OT Academic Portfolio Spreads

’10
Fall ‘08 - Fall ork
Drawing Meaning,

Academic W
Conveying Lines

Oscar Tena
Spring 2011

1-6 Architectural Representation: Perception Fall 2008 Instructor: Maria Gray

17-24

Architectural Representation: Abstraction Spring 2009 Instructor: Nicole Robertson
What’s in a line? 39-40 Special Topics in Architecture: Drawing the Line Fall 2009 Instructor: Donald Shillingburg

There is a telling binary in architecture: the desire to design
with clarity using base linear compositions and the often
41-52 Architectural Design II Spring 2010 Instructors: Kadambari Ba
more pressing need to escape the orthogonal for the sake

xi, Karen Fairbanks, Mark Kroeckel, Joeb Moore
of creative expression. In creating this portfolio, I pose the
question;

What isn’t creative about a line?

Whether curved or straight, thin or thick, dashed or solid, 65-68 Altschul Atrium Renovation Workshop
there are inescapable and ineffable feelings of security and

Spring 2011
wonder embedded in our perception of lines.

Lines can even go so far as to strive toward the infinite or
imaginary. They can represent the limits of our visual field to
evoke depth and perspective on a two dimensional surface.

bari Baxi
Often, what lines express are things we cannot see from our
own particular vantage point, operating in an invisible realm.

There is also a subtle and provocative interplay between 53-64 Architectural Design III Fall 2010 Instructor: Kadam
manual and computer drawn lines. One often necessitates
the other in iterative processes for study and analysis.
Final rendered images benefit greatly from the guidance of
diagrammatic or connective arrows and other construction
type lines .

Among the following projects, the role of the line in
determining form or drawing conceptual links between ideas
relates to a given design challenge. What one discovers in
revisiting these projects is what more there is to be learned 29-38 Architectural Design I Fall 2009 Instructors: Nicole Robertson, David Smiley, Peter Zuspan
about the implications of graphically edifying ideas.

Lines allow us to edit // explain // experience // discover

sometimes we just lose sight of it

1 Architectural Representation: Perception Instructor: Maria Gray
2

MoMA P.S.1 “Home Delivery” Inspired Space

Precedent:

micro compact house (m-ch) 2001

Richard Horden, Lydia Haack, John Hopfner, Tokyo Institute of Technology

Area: 76 sq ft

The linearity of thought often governs the process of architecture. Some studios work within
the confines of a strict process-driven sequence of steps to deduce form. In Perception, we
explored conceptual terms derived from surveying MoMA’s 2008 “Home Delivery” exhibition
featuring life-size examples of modern home construction.

Challenge: Work through common notions regarding concept terms derived from your visit to
distort potential occupants’ perceptions of and relation to space. Derive a form which facilitates
multifarious levels of interaction, isolation, participation, inactivation, etc...

Learning about lines: In the scope of model production, it is vital to understand the implicit
visual and physical mechanisms of a design as it creates or distorts certain perspectives views.
In this space, one’s line of vision as it disappears into space through the transparency of
materials is constantly interrupted by interactions with other people. This seemingly unrealistic
relationship between the infinite and the tangible (in others) can only be expressed with the
consideration of lines.

3 Architectural Representation: Perception Instructor: Maria Gray Architectural Representation: Perception Instructor: Maria Gray
4

MODULARITY
MINIMALISM EXPANSION
IMPRESSION
REPETITION
EXPANSION
MINIMALISM
MODULARITY
REPETITION
COMMERCIALISM interior experiences relate in the conception of individual
and collective perceptions. limited spatial depth and narrow
perspective conditions convey aspects of minimalism in respect

MINIMALISM
to modern living conditions. the nature of these rigidly designed

MODULARITY
modules almost contradicts the compactable flexibility of its

REPETITION
position in a place. the indeterminable range of experiences

SIMULTANEITY
EXPANSION
and perceptions results in a “placeless” expression of
minimalist and industrialized ideals.

another precedent:

Sequence
Torque Torus Inversion
Band

by Richard Serra

2006 MoMA sculpture installation

5 Architectural Representation: Perception Instructor: Maria Gray
6

7 8

From 3D to 2D to 3D

Architectural Representation: Abstraction
it was observed that the degree of magnification caused by the
Sometimes architecture involves contemplating the roles of smaller, everyday objects in our lives. Their micro-scale functionality and contributions double-curved glass of the magnifying glass is directly related to
its distance away from its handle. In this case, the assembly of
to task completion imply potential for investigation. For our own purposes, we delved into the mechanisms and inner workings of various trinkets. the height achieving device and disassembly of the object help to
record the effect of the object’s structure.
Employing methods of dissection, recombination, and documentation in a variety of media showed these
objects in a new way that revealed their relation to architectural study.

in
6 in.

Instructor: Nicole Robertson
5 in.
in

4 in
4 in.

3 in.
in

in
2 in.

Challenge: Explore your object between
in
1 in.
dimensions. Create tech- nical pencil drawings of
its anatomy to understand how it works.
Import the tool into Rhino and distort it according
to its functionality as an object of use. Physically
export the model back into our environment
in the form of a three dimensional construct

highlighting its transformation across virtual
and spatial // material realities.

x1 x 1.2 x 1.3 x 1.5 x 1.8 x 2.2

x1 x 1.2 x 1.3 x 1.5 x 1.8 x 2.2

Learning about lines: The relationship between built and digital models is as provocative as it is conceptually defying. Lines help to negotiate the
transition between paper and computer by their portable nature and convenient reproducibility. The process of their transformation highlights both the
delicate precision and wilful manipulation by the designer // space mediator.

9 10

X 1.2

drawing inspiration from
the deconstructable nature
of the magnifying glass, the X 1.8
apparent goal became to
recombine its disconnected
elements in some way.
The primary issue of its
function, that being scale,
inspired the hybrid product
of its analysis. Various
enlarged or reduced parts
connect in such a way as
to reduce its conventional
functionality.

X 1.5

X 2.2

11 12

VIRTUAL to REAL
2D to 3D

Another thought: What would happen to the object after extracting it from the
computer back into the physical world?

Speculations arise about the effects of gravity and if they would further distort the

object in its new environment. As a virtual hybrid preexisting in the weightlessness
of modelling space (represented in two dimensions on the screen), the prospect of
introducing more spatial conditions provokes further manipulation.

connective elements adapted for sealmess
joining of individually scaled parts

a model of the hybrid’s handlepiece
demonstrates potential materiality for
representations of its anatomy. This specific
part serves as the module for detail and
proportion analysis for its variety of scale
interventions.

13 14

Bringing the transformed hybrid from the computer
required a certain degree of reduciton and
simplification. The outer cage corresponding to the
textured handle of the magnifying glass posed an
informative challenge. A wire frame becomes the
deformed shape’s structure. Flat bristol paper strips
conform to their guides, conveying the curvilinearity

of the cage.

The process for expressing the
defining characteristics began
with lines. Their extrusion
between visual realms relates
the entire performative process
of architecture from conception

to production.

15 16

Disposable Pavilions
site: west 117th street and broadway

sidewalk // transitional node

Architecture can embody dynamism.
Trajectories through a space often provide a
basis for analyzing more pragmatic details.
This entirely public area of pedestrian traffic
represents a space of high practical use.
Situated between Barnard College and
Columbia University campuses, what on its
surface shows no significant institutional
influence actually represents an important
transitional node for the schools’ affiliates.
It’s mere location presupposes a relation
to everyday activity, and one can begin to
peel away the layers of daily crossings and
interactions to discover its implicit and // or
unseen characteristics.

Challenge: Using an everyday, inexpensive,
and disposable object, construct a site-
specific pavilion for the Manhattan streetscape.
Address the circulation of moving bodies
through the space to somehow confront or
adapt to existing environmental conditions and
traffic patterns.

Learning about lines: A static representation
of change over time is ultimately faciliated by
the dynamic use of lines. Path lines recorded
throughout the day are overlayed to show
how densely charged the site is at the day’s
end. What we gain from lines is an ultimate
understanding of usage relative to movement
in order to conceive possible interventions
to express the sidewalk’s inherent, invisible
dynamism.

main entrances site

other entrances street axis
Architectural Representation: Abstraction Instructor: Nicole Robertson Architectural Representation: Abstraction Instructor: Nicole Robertson

17 18
One basis for analysis was to track paths traversed by various
strangers. To imbue even more information into these lines, the
amount of footsteps taken along a person’s corresponding path
was recorded to gauge a general conception of the time that person
spent occupying the site. The significance of the path lines not only
became that they represented trajectories but also an

n
reflects personal

ctio
important change over time that

se
engagement with this area.

ter
t in
ee
str
0th
12
to
ac
ros
sB
roa
dw
ay,
to
Ba
rna
rd
en
tra
nc
ea
t 11
7th
west to east, east to west str
ee
stairs t in
ter
se
ctio
n

to
Ea
rl H
all,
Co
lum
bia
ca
north to south, south to north mp
us
sidewalk crossing

west to east, east to west
crosswalk

n
tio
ec
ers
west to east, east to west

int
sidewalk crossing

ete
str
6th
a t 11
cen
tra
en
ia
mb
olu
north to south, south to north

C
sidewalk crossing

to

19 20

GLAD SANDWICH BAG
GLAD SANDWICH BAG 2
3

zippers 1

2 3
1 4 5 6
26 2
87
24 25 27 8
23 9
44 47 10
46 29 11
45 48 12 4
67 49 30
68 50 31 13
7 7 14
90 69 0 71 2 74 51 32
15
91 73 53
33 18
92 52 34 16 17 20
55 35 19
93 75 56 36 38
76 54 39 21
57 37
58 22
94 957 80
7 59 40 5
A sequence of 60
78 81 83
overlapping pathways 79 62 4
82 1
reveals the most densely 96 84 61
traversed areas of the sidewalk, 98
99 85
97 100 43 6
transitioning into the crosswalk 63 6 42
86 4
and the peripheral entrance to 65
Columbia campus. 87 66
7
88 8
9

embedded in the materiality of this product are qualities
which contribute to analytical study

transparency - more clear perception of density
self-adhesion - additive structuring system
translation to physical model flexibility - responds to environmental conditions

choosing a flexible material capable previous page: the suggested area of each area
of conveying and interacting with the idea corresponds to a specific grade of color density
of travel density was the criterion. The series of
100 areas of grayscale shading results from visually left: the degree of aperture and vertical position follow the
segmenting the overlapping pathway scheme. Each same hierarchical organization.
segment, in turn, became an individual member of the model
made of disposable plastic. areas of highest density (darkest) would have
corresponding members that are biggest, closest to the
ground, and most present in the midst of pedestrian traffic

21 22

C
D
A

B

A B

A
B C
D

C D


23 24


IXELS
A LINE IS MADE UP OF POINTS,

29 Architectural Design I Instructor: David Smiley Architectural Design I Instructor: David Smiley
30

La
Ashokan Reservoir
Pa
lom Often times, modern urban interventions demonstrate a lack of cultural, social, political
aS
up
erm awareness regarding general public issues. In New York City, there has been an increase
Food for Thought: ark
et in public interest regarding more economically and environmentally viable methods
of local food processing and distribution. Simultaneously, through the proliferation of

ol
Rainwater Harvesting Education Center

ho
Sc
the community garden movement in various neighborhoods throughout the city,

h
many more people now realize the potential benefits of urban farming. By

Hig
Croton Tunnel, 1893 30 million gallons per day
engaging the space and politics of the city, a food and water conservation-

i de
tS
C
based education and community center brings these issues to the forefront of the

s
We
a em
d y

ca
t of A immediate public’s consciousness.
rts

nA
s

nia
k

rai
Water Tunnel No. 1, 1917 520 million gallons per day i Challenge: By engaging the location’s surrounding context of public schools, local markets, and health

Uk
l 1
l 6 centers, create a hub of interaction and involvement with ideas of sustainable agriculture. Provide
A
3 sufficient programming for various necessities, including classrooms, information booths,
10
q
m
0th
Str
kitchens, a food bar, and an experimental garden maintained by community members.
u ee
Water Tunnel No. 2, 1936 550 million gallons per day i t Hopefully by engaging large groups under one common thread of activism and
e l
Richmond Tunnel, 1970 d e awareness this intervention would add social inequity and public health to the
u s public consciousness.
c
t
Water Tunnel No. 3 (stage 1), 1996 Learning about lines: New York City receives its water supply
1
9
via gargantuan pipelines extending to upstate reservoirs.
1 St. Rainwater harvesting devices utilize a similar
Mic
7 ha
el’s channeling system to acquire runoff from (usually)

h
urc
Anticipated completion of all 4 Ep
isc rooftop locations. By focusing the visual

Ch
stages of Water Tunnel 3, ~2020 < 1.1 billion gallons per day op
al
emphasis of the building around the
community gardens with harvesting planes, lines acquire a
Rondout Reservoir
rainwater harvesting
D new significance as symbols
systems in NYC
e of widespread efforts to
l
C
a
project a mindset of
r sustainability.
w Blo
o

y
rar
a om
t 8 ing

Lib
r da
o 5 le
n e

e u
4 New Croton Reservoir

en
A m

Av
A 1
i

m
q q
l

rda
u m u e

ste
e i e s

Am
l d
d e
u u
s Lake Gleneida c
c
t Jo
t on
Kensico Reservoir ’s W
1 es
1 tsid
e
8 9

Fis
9 4

h
990 million gallons per day rate of leakage from Delaware Aqueduct 0

Ma
3

63
(scaled x 200) 25 million gallons per day s

rke

l1
Jerome Park Reservoir Wh

o
ole

t

ho
enough for one person to eat 3 daily Fo
od

Sc
110 million gallons

real dimensions of tank
per day
meals for 36 years sM

blic
245’ x 245’ x 245’ (scaled x 200)
ark
et

Pu
real dimensions of tank
510’ x 510’ x 510’ Age 13 Age 49

1,912 gallons
New York City Water Tunnel System to make food for a
day

31 Architectural Design I Instructor: David Smiley Architectural Design I Instructor: David Smiley
32
EXPERIMENTAL GARDEN 1000 sq ft
Conceptual Program Layouts
CLASSROOMS (2) 1500 sq ft
The following represent diagrammatic explorations into various possible designs for the center’s program.

Below: abstraction of programmatic elements related to different concept terms derived from water-related actions. KITCHENS (2) 500 sq ft
connections between terms reflect a hierarchical organization of spaces specific to each concept situation.

Next Page: relating concept layouts to gravity-induced rainwater flow channels. OFFICE 250 sq ft
these are designed to extend to all reaches of the experimental garden that could occur on multiple levels
of the building.
FOOD BAR 250 sq ft

NET 3500 sq ft

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