of the specifics of the project at the point i don't know i tore my leg up i broke it i twisted it i and now it's healed and i can walk but there's a scar and the scar isn't only where it was hurt it's here yeah and i think that's what you're this is to andy specifically but but to everybody in a more general sense the question is is perhaps not so much what it does and this is a question in terms of working or not working in in in close connection or remotely and so on but what this has done to the world including what it's done to the world economically and politically and socially and all of that and can you jettison that from your memory and just go back into an office building i've heard people desperate to get back into that collective thing whatever it is i've heard people that don't want to go near it you know i've eric i'm not saying i'm not saying that you don't you don't go back into a collection yeah but there might be a different arrangement there might be yeah absolutely communal life is now because there might be a different arrangement in the same in the same physiological situation in other words the issues of proximity and communication inside the outside inside the inside uh outside the inside might be different in the same box actually so i don't know for sure how this affects building per se and it's it's not clear yet one of one of the things that i think andy was saying is that that i don't know exactly how to put that in terms of this project there are pieces of it that i think are are actually quite beautiful really um and i think william pointed out and i think maybe everybody did that those points somebody needs to take piece by piece of the structure if you want to build this thing and in a more abbreviated way explain the associations of the part like i'm afraid this piece is going to fall down except it isn't because this holds it up in which case what do we need this for stuff like that and i'm not in other words if you did this and you did this and you got rid of this i know we just eased a core or something like that so it and the other the other point which i think um uh uh zago made is the interrelationship between the outside and the inside so that if you're going to make something which is so i don't know what the term he used the term sculpture private idiosyncratic not conventionally recognizable that having done that this is a little bit like the discussion of the sphere how do you exploit it in other words what kind of space do you get in a thing like that that you wouldn't get in a thing like that i mean by doing it what do you learn from it what do you gain from it what are its virtues what are its advantages and we don't really see that so there's i mean somebody has to go to this thing not only see it from the outside but go to it enter it sit in it walk in it work in it sing in it or whatever you do and the relationship between the pieces in other words and i think i can't remember who said it but somebody's saying you make this thing and then you draw floor lines which look like it could be century park east or something and that a space those unusual spaces seem to call for further thought and development on the interior and i think that was that's not so different than my my point about the first project which i think was also potentially fascinating the other thing andy asked for was i mean if you make a high-rise in a conventional sense it has vertical and horizontal circulation it has some kind of structure it has some kind of enclosure and if there's some kind of governing diagram in other words if i said to you okay see this thing here i want to move it over here five meters what would be the consequence of that in other words to the architects would you walk out of the conference room and you're done in other words what obligates pieces in terms of its own internal argument and i think this is something like what andy was was sharing what obligates those pieces what insists on those pieces being what they are where they are and that's of course never a question that can be answered entirely but i have a feeling in this project it's not really even there's not even an attempt to answer that this has to be here for these reasons so there is as long as we're going to have a discussion and a case and a strategy and an argument what makes this what it is uh the other sense i had is just that that if you started to do away with some of these pieces actually that the the the omnipresence of forms which are unique but are less and less unique the more you see of them and that if somebody could say hey i can draw a right angle that wouldn't necessarily kill you and i think the cores are actually you know so so the so the preponderance of shapes of this kind i think it's not better if there are more of them necessarily i would say anyway okay anything else okay thanks thank you for all the effort so number three please hi hi everyone i'm brooke and james here so let's start with the first image uh so this is our first house project in santa monica canyon is a reference and these are the physical and digital images of it and the site um the site is located at the crossroads crossroads of main exits of los angeles and it has a big potential connecting to downtown with the beach and airport with the new expo line and two main avenues the project site is in a commercial office area mostly technology media firms and it is next to low rise residential areas from from the north west and east it has wheels to beverly hills hollywood line downtown baldwin hills and elle river in the next image and if you go to the next one uh so this is a departing point in our concept and our strategy is to utilize these views and integrated different heights becoming vistas in the lower area and panoramic views in the highest portion and um in terms of korea kovit has caused us to evaluate a world that would never be quite the same especially when it comes to how we gather in and use large public spaces like offices although it may not stay there forever we think that's a great great possibility to explore new ways and our approach is uh to provide ventilation in communal areas that would be the hub of cross contamination and use this unconventional way of creating spaces to discover a new approach so we'll start with our conceptual diagram with the sequence of fields and show one by one how these cons are used and this is the underground parking strategy from west jefferson and pedestrian access from southeast and expo line stations so starting with the landscape the first con comes up and frames the expo line second one is best jefferson crossing third one is scientology project pedestrian access we we think this is a great place to place our office entrance and the fourth one is los angeles river which frames the river in a different way fifth one is hollywood sign the other one is santa monica national boulevard cruising and starting from here our cons are stretched and stretched to create a more panoramic view when you go up and and ending up with the beverly hills view so now we'll begin with the structural and tectonics that sequence so starting from the cone massing model um what you're seeing here is a vertical column structure that's intersected with a beam system that's derived from the intersection of the cones so the first cone structure gets slotted into these continuous loop beams and there's a couple of layers of envelope defining wheels and provide new ways of openings for each of them so and this second cone is a secondary beam secondary cone so the first one here we're seeing is a primary structural element that cantilevers out over the road the second one here is uh basically being supported on top of that cone so it's it doesn't it doesn't necessarily penetrate all the way through so it stops at the intersection of the primary cone and then this cone uh looking down towards the cemetery project is a primary cone also and that the cladding gets cut by either intersections from other cones or horizontal floor plates so you're seeing a variety of different directions in the cuts of the facade and again um upward upwards uh towards the top of the building these cones are kind of squished vertically so you do get more horizontal panoramic views as you ascend up the building and then this is a site plan view looking down in terms of circulation concept we are using these ventilated circulation tubes that are attached directly to the main structure frames of the cones and deriving from the primary primary beams of the cone structure these circulations are providing different angled circulation cores which are also we're conceptualizing these as uh either horizontal elevators um something something like that or not not an escalator per se but a um a horizontal uh people mover diagonal people owner and then the building sections um this one is looking is cutting through um looking south uh southwest um so on the right side you're seeing the bologna creek or la river on the expo line elevated above the street level in the cemetery project on the left side and the program is divided up so that the uh kind of upper portion of the massing is an office a covet office and the lower portion is a restaurant and theater public development and the bottom is a public park so that the plinth that's elevated above the sheet level is the park and underneath that is the parking component and this is another section uh looking the opposite direction and then we're looking for opportunities where um in both of these cases where the program can kind of cross over um so you're seeing where the the public portion kind of creeps into the office portion and there's a kind of programmatic overlapping occurring there so we got a couple of floor floor strategies to provide these views and get the most out of them for instance here um u-shaped u-shaped views are are provided by getting these cones and um cutting them through the floors and get the get the most out of these views every time and in the first floor uh these three areas are theaters and also circulation between between each floor each cone are intersecting and somehow every time it is related [Music] this is an exterior perspective uh coming from the east side so when people get off the expo line and walk towards the project there would be this this uh circular opening at the end of this cone is the the main public entrance to the building um and then to the left side of this image is where the the main office entrance would be so there's a kind of meeting point here on the ground where the office and the public spaces converge in a public plaza that is accessed from the expo line and this is a view um looking uh towards the expo line and in the distance so you're seeing the cut of the floor um kind of uh relating to the conical volume uh internal void volume and then the intersection of the the various structure um primary and secondary structures through and then this is a view looking down towards the plaza um of the samator project and uh you know we're still uh kind of conceptualizing how this is going to work in in terms of um functionality but um this is this is one of the kind of effects that we're looking for um in its viewpoint and this is a look uh looking upwards from the intersection of jefferson crossing um so this is uh from the elevated park um at the intersection and again you're seeing the intersection of the structure very large uh steel structure that holds up these cones and this is an intersection point another internal void space and this is looking towards the west this would be looking at the um at santa monica this view is underneath uh the expo line um across the street so this large cantilever piece uh extends out to the periphery of the la river um and is kind of cut at that level so we're at that datum so there's a um a relationship and it's uh and it's it's cut and then this is more or less an elevational view coming from the east parallel to the train and this is across from the la river so this is south west um singing from a different vantage point and then you can kind of see where the the cones kind of get cut um more sharply so there is kind of a remnant of a volume or um towards the top you get a kind of orthogonal angle that's it thank you um i'm sure others will comment more about the overall effect of this it's pretty impressive i will i have a comment that's rather small um one which deals a little bit more with the kind of skin to form to structure relationship which right now feels very tight like very much one to one and i thought that there was a moment where you showed the conceptual framing i guess it's an earlier series of views that um yes yes so go um go forward a couple of oh yeah this is it this is good this is good okay perfect may i draw on this for a second i like this thing um uh let's see this thing do you see my green yes yes um what's nice about that moment is uh it's a moment where things kind of intersect and they produce a totally different figure from all of the kind of extrusions and i was thinking about it in relationship to your envelope that if you were to think about those intersections but then just kind of like allow them to be 120 bigger than they are when they're within the structure in other words it's almost like your building had a little bit of a vest on or a coat on to give a bit of a sense of a skin that delaminates from the one-to-one relationship to the projected kind of geometric you know whatever these things are like cannons um it might give you a little bit more breathing room um in the project itself so it's in other words it's like uh right now you've basically followed um you know quite um quite closely some of this line work but to simply kind of allow it to really um envelop some of these forms and to kind of open them up i think it might it might it just it might open things up a little bit in the plans could i come in i think that's super helpful and and and and a really constructive suggestion i i don't have a good way to show it but like you can see my arm that's one and every shape by anna's definition belongs essentially to the arm it's a cone and then all of a sudden you've got that and you have one running over another and instead of continuing to wrap them each separately in a way and i think i'm repeating what she was saying at least as i understand it that you would have a different wrap so this sort of cruciform condition and wrapping that might give you a different kind of spatial perception and would would would suggest that it was possible that notwithstanding the amalgamation of what essentially is a series of very similar shapes that by putting them together you make something which is not quite recognizable in term excuse me in terms of the individuality of each piece i don't know if i'm seeing it right but but i and that also depends on the intention of the architects whether the kind of single-mindedness of it has to do with what happens when they bump into each other the the intersection creates another thing i was also struck by that piece that i asked you can you go forward to where you have the first section so where one where there is a kind of mutual boolean boolean okay hold it right there so the the thing then that that i think is wrong if i could say that is then to put this stuff back in after in that drawing that ana's talking about it disappears do you see what i mean you're saying take it out where you got the red take it out yeah so where the two have boolean you just remove that and because this is i here let me give you i have a couple of questions about it i'm gonna just talk about two different projects just as a kind of uh bracketing one is um these toy tables by greg lynn i don't know if you know those but they're also there they're a number of repeated forms they're very complicated toys but they're so intersected that everything becomes about the intersection and you virtually lose the original ones and i'm going to contrast that with this vitra house herzog and demeron where they have that sort of house profile and they intersect so in the first one it it's consumed but the boolean operation consumes it and it becomes something else and the other one the original extrusions are very very clear unusual things happen on the inside quite quite interesting but you see it yours seems a little bit not sure which one like it seems like some of your cones just start and end the way you put them on there like a kind of megaphone other ones seem to get also trimmed by some outside force and i i mean i think you're getting more traction from unusual conditions when these are trimmed at weird angles and they meet themselves on the inside then by having a stack of logs let's say like that vitra house because they had a very specific little house form and you know things uh so so i when i look at the outside like i'm wondering what cuts these and why it is some of them don't cut and i think and i think can't leave a ring off way over the site to the l.a river especially when it doesn't connect anything it's simply uh improbable and doesn't add to this dynamic of it being either a cut or an extension it seems to just be an exception everybody's been spot on because what i what i was writing down was i was when i saw them stacking uh the tubes um i was expecting that it would be tubes everywhere you know totally tubes and then when i saw the first floor plan and uh that then the section uh the section which has the floors going all the way across which i think is always an interesting thing to do because you can never read the inside and the out you can't you can't experience the inside as you're experiencing the outside but in any case i think on the outside there's discrete forms um and then on the inside it it's um it begins to and i think this is what ana and and andy are getting at um it basically it it removes everything it hollows out uh the tubes on the inside in order to have it become basically a volume avoided volume and then the special places are where they intersect uh so the intersection is really i think uh critical but i think simply to simplify now this has to go into editing i think this also this particular image is getting back to abdullah i wanted to make it more interesting uh there's too many moves there's too many moves the interesting thing about this is basically the formal operation you've got to stack into the tubes they intersect all of a sudden there's there's the boolean thing happening you begin to open um clear out the volumes and then you figure out how to inhabit it you're going to have to put where you're clearing out the structure i think there's way too much structure in it anyways but i think you you need to basically treat the inside volumetrically the outside uh as a as a series of discrete forms that are passing by each other and then just let it let it the longer you stare at it one of the one of the most difficult things to do uh is to make is this is to be able to see what's inherent in the project but not so visible and then you start to make future decisions by self-referencing what you don't necessarily see but you have the insight that it's present so i think they're ha that that i think you you need to go back into an editing phase but anyways outside discrete forms the primary read inside it's a volume that is totally surprising because of the way these things intersect thanks mike william are you sorry go ahead yeah i would add that uh in the beginning you guys talked about like framing these views but the way i i read your cones and and some of the the inside they're just pointing kind of like like this view right like that's that's pointing down it's not pointing at the hollywood sign or this other places that you guys talked about so i would say uh the way that i see the the the cones that you guys are creating it's like if you're looking at the other side of of uh binoculars right so so you don't look from the from the you know big big side you look for the from the smaller side so i wonder if the logic behind what you're trying to create it has to be reversed where the small part of the cone that's always what's pointing down and then the bigger the larger part is always protruding out anybody else anyway thanks very much by the way to brock and james for taking a crack at at all of the drawings that are going to be required at the end i think that's that's useful to get that going so that helps thanks for that um okay let's go on to the next one [Music] thank you thank you hi uh my name is jonah and we're going to share our screen sorry so we're gonna start with how our concept for the house was so our house was a covered house where um different blocks are connected together by an atrium or a connector that was made totally transparent through glass and um it was easily changed post covered it can be easily converted into a more modern house where everyone has their own private and personal space that is connected by these staircases so we wanted to take this idea ahead into a more commercial covered workspace and from the site and the understanding of the site we realize that the building that's standing today is like a landmark to the surrounding because of the height it has so similarly we wanted to go as high or more high to what the actual building is so that it looks in different directions and has multiple vantage points to understand that better we studied the site and realized that most of the spaces are commercial and um so to add on to it we are going to provide a more commercial residential friendly building in in our site that's this um we have multiple vantage points in all directions we have uh in the north we have the hollywood hills we have on the south the baldwin hills and the ocean um the east is downtown and west becomes the river so understanding all these situations we started making and analyzing how our concept was so with the function we also ended up with another concept as the idea of work from home or home from work which will explain you in a minute so now we're gonna show a quick uh conceptual volumetric animation to show you how we derived our design so before i begin um we we like we wanted to use this operation of sawing blocks of wood through these three cores that we have which act as hypothetical blades that cut through these blocks and so these three slanted cores they're each leaning towards a landmark in the site and one block after the other they're sliding into the cores and are sliced in that in the direction of where they're oriented um and so the first block is oriented towards the river the second towards the hills the third towards downtown and the top one fourth one is towards the ocean and so our next step is the the kind of volume that's generated between these cores is subtracted uh from the uh the four blocks and we we kind of took the idea of three vertical cores and flipped them horizontally to create horizontal connectors and bridge connections um in between these and so the top two blocks are once again sliced and sawed from the top to the bottom uh with with these bridges and so this again this operation of sawing was kind of a generative tool for us to subdivide our massing into several units and blocks that again act in the are are utilized in the uh sense of like covid and um social distancing so now we're going to go back to our pdf these are some of the views from the surroundings that we have and so you can really see the the kind of hollowed-out hole that this hourglass like shaped atrium generates um and cuts the blocks um into um and we we like to uh show you kind of how structurally this might work so our three cores are tied with these rings and these rings are drawn given by the um the horizontal members of this uh trust hourglass volume and so once connected um the three cores are reinforced with a diagonal um diagonal truss uh members and then this uh this horizontal three-way bridge kind of wraps around the the volume and that's what step six is here on the bottom and then these step seven would be these uh these horizontal sl uh the structural members that support the slabs of the blocks um which are again tied to the this hourglass structure um the argos structure goes down and creates the entrance to the um site so it goes underground by these staircases that leads you to the lobby space for the entrance to the core through obamacare so that would be underground yeah it can be more understood here where the most pedestrian access would be from the metro and the expo line so that's the red line so that becomes a public park over the parking plaza and most of the cars of the traffic come from this junction therefore the parking entrance becomes there and goes down under there there's no entrance on the ground floor so whoever wants to go has to go down to the underground through the staircase and then go up there will be slopes so the concept of work from home and home from work so all if there are four blocks four blocks are divided according to the functions you have and it gets private the higher you go and the higher you go the more embedded the function and the more divided the volume becomes so this would be the first block um we haven't uh we're we're kind of labeling it as an office space that is completely a workspace for the tenants of this building and then this the block above that becomes an office space that is partially a home space so it's a work is home and um this is another section in that same block and you can you can really see how the saws are coming into play with subdividing the spaces um and the block above that would be more of a home space with partial workspaces in it now it starts getting divided more because it gets it start getting more it starts getting more private in their own function and finally the top block would be completely homes uh apartment units um so there's kind of a spectrum a vertical spectrum which can be seen better in the section so the first block is office second um office with partial home spaces third block is apartments with partial office spaces and the top block would be apartments that's another section this can actually show the atrium that we're talking about as the concept that we took from the house to these to this skyscraper where the atrium actually becomes a visual connector to all the private spaces these are some elevation shots the the facade is still um in progress um but this is a volumetric kind of uh id of the slicing and finally we'd like to conclude with um what it's like in the in the ground floor hole to look up into this atrium and kind of experience that that open space that kind of connects um everything together but also separates it thank you if nobody wants to start i can start with a couple of questions and we'll probably get into the next time we get together uh one question is why the block the size of the block the dimensions of the block what's the origin of that which is not to say it works or it doesn't only to say what would happen were they different and then i think we've talked about this a little bit whatever that mechanism for sliding it in or cutting it is it different if it slid from different directions are all of the blocks slid from the same direction and when you slide it how do you know where to stop it which is another way of saying what's the perimeter of the object in other words it behaves in a certain way let's say it's irregular when the block stops vis-a-vis the property line what would happen if all of those pieces ran to the property line and the other one has to do with blocks singly and blocks overlapping how do you do that uh and then when when i say overlapping i mean one over the other so that you make a shape there's really no differentiation in this section in other words when you say a certain block is a certain thing in plan but that plan varies in section but the use doesn't vary or the strategy doesn't vary so at a certain height it's the block as it was and at an extended height it's one block over another block so the space changes and the question is what does that mean the volumes increase as it goes out so the more the public the smaller the block and the overlapping is still work in progress but yeah i think so we we talked about how we wanted uh we have these four kind of funk programmatic functions and so they are distinct in the four different blocks we decided to slice and so the overlapping becomes like a mixture of those two um in in the spectrum between home and and work and that is still something we are working on but i mean all i'm saying is that for instance in that zone that this use is this used to this height you haven't explained to us how you're going to deal with the floor or what the slot actually means i was just asking what would should everything come out how do you determine where this is is it because every block what are the rules and that doesn't mean you have to make a list or you're fired or something but it would be interesting to know how you discipline it because if you if you explain that then there would be ways of critiquing it and adjusting it and there's you know as i said there's that like what's the meaning of that do you go there i mean it's a little bit like the discussion with the guys with the cones so you have a cone and you have a cone and what actually happens in there in that area so what happens to that what what does it mean to tip the floor and then why does this only occur once i mean what in other words does that mean that this zone in here has a very particular meaning related to that circulation so i think that's something you could elaborate on it's not so much that there is a way to answer the question and you get it right or wrong but those are sub-conceptual subjects which i think we have to deal with i think to your point eric it could be that the project being developed at this point now becomes useful by analyzing it in order to uh decide what rules you want to have and then you might even it might even start over like it might be instead of um falling back on program a program might be that the the size there's a minimum size there's a minimum proportion and there's types of figure that you know just about anything is going to work it might be that that that one of the rules is you're gonna you're the way you you you phase your your your formal strategy is that maybe you put in the the uh the steel spires first and there's some logic to them based on let's say gravity but there there's there's still a kind of improvisational uh way of putting them together and then you know that one of the rules has to be that there has to there there must be a certain dimension of space in in those fires in order to slide these boxes in and then maybe the boxes begin to configure themselves not based on what you what you do a priori but by being able to fit in there one of the rules could be there has to be a certain number of voids that are used for certain types of activities you know and you don't have to necessarily give very sort of precise specifics to what the rules are but the rules are basically guiding you through the process now i would add also when you were showing your animation that you know you have the you know the structure and then the box comes through it like that right the way that you're showing it is just like it you know if the box comes through it and then the space here is equal to the space on that side so i i i would just wonder why can the box split the uh sorry the the structure can now split the box right and then they create some sort of condition like like this where here is kind of like flaring the the box out right so it's kind of like uh you know like it kind of like i don't know like a bowing or uh like a ribbon can that is kind of like you know flaring out like that so that that starts creating some interesting facade condition because at the end of the day if you just like just you know kind of like push it it's it's it's it's the same thing as just like you know crowning it right so if you're going to the extent of showing this animation in that way then i feel that you know something needs to happen to that box other than you know just stay in place anna did you want to comment yeah i was thinking about the the gaps as well and um you know in the in the animated version where these tracks kind of leave behind very big gaps they seem to be really powerful like um just left behind a little bit left empty um and it seems like when the structure comes in it all gets kind of filled in filled up i'm not sure how the gaps between do you know what i mean like the very small slices of space um the awkward things between each of the it's almost like a bunch of buildings that are stacked and um i wish that those could be them um programmed in some way or like left alone but basically that they could be inhabitable in some way because they're um they're really nice actually but they're and they're kind of at a small scale um it's much smaller scale than let's say like the huge atrium in the middle um so i would imagine that your project deals a little bit more with those details like um small shimmed kind of very narrow spaces um that you can still occupy and there's something really really comforting actually about that it's not it's not like to me like the bombastic part of it is a little bit you know it's fine it's just it's it's maybe something that that you you you guys like but um no no i mean it's so small it's the small moments that are actually quite quite nice it is also a little bit those horizontal ones are like it's like this little robot uh whose squat and his arms are flailing around go down down one more or you have an exterior view i think or is it above it maybe all right oh that was yeah help help there's it's it's in a nice way it's kind of funny but i i'm going to go i'm going to second honors like i think there's like a few too many moves yeah you have these three sticks that are sitting there and so i i'm not i'm not here to calculate the structure but you can kind of understand what it's doing it's a certain kind of stability there and then those blocks come in and they tie it together i don't think you need that crazy thing in the middle where you also get your um those kind of curve lateral bracing uh you've got plenty of cuts already and it just has these kinds of kind of three-sided courts that face in all these different directions uh to the city for different functions you know you have these are not uh the blocks they're also not in every orientation they're all just tilted off of horizontal and i i find that interesting and i really miss not seeing the floor slabs in there because of course you expect the floor slabs to follow that when it's not just some tumbling dice you know it's just a slab that's gone off and you know you can't or at least you can't so easily but then just putting in flat floors is going to also be a dis you know be a disappointment and and or so i'm really curious with these i'm much more curious about how you kind of work through and inhabit this rather than seeing more punctures and holes and and i i don't think it's a central atrium project the first moves made made enough holes okay anybody else thank you so much thanks thank you guys yeah everybody thanks girls and boys um and number five please are you going to protect protecting your identity because your informants for the fbi yeah these guys are dangerous [Laughter] hello i'm hi my name is kareem kayati uh this is a whole house project we did last time and we are [Music] okay i don't know what happened yeah it's good to silhouette and we are inspired by this kind of cave logs and the stack type on and when we go to the high rise the scale is larger so we think there is more potential more possibility that we can transform this kind of form through architectural function and going back to the office that exists in this world uh most of them the key point of of most of them is that they are very clear they have a very clear clear logic clear function about how people will use them according to the covet situation we are in the process of exploring our life it's it's not clear it's still on the way so we want our high rise to be a recorder of this process that means this harvest has some quality that is not clear uh which also means uh these buildings they need to explore by themselves how they can use this building so before we start building up the project i think it's important to talk about the potentials of the site along with the pedestrian access and the car access so as you can see the pedestrians can come along the expo line from the left and or the corp street along with the eric owen moss building from the right and the cars will be arriving from the national boulevard as you can see so the project starts as a buildup of um of a box that we then subtracted a sphere from it and a box in order to create a gesture that would invite people into the project from these accesses so we really wanted this red void to be a welcoming space for the people to enter in the in the building and what we did is that we carved out portions of spheres from the facade and what we added was additional volumes in order to create an in-between space that is uh unusual in order to create some gray areas and spaces for people to explore and we also created an entrance area for the parking in which you can see now with the purple arrow and this this is how it would look like this is the gram store volume and it will welcome the people into the project and then we'll go back to the uh beginning and this is a parking uh parking will goes down and two cores will go up and this is the columns that goes up from the basement some columns are deformed according to the messy and these are the beams and this is that uh form we talked about before we also add the steps that people have more access to this building they will have more flexibility about how they can experience this building and now we build the intel surface between inside this this this inter-surface well divide and occur and the openings are according to the different uh conditions so right now we're going to be talking about how we could use this um space that we just talked about now so we have three main axises so so the first axis is going to be in the it's going to be an exhibition area in which you go off and be like guided through these curved walls and then pass through this glass bridge that is linking these two exhibition spaces that are separated with a void and the second option is going to be to take the stairs from the landscape and reach to the central void in which later can can be a guide to other areas of exploration we can go down stairs between the two cores as we can see there so what we will have is four elevators and two eagers staircases and as the clipping plane goes down sorry the floor plan goes down this is the circulation so people will go down in the project and explore more of the spaces that are underground as well as link back up to the exhibition spaces that are happening above so it would be more like a fluid circulation space so what we wanted to focus on here is that the two exhibition spaces are separated with this um bridge and this is how it looks like as an eye level and this is how it looks like from from below and um this is from another perspective and this is how it looks like basically this is the third floor axis so the visitors will take the stairs and go in this central atrium and take this fire staircase to go up to the third floor which is this one and it will also have a bridge that is that will look like this basically from the inside to create an experiential space now we go to the top part uh in this section we will talk three office volume the first is we have a mac truss that is connect to the to the course the they share a common line and then we have two horizontal trusses that connect connect them these are the circulations that service for two cores so under the bottom the first is this structure came out and they will connect to this roof truss here is a roof rebuild that people can have access we also build a specific circulations about how people use it you can see we have some stairs but not not all the stairs are covered the whole whole roof we want people have some experience working on on on the slope surface about not just a flat surface these are the videos running and then based on the roof truss we have six column six column teams off and they are connect uh they are they will support this platform when people sit on this platform they can have overview about working communicative about the surrounding environment and then we also there here is another structure we have many structures this is the first one in the first office yeah this is the first volume of the office and here is the i-beam comes out and these are charts connect to the uh point of that abbey this is elevation how it looks like so we have this kind of form there's a hole in the center which will be used as a circulation center and then we build a vertical uh circulation specifically and it contains a one elevator that is made of glazing uh when it gets get from the bottom to the up they can have a different view it will get through different spaces and the inside outside inside outside and then we have the beam skims off this will be the corridor the bridges that gets on so as dee mentioned we have three volumes for the office building so i'm going to be presenting the second one and the third one so this one is going to be the oval u-shape office space which is going to be hung with the steel cable with cable structure and uh this is how its structure is gonna look like so the the i-beams are going to be resting on these um joints and um this is going to be the floor stop structure along with the floor finish and the first lap and then what we decided to do was to link that volume to the other core by creating the third office volume which we're going to introduce now which is the static type shape so what we thought about the static pipe chip was it would be a space that would link the two other office building office volumes together and what we thought about this functionality is that it would be a space that would be a collaboration area for people to work and what we thought about it and the spatial quality of it was going to be a collaborative space that is fluid and people can collaborate and work together as a community in this area and it will be they will be linked directly through bridges from the main circulation which is between the cores and what we added to it is a structure on top and rather than adding a floor slab what we added was cubicle like spaces that connect to each other through bridges but at the same time like look at like when people are using these spaces that are above can look at the people downstairs and what we added was spiral staircases that would um create a relationship between the static type form and the spiral staircase in a way that people can have an experience of these uh uncle unconventional shapes and yeah and what we added was a roof oh yeah this is how it would look like from the inside yeah and what we added to it was another static tight shape that would cover over the bridges that he talked about so this is a zoom out and this is we just turned on back the oval office building and then we would create more relationship between the objects by adding circulation into the office spaces in order to create more fluidity of circulation and this is our glazing strategy of the building and this is it this is and then we have different and now we go to the section card and for this part we will you can see there's a variation of the course according to the different conditions and this section card is very important because it shows clearly how the closer to all faces are connected by that static form i think it was important over here to see the relationship between the objects through these corridors and the styling type shape that comes in between this is the collaborative space this is the roof along with the spire staircases that go down this is the outdoor entry theater and the next one is going to be the exhibition spaces exhibition spaces exhibition spaces we also have section car so if you look at the section the building actually doesn't obey to any form the building transforms as the section go as the section evolves and transforms so no space looks like the other one and we really wanted to have as many possibilities in the designs maximum as possible and these are this is the elevation this is a side view this is another one that's it thank you this is our progress thanks um hi i'm i'm going to jump in quickly because at four i have to leave i apologize um i may i ask you because i understand the process of of kind of um of working on this but i'd like to go back to something that i think michael mentioned earlier and he used the word editing and you know addition and editing are kind of antonyms to one another i think when we add more and more stuff together it doesn't necessarily produce a kind of synthetic effect and i um i want to ask you if it's okay just for a moment and then and then i'll kind of pass the mic to everybody else um if you could go back like 40 slides to when you set up your cores and you showed them in relationship to this kind of thin curtain wall that kind of hovers between those two things and i would even go further back um another 25 slides back from this um we have 150 sliders yeah yeah it's good i got you can't do this with anna you can't do this with a straight face i mean these guys these guys did this five more slides okay one more one up perfect that's a really good project that's a great project right there you've got two cores you've got the thinnest floor plate possible this is the minimal office everybody went home kovit took over um we have a symbol of the office tower um you know and then there are these two massive cores i i you had me at this slide and then you kept going and then i hope everybody else kind of jumps in and tells you why the rest of the project is brilliant but that i'm i stop like this is if i if we get to choose where to stop the process i would stop right here and then calibrate the floor plate to what's feasible calibrate those two blank towers i mean i think that the fact that you can actually imagine a floor plate that basically hovers between these two ginormous monumental kind of like blank objects it i think it's really beautiful and i i um i wanted to say that uh before i had to leave so thank you very much thanks santa super great appreciate it good to see you good to see you eric good to see everybody good to see you thanks again i agree they don't they're not gonna they're not gonna listen to us but they you don't have you don't have you don't have uh these projects they don't have to name them do they eric name them yeah name yeah like sometimes you name your projects but you don't all right because other people name them i mean i know there's no obligation that they're welcome to do it you can you can offer a and then we added like they said you said and then we added like 50 times in your presence but here's the can i say and i i appreciate what i would say to anna is that this is a kind of a priori ideological response yeah and and we have to be cognizant both of what our preferences are and what the students preferences are which may not be ditto which may not be synonymous and what i would say if you compare this which in a constructive way to for instance the first project we looked at now what interests me about this in the way they describe it is there's just enough about it which is plausible in terms of an incredibly rigorous thoughtful associational spatial vocabulary so that when you add you add in a way which which makes an addition to what preceded it as opposed to ignoring what preceded it so it seems to me there's a kind of integration in other words what they did with the wall a straight curtain wall that the the preferred is that it's used and of course the trusses are used the cantilevers are used the walks are used so they're they're a whole series of of different pieces and we talked about this because this is probably an obvious comment on all of our parts it's how much i mean i think we did put a title on this which was again which we've heard before which is too much is not enough right and it's it seems to me that capacity is what's interesting to me the spatial intellectual i mean these guys are mercenaries you know i mean which is probably the wrong term they can sail it they can cavalry it they can fly it they can submarine it you know the the and the dexterity of it is not so much what it is or what it isn't as a final object it's a it's a substance they don't forget they knock this thing out in three weeks what i was going to say is i so i i appreciate that so i my my own aesthetic judgment aside i mean i almost what i would like to encourage you and you can completely uh uh nix this is that you run it as an experiment not like when do you stop adding things like just don't well there were more there were more things wait don't run out there there's more stuff actually they cut it they cut it back so this is don't run off the clock actually this is the conservative version i just want to say that is as as an advocate of abject enthusiasm for the capacity to build and to make these things that the skill set that's involved here is is i think useful to to a student group and to a faculty discussion because because they're good at this and that and you can talk with them in a way about the intersection of pieces and spaces and structures and orders in all sorts of ways i think it's just an interesting and a useful example what we try to do is we have five projects they should be five very different projects whether they are or not is up to you people to say but but i have some respect for the process and we'll talk about where else it should go but i also understand what you're saying too much is too much no no i'd like to actually see it like how like take it past the almost take it past a breaking point that would be an interesting experiment you know i think they're pretty close to that yeah yeah i'd like to you know it seems like you know then like you're this far yeah like how how how you know kind of building as an almost like a kind of logical delirium would be would be something to see i think but it's a delirium with with i mean it's not mesmerized with some music or some anecdotal drug it has its own kind of um if you want to play the game by their rules they're they're dense and they're rigorous a logical delirium and they're yeah so so it's almost like they're too yeah it's a different kind of they're not mesmerized no no no no no no they're not in the ozone or something or maybe they are in the ozone anyway inside sorry william did you want to say something please yeah i mean i was just at um i i like all the moves and i like the the excessiveness of of stuff that you guys have i just feel that in when you were working out below you were working in a way in which um you kind of like at the end of it you you were able to carve this you know very you know curvy spaces and and you know do these gestures that imply a space that is going to be very very dynamic but then on top is everything's like really rigid so i i wish that i know i know it's not done but maybe um to kind of like uh contrast with the adding it could be that now maybe you use some of those gestures that you use at the ground plane to kind of like scoop out like some of the you know excess that uh the massing has and maybe you know this way uh you can contrast the adding with uh with you know deletion and you know boom fantastic project but i i i actually appreciate the access and and uh and the labor intensive of creating these things maybe you guys don't have to you know explain you know term by term thing by thing and and let the work be what it is thank you eric for having me i will say hey william thanks thanks for stopping by late notice man appreciate it i see you again no worries yeah please don't get sick yeah good to see you thank you yeah just what i would say is i just think um just keep going you know i think editing is not you know my thoughts is how much is enough um and and the way i would measure enough is i'll look at things and say if that was food would i want to put it in my mouth you know and it has it has to do with the flavors or if it was language is it is it is it uh are they after making noise um or are they after uh sculpting sound and i think sculpting sounds like listening to metallica you know i actually once in my life i went to a metallica concert i had earplugs in which i thought which was given to me by their producer and he said it was okay to do that it's not embarrassing because that's how he's been able to survive by putting the earplugs in i was able to hear the shaping of sound without the ear plugs in and hurt my eardrums and i couldn't hear anything i was amazed at how you can actually shape sound when you don't think of it as sound uh it just sounds like noise here i think there is this is somewhere between uh caffeine and hormones um that are all hopped up uh producing this thing which i think is a really amazing it's a tour de force and that every there is nothing left untouched and i think they could probably find some more things to do here uh from the geologic base to the apparent logic of the piece uh up above with some of the logic from down below um like the sort of sweat from down below sort of comes up and creates the wavy lines up above i know there's just there's a lot going on here so i would i would not turn them back i would just say keep going and see where it ends up you know i think it uh it really is uh enthusiastic in lots of ways it's not about whether it works or not well working is a different way it's not working in a practical sense but working in its based on its own sort of inherent logic that's been produced uh as they work on it and and the rules that are um sort of emerging as they work on it you know um there is one thing that that it troubles me and uh it's but it's me that that the top and the bottom and what's in between seem to belong to such different it's almost like there was architect number one for the base it is but i think what you're what it points out though is that the the plane in between is really critical and maybe it needs a little more space because when i'm looking at it you basically got a piece that's earth-based and you got another piece that's sky-based you know uh i think that's a that's a fair question it's i mean when andy and i guess anna as well raised the question about how much is too much or keep going or stop at some point or another but but there is uh i think a substantial it's it's here you know this way or this way and and what's in between so it's either one one two and three and is that what we want and if it is then let's make the case or is there some adjustment homogenize is the wrong word but makes it look like it belongs to the same tactical approach or let's make an argument it doesn't need to do that you know what those three pieces sometimes um there needs to be a pause in between it's like the the only way you hit a bullet yeah the only way you hit a bullseye i was told by a master archer the way he hits a bullseye is when he the the the arrow is released in between at the at the nanosecond in between inhaling and exhaling i think i think if this and this and then i would raise this up so that you can actually in this space here you're basically in here in this space here and then you're occupying this plane so you're actually able to see the thing that's above immediately above you it doesn't preclude putting some stuff in there but i i think everything i think it's a crazy thing to say but i guess it seems like it's a little bit too compressed vertically for me right now that i'm looking at looking at it but i think it's uh i don't know i'm i'm just telling keep going and fascinating to see where where i don't i don't know how i don't think they necessarily can add any i wouldn't try to add anything more i would try to find um try to start to work on synthesis what are the relationship of the parts that would that would be that would be that that would you know it's like putting together a soccer team or you know it's there's there's got to be magic between the pieces and right now there's definitely a lot of pieces but the magic isn't present yet the enthusiasm is there so it needs a little bit of spatial finesse it's great it's great thank you thank you very much mike and did you want to throw something else annie or have you done enough i say i just say more okay all right thanks thanks very much the students could hang around for two minutes and michael and william and anna super appreciate it and maybe we'll try to drag you guys back at the end okay thanks again see you hi eric i just wanted to say hi i'm so sorry i apologize i came in so late but our review uh around overtime i just came in at the time when we were talking about this sort of like dance of uh schizophrenia here now we chase you thanks no problem it's great i'm so sorry i'm so sorry i i i thought we were finishing earlier but um it dragged until like four past four no appreciate the call we'll chase you around again if there's one more session for this before we're done but thanks for calling and uh no problem sure by the way it looks great with whatever you're doing get here it's great thank you bye have a good day i see you um so to i don't know who we got here let me see if i can um so dee can you take that thing down before you kill everybody so thanks very much for all the effort is a huge effort when you actually look at it in terms of the amount of time which i don't usually want to get into because it's just something which is a fact not an explanation but there is a ton of work here and and i especially appreciate it and i think barack and james went to the trouble to do and and i think this is helpful a lot of the drawings that aren't necessarily ready but are the beginnings of a discussion that to master the project will need all of those pieces and then we got uh we got another kind of interesting piece uh from jonah davonji in terms of the animation which is another way to to to illustrate the organizational priorities i think overall it was it's it it moved a lot of information and a lot of complicated discussions very quickly so i appreciate all of that i think is is it's it's fine we just have to uh there are a few things to work on so you can do whatever you like beach time it's cold as hell at the beach at least in southern california but uh and then we'll send you a schedule we'll pick it up again on monday and whatever thoughts you have in terms of it and i've told you before the conversation is a conversation you can take the piece that you like you can throw out the piece that you hate you can take the piece that you hate and decide you like it so it's it's up to you to consider it in the end i mean the the intellectual analysis of the thing is what we're interested in doing what you can do in as precise a conceptual way as as we can and can evaluate and i think we're on the way to that i think it was pretty good and and so uh suzanne i'll send you something that we get together again on monday and we'll see uh what the path is to the end of the uh uh semester and thanks very much for all the three in the morning stuff much appreciated so take it easy i see you in a in a couple of days and try not to get sick thank you okay thank you thank you very much i hope it was useful to you guys yes

Channel: SCI-Arc Live

Views: 1,179

Rating: 4.8823528 out of 5

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Id: nZuqT-VkDJs

Length: 134min 55sec (8095 seconds)

Published: Fri Nov 13 2020