Trepide - Jenga 6.0

Kelly Harris

Cassie Bradfield

 Kara Kooy

Sharon Frazier 

Dajana Nedic

Blakeni Walls 

theoretical position

“Architecture is the learned game, correct and magnificent, of forms assembled in the light.” - Le Corbusier

Inducing previous concepts formed in Jenga 3.0 and 4.0, we rethink the captivation produced within a dematerialization of space. In our explorations of illusion and lightness of space we recognize pathways, centers, and nodes etc. as opportunities to forecast a sense of intrigue. The linking of Caravaggio and Evolution amalgamates former concepts to form a loose circulation pattern amidst each of their parts as they come together as a whole. Our chosen team name, “Trepide,” is latin for “in confusion.” This relates to the idea of creating illusions within our architectural design, specifically the illusion of the dematerialization of form. This dematerialization is accomplished through the use of glass and natural light, as well as manipulation of architectural elements such as columns.

Our design work will pay attention to the elements of place explored in Roberto Rengel’s

Shaping Interior Space: domains, centers, paths, nodes, edges, connecters, ends, etc.

In an effort to rethink a traditional frame of boundaries within our spaces, we take note of Jean Bauldrillard’s notions of the concepts in simulacrum or producing a copy without an original in regards to new considerations in order to fill in a basis of substance to begin with. We are forewarned that our additions must meet and develop upon this substance with no degree of simulation involved in our new developments, but rather a redefining of original concepts. In this process of redefining our original concepts, we will also be sure to include the process of questioning our own work, ensuring a close relationship to our design basis. Thoughtfully developing our project in this way shall include our own take on John Summerson’s approach to design history, as seen in his book Heavenly Mansions. Summerson teaches us to think about and question what we learn, in order to develop our own thoughts about history and design as a whole. We are to actively take part in the process, and not simply take things for what they appear to be worth. Witold Rybczynski’s book Home: A Short History of an Idea, while largely historical, can inform our project by forcing us to consider the experiences of the human occupants who will theoretically exist within the spaces we design, with a focus on delight and comfort. Translating the importance of language through stories and narratives helps us draw inspiration from architectural meanings. “It’s not the architectural sense of the buildings that captivates me, but the world they translate”, writes Jean Nouvel in the book The Singular Objects of Architecture. With this, we strive to extrapolate the truth behind the mystery of what shapes a space and how its connections can capture moments of lightness, floating, and

compression. 

design approach

Our aim for this design is to explore the ideas of mystery, lightness, and materiality of space. With special attention toward the connective structure that links the two projects together, a circulation flow is emphasized by a procession of capture and release signaled by visual cues distinguishing it from the existing spaces. With an upward sense of dematerialization, enhanced through the alternating stacking of floors, the overall design evolves in terms of form and lightness. Through both metaphoric and literal analysis we will examine how the use of concept words and approaches from previous projects can help create a dynamic

communal environment.

                                              

Front Elevation

Level 1 Technical Plan

Level 2 Technical Plan

Level 3 Technical Plan

Level 4 Technical Plan

Public Space Perspective

                           Detail of Model

Photo of the Location

collaboration

Our team brings a strong collaborative spirit in working seamlessly together. It is our approach to work side by side in a concerted way, helping each other complete work as the other team member becomes available. It is our strength to listen well and to offer a helping hand as a team foundation. Each designer will bring her own strengths to the design process, and we


 anticipate the final conceptual outcome to be stronger as a result of our collaborative efforts.

We plan to meet as a group in the studio on Mondays, Wednesdays, and Fridays at 2pm, and on Tuesdays and Thursdays at 4pm
. During these designated times and individually we intend to explore, develop, and carry out the project conceptually, visu
ally, and physically. 

order and enrichment

the big picture

The first impression of the residential community we have designed is shaped by materiality. Materials have been chosen to create a sense of lightness that will begin to dematerialize vertically. The orchestrated application of textures and translucencies sets the tone for the spaces to unfold. Enhancing the experience as a navigational tool, surface articulation is employed with a systematic approach throughout the community. As one enters, the navigational system is signaled by material contrasts designating residents’ placement in the overall arrangement. The application of materials (wood platforms as navigational paths, stucco walls as residential units, glass as gathering areas) directs the pathways throughout the arrangement. Enhancing strategies are employed to add layers of complexity to improve the overall experience for the occupant. Subtle articulation is provided through the modulation of the window systems that are applied consistently throughout the overall composition, creating rhythm and order. The subdivision of smaller modules within the surfaces adds environmental complexity and visual interest. The windows and doors add a layer of surface relief through the differentiation of gaps adding further complexity to the visual experience.

The irregular spatial composition defining the community is important in manipulating complexity in the experience of space. The inherent number of units with varying sizes and shapes with immense densities richly influence the complexity in this project. The grouping of units of unequal parts in three perceivable columns are more complex than those where similar units are grouped. Where unequal units are group together, simplicity and harmony are achieved in forming a pattern by the arrangement and its progression vertically. The way of providing ordered complexity in the arrangement of differing elements is by the use of a unifying pattern, regularity of exterior spaces, and materiality.