RIPSIME VARDUMYAN

COURSE 482

SENIOR SEMINAR

ANNIE CHU

FALL 2010

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THEORETICAL 3 PREFACE PURPOSE

FRAMEWORK 5 PROPOSAL METHODOLOGY

PRECEDENTS 7 VILLA SAVOYE THE CARPENTER CENTER PIAZZA DEL CAMPO THE GUGGENHEIM

PROGRAM 11 OBJECTIVES ANALYSIS

APPENDIX 13 LEXICON BIBLIOGRAPHY

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PREFACE

While a combination of words is the expression of language, the term epilog is defined as a whole. But in

Greek, the word has two meanings, epi standing for “in addition” and logos meaning “speech”. When two

combined, the meaning of the two words link as the notion of linking different languages. So, when the

combinations of these diverse languages are defined by one word, epilog, thus languages are to be communicated

to create the bind between cultures. As epilog concludes the scene of a narration, it concludes the barrier between

the languages. The division between cultures still exists, especially at several academic disciplines, where several

languages are not expressed due to lack of acceptance. There are several international students who have

banned themselves into recognizing student groups. Instead being a group of one, there was division of groups

only because of the separation of different race groups. Bringing these groups together helps form an even more

profound impact on the American national consciousness in its foreign relation.

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PURPOSE

When we begin to see the interrelations between cultures, there is always a

barrier that separates them, yet it is not the physical borderline, instead the language

that exists through verbal communication. Surrounded by different faces, without

acceptance for their culture, one segregates and abolishes the race to gain their

individuality. Although these faces differ in many ways, yet they are all faces of equality.

Thus, an act must exist to bring cultures together by enlightening all through a thread of

communication where the existing cultures are communicated through performance of

their cultural art. With the approval of accepting cultures, the performing cultural art

center can allow cultures to mingle, share and learn from each other and hopefully pass

along to others. This thread of communication becomes the architectural form that acts

as the epitome of equality. From one dance move to a learned music instrument, one

can feel the fusing vibe when working together to create a work of art.

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PROPOSAL

When two situations physically link they are not necessarily a whole. Instead, it is the communicative

relationship between the two situations causing them to fuse into one. By linking the two situations, one encounters

a new phenomenon and each experience whether it is in the internal or external context, occupies a different

spatial program. Thus, the programmatic relationship is based from a thread of communication linking one space

to the next, and changing the experience of the encounter. As the thread is endless, it is a piece of element

continued to fuse with the cultural environment by communicating and sharing with the different programs.

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METHODOLOGY

The thread of communication is the form that fuses through all spaces. The

thread is replaced as the ramp increasingly used to define the contours of the main

circulation with the linkage of multiple spaces combined to share the passage from one

space to the next. As its primary circulation, a ramp becomes part of the architectural

promenade, and links larger spaces into singular spatial volume. Found in many

renowned architectural designs, a ramp, as circulation is an additional sector used for

one purpose. Yet, a ramp like an inclined surface invites the community into a vast

programmatic field where outdoor programs can fuse with the indoor programs. With

this linkage between the two sides, the ramp can offer a free flow of communication

between the programs, creating a spatially unique working environment where

fascinating possibility to work together begin to emerge.

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LE CORBUSIER, VILLA SAVOYE

The magic comes in the inter-relationships of the various spaces, their composition, massing, and sequence

of movement through them. The sequence of movement through the Villa Savoye is more of an experience in

itself. It is through this movement that one perceives the brilliant compositional arrangements. More specifically,

the ramp of Le Corbusier’s Villa Savoye begins at ground level and coils upwards through the house. It is the very

spine of the plan, acting as a conductor wire for what the architect has described as “ the architectural

promenade”, connecting the activities taking place inside the house with those on the outside. Because the

architectural promenade is the journey from zone to zone, it is also the life of the building. Thus, Le Corbusier uses

circulation routes as “arteries, linking major organs, the route pattern providing a basis for the activity framework of

the building."29

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LE CORBUSIER, THE CARPENTER CENTER

Le Corbusier felt that a building devoted to the visual arts must be an experience of freedom

and unbound creativity. The Carpenter Center represents Corbusier’s attempt to create a “synthesis

of the arts,” the union of architecture with painting, sculpture, through his innovative design. The

design has a public ramp penetrating the building and serving to bring both the exterior and interior

worlds together quite harmoniously. Unlike the stair, the ramp fuses with the ground floor to the

second to bring two different environments together. As the dominant element of the building, this

S shaped ramp passing through the center by a way of a large porch, allows a passerby to catch a

glimpse of the studios within while linking both streets at opposite ends of the building.

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PIAZZA DEL CAMPO

The Piazza del Campo is effective as the icon of Siena, Italy, because it seems to grow out

of the city’s established architectural traditions to become the fullest expression of the character of

Siena. The piazza is multi-functional public space occupying about a sixth of the Campos

perimeter, while the remainder is a continuous ring of ground floor commercial use with a mix of

commercial and residential occupancies above. Furthermore, the Campo is entirely

pedestrian-oriented and used as a field to lounge. It has a paved brick floor with multiple slopes

that radiate into one direction pointing at the city hall. The impact of the radiating slope is that it

allows people to walk towards the center from where the fans are radiating. In this open massive

field, people experience the change in level as they walk closer to the focal point. The piazza is

surrounded by a densely built urban fabric, which encloses the space almost completely,

generating a sense of containment and definition.

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FRANK LLOYD WRIGHT, THE GUGGENHEIM

One could interpret the Guggenheim Museum as a spiral-shaped communication

landscape, creating a unique exhibit space in an incomparable environment. A gently

ascending spiral ramp rises from the ground to the top floor around an atrium flooded with

the natural light of a tremendous skylight. The engaging design was put into place with the

idea that a building that flowed so seamlessly from floor to floor would inspire communication

among the floors. At the Guggenheim, individual spaces combine into a singular spatial

volume where all exhibits from each floor are spatially linked. In spite of the enclosing

communicative ramp, the atrium also works as a communicative conductor. It is the hollow

open space that allows spatial interactions to occur. Both the ramp and the atrium help tie the

bind between the exhibits into one central space.

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OBJECTIVES

Through a cultural performing arts institute, one can learn the language of performing arts and the art of

language. A program for performing arts is a combination of dance and music, but the key to link these two comes

from a thread of communication or a verbal communication amongst cultures. As spaces begin to divide in terms of

categories: dance, music, and language, these spaces become into a singular form where cultures can share and

learn cultural dance and music. As these diverse groups come together, a program made for language can enhance

and reinforce the communication between these cultures. Because the program is divided into categories of art, this

cultural art center is widely used as a performance center for all categories of art where performers use their arts to

communicate with the community by introducing a significant work of art based from a cultural origin. The center will

help cultures to be identified and accepted by the community, and to bring a harmonious relationship between

cultural groups.

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ANALYSIS

In the design there is a ramp which links between these programs. Each link has

a different approach to the programs. In the open spaces, usually where the rehearsal

studios and performing stage will locate, a ramp can penetrate through to allow the

spaces to fuse and reconnect with the outdoors. The ramp can become the built in or

another functional element that links these spaces. Although spaces are occupied as

private and semi private, they are all open to serve a link. The ramp takes part in linking

to all spaces whether public or private. Even though the ramp does not physically link

with every space, some spaces such as the rehearsal studios can adjacently connect to

the locker rooms for closer access to the ramp, instead of a direct link. Some

miscellaneous spaces such as the lounge or bookstore can become part of the ramp

where the ramp can also serve as used spaces. Whether there is a direct or indirect link

with the ramp, the programs will all connect and become one big space for

multifunctional purposes.

Dance

Rehearsal Studios Locker Rooms Shower Rooms Costume Storage Performance/Stage

Music

Instrumental Practice Rooms Recording Studios Sound Editing

Linguistics

Verbal Listening Room Closed Classrooms

Misc.

Bookstore Computer Lab Lounge Cafeteria/Kitchen Admission Faculty Open/Closed O!ces Conference

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LEXICON

Transition - A passage point from one state to another.

Inclination - Sloped or slanted surface.

Link – The relationship between two situations.

Promenade - A leisurely walk, or sometimes a ride or drive, typically one taken in a public place so as to meet

Penetration - The action or process of making a way through or into something

Fuse – To join or blend to form a single entity

Scene – A specified area of activity or interest

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BIBLIOGRAPHY

Alexander, K. Ramped warehouses. Architects' Journal v. 228 no. 21 (Dec.4 2008) p. 35-8

Bethell, John T., Richard M. Hunt, and Robert Shenton. Harvard A to Z. Cambridge, Mass: Harvard

UP, 2004. Print. p. 54-56

Carr, Stephen. Public Space. Cambridge: Cambridge University press, 1992.

Cuito, Aurora, Michael Bunn, and Eugeni Pons. Guggenheim. Madrid: H Kliczkowski, 2003. Print.

Le, Corbusier, Alexander Von. Vegesack, Stanislaus Von. Moos, and Arthur Rüegg. Le Corbusier: the

Art of Architecture. Weil Am Rhein: Vitra Design Museum, 2007. Print.

Mayernik, David. Timeless Cities. New York : Westview Press. 2005

Waldheim, Charles. The Landscape Urbanism Reader. New York: Princeton Architectural, 2006.

Print.p. 132-133