COD Blog

location map SCH-PUN-DOW appartment

Agent Blue — Wed, 23 Apr 2008 15:56:14 +0000

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German English Translation and Spandau

Agent Chartreuse — Sun, 20 Apr 2008 18:18:10 +0000

My friend Lucas Gravitt is a German teacher and has been helping me with some of the German language and locals we are going to. I’ve had fun placing marks on Google Earth on my laptop of all the places we are going (studio, seehotel, etc). He recently gave me this link to a website that really helps with translating from both English to German and German to English that is part of a school website in Germany. They geat thing is that it tells you how to pronounce the words in German so you’re not reading and guessing :)

www.leo.org

PS: The attic flat that Lena showed us in Spandau is pronounced with SCH-PAN-DOW [close as I can get to correct at the moment:)].

Seminar Workshop for Cincinnati Material!

Agent Blue — Wed, 02 Apr 2008 21:19:11 +0000

Seminar will be focusing on working with the material documented in Cincinnati last week.

I do not quite know what the material you all gathered in teams is - and your task is to show me (and the world) what you experienced in a “playlist” of videos and slideshows.

I imagined what you will see - and called this assembly you are about to make:

Many a Libeskind inside a Hadid

Now you as a class may come up with a more fitting title for what material you got - up to you. This is the structure I imagine (and again, if there is a better one, this is up to the class):

Entry from street into CAC
Foyer space / Urban carpet
Ascending the ramp
entering the exhibition (Blurring Lines)

I would assume that you can work on this as teams, mixing images and sketches together in slide shows on flickr, small videos edited for youtube, and all published as a playlist (=links) here on the blog. This set of links will be transferred onto the wiki into a “clean” story told, by those that were not present on the trip.

So everyone will have a task …

Most important: Bring your material (if it is not uploaded already, as it should be)

CAC

Melanie — Sat, 29 Mar 2008 13:48:17 +0000

Art in America:
Hedid’s Midwest Coup

Architect Zaha Hedid: Her design for Cincinnati’s Contemporary Arts Center building

Facade

The corner site, sided by two large buildings, has a small footprint of 11,000 sq. ft. and occupies a jog in the city grid. Hadid has taken advantage of this anomaly in the urban plan by playing her design to this highly visible corner. For the pedestrian, Hadid opens the building to the street with glazed walls giving a view of the lobby and basement, where installations and performance art is presented. By elevating the ground floor several feet to reveal the basement and the mezzanine cafe leading downstairs, she makes what might seem an elitist institution much more accessible and public. The base of the building is meant to suggest a public plaza extending the street. Also, the horizontal indentations in the facade give Hadid the occasion to capture natural light for all the galleries.

This heart-stopping facade, with convergent lines that accelerate its linear forms, is simply the expression of an interior organization of offices and galleries which promise to work brilliantly.

Urban Carpet

She has solved the problem of negotiating the eight stories of this vertical museum even better than Wright’s Guggenheim, by bringing a swooping ramp that she calls an “urban carpet” from the lobby up into the building and past the galleries it serves. Gallery floors are not inclined, and people focused on a work won’t be disturbed by the passing traffic. This “urban carpet” was designed as a path of discovery–a road people will want to take because it offers an unfolding experience of the building’s horizontal and vertical caverns. She also invites the city into her building with it. An inclined floor in the lobby leads past the ticket desk to the back party wall, where the highly polished, undulating, ribbon-like ramp winds its episodic way through the heights, past seven levels of galleries housed in the horizontal “tubes” and in the lofty voids between them.

Ramp/Stairwell

While the drama of the ascent promises to draw visitors up the switchback ramp, the excitement of the experience masks the fact that Hadid has elegantly solved the problem of the urban high-rise museum by creating a promenade that encourages walking rather than taking elevators and escalators. The promenade lends itself to a more intimate visual relationship with the galleries, and it also helps integrate visitors into a passing community within the building, as though on a boulevard. The ramp offers changing interior vistas:

Multiple perceptions and distant views,” Hadid observes, “should create a richer, more perplexing experience, taking your body through a journey of compression, release and reflection.”

Other Information

The galleries are housed in a cluster of large, horizontal tubes dynamically cantilevered toward the street; the building has a radiant presence, acting as a symbol of the CAC’s history and its progressive stance.

The CAC is one of the first museums anywhere designed by a woman, and, as her first museum and first building in the United States, the design is original rather than a local instance of the established style of an architect who has become a brand name.

One common fallacy in architectural appreciation is that a beautiful building cannot be functional; another is that an ugly one must be practical. Hadid’s CAC design disabuses the casual critic of these bromides.

While her competitors followed the client’s brief, to design malleable loft like spaces easily adapted to successive shows, Hadid offered instead a setting suitable for a changing menu of art projects, proposing a variety of spaces with specific dimensions and character rather than generic white cubes. By varying gallery heights, from 14 to 28 feet, Hadid has created a catalogue of spaces. The top-floor galleries are the most open and visually porous, maximizing the penetration of natural overhead light into the building. To further differentiate galleries, the CAC’s floors, ceilings and walls employ a range of materials. Floors, for example, are made of colored concrete or wood. Some galleries seem raw, and others finished. Though she says she loves painting, Hadid has created galleries that are meant to be spatially provocative rather than conventional.

Hadid’s cleverness uses conventional forms, structure and materials, but in great variety. Simple systems used inventively foster the illusion of complexity.

CAC - Agent Eggplant

KaiEn — Fri, 28 Mar 2008 19:43:55 +0000

Façade
The CAC is tied to its downtown Cincinnati site with sophisticated formal and visual connections to the everyday urban experience. Approached from Walnut or Sixth Streets, the ominous black cantilever jutting four floors over the sidewalk announces arrival. The setback storefront corner wrapped in glass facilitates the mutual gaze within and without. Visitors are drawn in by the spectacle and sunlight reflecting off the rear concrete interior façade. Tight canted stairs to the lower performance level offer another view of passers by upon descent, while the monumental ascent up the black promenade gives sequential, repeated views of street life from different levels. Alternate stair landings focus the view onto the corner plaza across Walnut Street at the south end of the Aronoff Performing Arts Center. Eventually Mount Adams is framed to the east. (architettura.supereva.com)

The concrete, steel and glass building features undulating levels and ramps to accommodate the varied shapes, scales and media of contemporary art. The galleries, that appear to float over the main lobby, connect and interlock like a three dimensional jigsaw puzzle, allowing for unobstructed viewing from all sides. (arcspace.com)


Walnut Street facade (digitally altered)	Sixth Street facade (digitally altered)

Image courtesy Contemporary Arts Center (CAC)

Urban Carpet
“The public lobby, where everyone enters, is downtown and central to the city so people who are just walking around can go in and have a coffee downstairs or hang around the lobby or go upstairs to quickly see a show. It is a very accessible building.
It’s not a compact building and there is a degree of transparency on the ground and above. So it’s not only how we use it, but also how we pass through it.
Every time you confront the space you have a different experience”.
- Zaha Hadid

(arcspace.com)

Ramp/Stairwell
“…we were swept inside by the urban carpet onto the slow black stair that zigzagged among the six gallery levels to inhabit the jigsaw puzzle of intermingling notched rooms for art.”

(architettura.supereva.com)

Other Information

Views from the inside out.
“…while the galleries inhabit solid forms and look inward. Two extraordinary panoramas re-present Cincinnati to arts observers: one from the executive level terrace above the black cantilever, and the other from the UnMuseum (kid’s gallery) window on the top floor. The terrace view stretches over Walnut Street to offer a captured view of the Ohio River to the south. The corner view from the children’s museum located at the pinnacle of the black promenade is a fitting conclusion to the long sequence. Although the panoramic window is adult height, and grown ups see rooftop views of Cincinnati’s skyscrapers and high rises, children can watch passing clouds.”

(architettura.supereva.com)

Specifications

Architectural Design: Zaha Hadid

Opened to the Public: June 7, 2003

Building Plan
+ Site area: 11,000 square feet
+ Floor area: 87,000 square feet
+ Gallery area: 17,000 square feet

Sources:

architettura.supereva.com

arcspace.com

CAC - Agent Slate Blue

Agent slate blue — Fri, 28 Mar 2008 00:58:33 +0000

Facade:

This slight shift towards more conventional shapes (if it is possible to call it that) and away from the razor-sharp points and overhangs that she used previously in buildings such as her Vitra Fire Station is mostly apparent in the façade. Standing across the street looking up at the building, the lively volumes appear to shift but only slightly, in an almost orderly fashion more in line with the urban context of the building than her previous projects, giving passersby a façade reminiscent of Eisenman’s Aronoff Center for Design and Art. However instead of using Eisenman’s unusual color scheme to further activate the composition, Hadid lets the volumes and their arrangement speak for themselves, with their exterior skin varying from concrete to black aluminum panels.

Urban Carpet:

Hadid developed the concept of the “urban carpet”, to draw in pedestrian traffic inherent to a downtown area. The “urban carpet” is articulated by a seamless run of concrete that begins outside the building, continues into the mezzanine level and eventually curves upward at the far end of the building behind the stairs. Though in theory this concept seems admirable it’s not very visible. In fact, if it were not for fact that the concept was highly publicized in the Cincinnati area during the design process, it would be missed by many if not all visitors.

Personally, I think the statement that the ‘urban carpet’ would be missed by most visitors is a huge exaggeration. Visiting the museum before, it has been quite hard to miss a gigantic curved wall resembling a 1/4 pipe that you could easily skateboard on. My friends and I even took a picture of us all on the wall “hanging ten“. Perhaps I am hyping it up a little, after all it is just concrete, but it’s not really that subtle either.

Ramp/Stairwell:

Hadid still manages to give us some of the tricks she is well known for. Upon entering the building, to the right hand side we see a descending staircase that appears to be tilted to one side, almost falling over. Anyone who has visited the Vitra Fire House and has experienced the optical illusions in the bathroom/locker area will quickly realize who designed the Contemporary Arts Center. And it is in these circulatory spaces (which most architects treat in a mundane fashion) that Hadid shines.

The stairway itself is an interesting combination of a ramp and a staircase through it’s long treads and shallow risers. At first it seems like a good idea to make the stairs shorter, but when one is on the 60th stair and still not to the top, it can get frustrating.

Could be Interesting Info:

When visiting the museum before, I thought I heard that the stairway itself is self-sustaining and that it weighs a ton, literally. So when they were installing it, it took two cranes to put it in because it was so heavy.

Since the building cost around $27.5 million almost every room, gallery and passageway has a name attached to it. The most comical of these is the main entrance airlock, which is identified with a small plaque that reads “The Mr. and Mrs. ___________ Vestibule.”

Here are some pictures from the CAC: click here

Below are (left to right) The Vitra Fire Station and Eisenman’s Center For Design and Art

CAC-Agent Chartreuse

Agent Chartreuse — Thu, 27 Mar 2008 04:30:06 +0000

Façade

The building’s corner location led to the development of two different, but complementary, facades. The south facade, along Sixth Street, forms an undulating, translucent skin, through which passersby see into the life of the Center. Offices - organized along this side to provide daylit working environments and views of the city - provide the facade with human animation. The east facade, along Walnut, is expressed as a sculptural relief. It provides an imprint, in negative, of the gallery interiors.

Urban Carpet

To draw in pedestrian movement from the surrounding areas and create a sense of dynamic public space, the entrance, lobby and lead-in to the circulation system are organized as an “Urban Carpet.” Starting at the corner of Sixth and Walnut, the ground curves slowly upward as it enters the building, rising to become the back wall. As it rises and turns, this Urban Carpet leads visitors up a suspended mezzanine ramp through the full length of the lobby, which during the day functions as an open, daylit, “landscaped” expanse. The mezzanine ramp continues to rise until it penetrates the back wall, on the other side of which it becomes a landing at the entrance to the galleries.

Ramp/Stairwell

Views into the galleries from the circulation system are unpredictable, as the stair-ramp zig-zags upward through a narrow slit at the back of the building.

Other Information

Architectural Design: Zaha Hadid

Project Cost: $34 million (including land acquisition and endowment)

Building Break Down

Total Building Square Footage: 82,265 sf

Building Footprint: 11,000 sf

Total Gallery Space: 16,441 sf

Performance Space: 2,366 sf

Education Space: 6,621 sf

Cincinnatti Asignment

Agent Blue — Wed, 26 Mar 2008 22:17:55 +0000

Research

Follow the link below to your own individual resource for this assignment:

Eggplant

Maroon

Aquamarine

Burnt Orange

Chartreuse

Peach Puff

Slate Blue

Write a blog post entitled “CAC” and structure the content in these subdivisions:

Facade

Urban Carpet

Ramp/Stairwell

other information that you deem interesting in a spatial or design sense, that is in your assigned article

The post is due by Friday night. Your post can consist of quotes from the article only (copy&paste) but should be structured as above. Agent Deep Pink will assemble this information into a wiki article that allows a structure for what you document.
Documentation

On Saturday, you will

visit the CAC building (start 1 pm) and Daniel Libeskind exhibition

join the talk/walk by Prof. Rozenberg (start 2 pm)

meet at the Art Museum (start 3:30)

The main aim of the documentation as a “team” (= the entire class, subdivided into smaller teams that I will email to separately once the last 2 agents replied) is to remix this back into a “report” as a series of slide shows (photographs, sketches), small films, single photographs and sketches on the exhibition and the building.

Presentations & tonight

Agent Blue — Sun, 23 Mar 2008 21:35:58 +0000

Good news and bad news

Good news first: Seminar will be shortened today, which I believe suits you all, as you are probably all busy with designs for studio, or catching up on sleep. Aim is to start on the work as described below (20 minutes), present shortly (2 minutes each = 15 minutes), discuss work on wiki discussion page (15 minutes), so that you could in theory leave within an hour.
Now bad news: Activity on research and discussion of presentation is rather sparse. Yet the date for presentation is coming closer, and your presentations may also be viewed by Prof. Rozenberg and Prof. Dickson during seminar next week. The proposed structure of the presentation has been discussed only with one agent on the wiki. As there has been plenty of time, there is not really an excuse. So without any exception, I expect you to outline what you are aiming to present next week - and this outline needs be done on the wiki (see below). Discussion will also be on the wiki.
The actual presentations will be on Wednesday April 30, and need to be prepared in a short “playlist” on a wiki page that you are pointed to below. Each presentation will be a maximum of 20 minutes, but no less than 15 minutes.

Order of presentations (tonight and next week):

Promised Land

Metropolis

Downfall

The Third Man

The Life of Others

Good Bye, Lenin!

Run Lola Run

Follow the links above to access your wiki page. This is where you will be structuring your presentations for next week.

First step is today: Each of you is to write up a short synopsis of the context of their films IN CLASS NOW, following the links above:

Focus on narrative that could be relevant to the actual time frame of action (historical context?), in order to raise any questions about its context now. Text only.

Present this to the seminar in 2 minutes each. Also explain shortly how you thought of presenting it - it may help you to listen to other agents plans to come up with an idea.

This is followed by short feedback to each others entry. You will do this on the discussion page of that wiki, in order, taking turns - so only one of you is on the discussion page at a time, but all of you are on one at all times. Your comment should ask some questions about the historical context, ask for definitions of words, and anything else that is not clear or may need more detail. You are doing this to help the other agent, by asking SPECIFIC detail of historical and film context.

Before you leave class today: Make sure that you know how to get the film clips for your presentations, etc., if needed. I also expect all of you who have not yet filled in the research assigned to do so ASAP. And, most importantly, to discuss with me what you will be presenting!

Presentations next week

A few clarifying remarks about how to think about your “playlist” that you will present next week, as we will discuss this after today on your wiki pages (as should have happened already):

Starting with the short synopsis done today, you should begin to structure your page so that it allows you to use it as a “playlist” for your presentation. That means that you will add all links to trailers or clips that you have selected to be presented, or, if you are using your own edited clips for it, make a short entry on it.

Are you showing clips of the movie - if, how long is it? Which scene is it?

What are you planning to integrate in the presentation as we have discussed earlier the semester? I.e., is the focus on taking an element of the narrative structure and translate it into how you present? Are specific geographical locations important (integrate a map on the page)? Or specific buildings featured (add a slideshow link)? Is it an atmosphere that you are trying to communicate?

what historical situation needs to be explained, in order to understand the film’s content? What specifically can I help with there?

Which parts of the research assignment (the 3-4 places last assigned) could you use for this?

Etc.

Simply showing clips is not enough for this last assignment. You should discuss with me how you are planning to present it - in written form on your own discussion page. I will feed back and help where I can - the earlier you do this, the better. I will reply every day. So use your time now, and discuss with me. I can help …

Good luck!

Seminar yesterday

Agent Blue — Fri, 21 Mar 2008 00:43:42 +0000

I have seen little activity on the March 5th post requirements,

leave comment for what you would like to work with in Cincinnati (below the March 5th post). The trip will be introduced in more detail next week. It will be an all day trip to Cincinnati on March 29th, and you will visit 2 exhibitions with Jerzy Rozenberg. The excursion will be linked to a “documentation assignment”, this is why you are required to leave a comment on what medium you would like to work with. If all of them, set priorities which one you would feel most comfortable with (=you are best in). This will also be discussed with Prof. Rozenberg next week. See the post below this post for details on the exhibitions we will visit.

do what was required in the last post, if you have not done so already, namely:

Agent page (see this page for an example) on the wiki

Post on the blog about Symphony of a City (see requirements in actual post for this assignment)

Post on the blog about Berlin - Babylon ( no one has, requirements as above)

Can I please remind you all that these are requirements. I will mark them as not done, which will affect your grade, if I do not see your cooperation.

I will send out individual assignments for you all based on your individual films, and comments left today.