RAJ-Part_3

Thecomingandgoingofpeopleinaplacewhichleavesimagineddesiresanduncertainfutures,thedesignofsuchplacesarerealizedoftenoutof

desireandcircumstance.

SINGle USe

SINGLE USEVAN WENSEN HOUSE> ANN ARBOR, MI

BRIEF>A single Dutch woman who loves to garden wished to recreate her existing house in part to organize her living

style and in part to reflect her Dutch sensibility.

SOLUTION>The Client requested a house with “lots of light and lots of storage”. Because she works in the night, the house is divided into a day house (East) and night house (West) separated by a series of sliding bookshelves. The bookshelves are house in a copper and aluminum wall. This “wall of enlightenment” slices through the space allowing light to penetrate the center of the space. Inward opening clerestory lights allow for good summer

ventilation and a heat sink during the winter months.In essence this 1906 square foot house is one large space with only one room, the Shinto cedar closet that separates the sleeping area, with canvas floor, from the bating area that has redwood decking for ease of maintenance. A discontinuous concrete counter surface links the space

together as it runs inside and out around the

ADDITIONAL>Responsible for general contracting. Total construction

cost: $100,000 (1988)

ROLE>Design Collaborator

SINGLE USEHOFFMAN JEWLERY > MANHATTAN, NY

BRIEF>The client, a young jeweler from the Detroit area, requested a design for a retail showroom that reflects the spirit of his jewelry. The shop is located on the ground floor of an Historic Landmark building on Madison Avenue, New York City. Access into the narrow premises (10’ wide by 37’ deep) is further limited by the adjacent tenant access off the shared vestibule, necessitating an internal ‘man trap’ door system. This security device, in addition to the self closing display cases, bullet proof glass and electronic surveillance requirements dictated by the insurance company, are in direct opposition to

the client’s open and easy-going personal style.

SOLUTION>The chief criteria was display, display, and more display. The jewelry provided the visual cue from which the design evolved; it is bold and geometric, with a hint of the Art Deco. Large, exotic stones are set in unusual combinations of colored gold and platinum. The task was to provide a lively and secure showroom: the solution was to use a muted version of this amalgamated aesthetic to create an atmosphere for the “sparklers” to shine. The design theme was twofold: The processional leads the prospective client through a series of layered spaces to the goal; a visual tableau housed within the context of a safety deposit box. Sequentially, as the drawings depict, one moves from Madison Avenue through the shared vestibule into the foyer, through the door wall into the shop itself. Hard, flamed granite surfaces give way to polished limestone and finally to a soft, waxed, natural leather floor within the safe-box. Materials further enhance the design motif; the walls and ceiling are clad in galvanized steel. The fixing detail, stainless steel screws set in copper cups, echoes the jewelry’s mixed usage of metals. Within this secure backdrop, a conversation of display units is engaged. On one side, a matte finished, cold rolled steel wall, with copper reveals and an articulated portcullis, provides a continuous display wall. In counterpoint, three maroon “skyscraper” display cases stand as objects, framing trapezoidal wooden jewelry boxes. These boxes project like offerings from the steel ganglia which also support the cloud-like, raw fiberglass ceiling panels. The overall impression is of an exotic garden enclosure, where the inhabitants are simultaneously the jewelry, the jewelry display boxes and the clientele. The use of materials, like the jewelry itself, is one of layer upon layer. Concrete counter surfaces abut mild steel, brushed stainless steel and highly polished copper frame lacquered wood; all of which combine to create an elaborate visual juxtaposition, much like the visual pun of the architectural references on the owners name. It is in this context that Motown meets the

Big Apple.

ROLE>Design Collaborator

SINGLE USETWEDDLE RESIDENCE> BLOOMFIELD, MI

BRIEF>Bowling Green State University wishes to advance their athletic program, basketball and volleyball in particular, and create a new facility for university convocations to replace existing Anderson Arena. The facility is to accommodate 5,000 fixed seats

and be built with a very small budget.

SOLUTION>The new facility is sited at the university’s western gateway and will have iconic aspirations. The sloped roof and glass gestures toward the west and will reveal the festivity of university events. The “glowing falcon” is simple in plan; the intersection of two volumetric forms (primary and secondary) are a response to the 360 degree

nature of this building.

ADDITIONAL>Pursuing LEED rating; Proposed completion is

summer 2010.

ROLE>Principal-in-Charge/Design Principal

SINGLE USEHOFFMAN JEWLERY > MANHATTAN, NY

SINGLE USENAD AL SHEBA> DUBAI, U.A.E.

BRIEF>The facilities world’s “richest” horse race event is in dire need of renovation. The grand stand building, and its amenities, the Royal Family building and amenities, and thw winners circle will be demolished and rebuilt with enhanced

program.

SOLUTION>The design reflects a the new generation of race courses, befitting of the world’s most pretigious race event. It anticipates new amenities of the Royal fmaily and their dignitary guests. Inspired by the power and majesty of the thouroughbred horses, the buiding’s profile and shapes emulates

the grace and dynamics of the a horses leg.

ADDITIONAL>Competition winner, project on hold.

ROLE>Principal-in-Charge/Design Principal

JAMESA.RENNE>>PORTFOLIO

SINGLE USEM.I.S. > BROOKLYN, MI, U.S.A.

BRIEF>The “Infield” at the Michigan International Speedway represents one of the most unique spectator experiences and highest revenue generating areas of the track. Mater Plan and design new Infield amenities and support areas

for fans, media, and drivers.

SOLUTION>Examine and re-define the infield suite experience through capitalizing on the sport’s unique sense of danger and speed. Propose new fan amenity experiences. Create “speed forms” and accentuate sense of dnager through proximity to race and garage areas. Synthesize race typology into built

manifestations (suites, media, cmaping, etc).

ADDITIONAL>Proposed to be open for operation in summer of

2010.

ROLE>Principal-in-Charge/Design Lead

SINGLE USEM.I.S. > BROOKLYN, MI, U.S.A.



STUDY+EXPERIMENT

STUDY + EXPERIMENTHUDSON BLOCK STUDY > DETROIT, MI.

BRIEF>Study teh potential development density of the Hudson Block site - massing, use type, shape, cladding pattern as it might be afected by market,

climate, and contextual long term growth.

SOLUTION>Developed a series of density studies and use types coded in color ; created a series of animation clips to examine form, and density growth; musings of cladding textures and patterns reflect the diversity

of possibilties for the client.

STILLSFROMANIMATION>

STUDY + EXPERIMENTUM DETROIT CHARRETTE > DETROIT, MI.

BRIEF>As professional team leader, lead team to develop alternattive solutions for various contexts within

the Eastern Market area.

SOLUTION>Team consisted of 8 archtiecture students and one planning student. Examined four specific site

areas and explored design possibilities.

EXTRACTIONS FROM FINALPRESENTATION>

STUDY+EXPERIMENTDOCUMENTATION/COMMUNICATION >

BRIEF>The architectural endeavor exposes the rigor of

craft and the discipline of documentation.

SOLUTION>Whether it is the sinuousness in which graphite traverses the paper, the nuances of color and shade of watercolor, the tactile differentiation and shape of sculpture, or the rigor of inking line, rigor is training the minds eye’s connection

with the hand.

(GRAPHITESTUDIESOFNUDE)

(“DE-MASK”: WOOD. PLASTER. ACRYLIC. METAL. SAND)


(“BRIGHT BOWED RIVER”- SET DESIGN DOCUMENTATION: INK ON VELLUM PANELS - 4 OF 6)

STUDY +EXPERIMENTEXHIBITION > DETROIT,ARTISTS MARKET

BRIEF>Given a site in downtown Detroit, develop an

architectural prpoposal.

SOLUTION>See narrative.

Bill Bingham + Jim Renne

PREMISE

Art no longer counts for us as the highest manner in which truth obtains exis-tence for itself. One may well hope that art will continue to advance and perfect itself, but its form has ceased to be the highest need of the spirit. In these relationships art is, and remains for us, on the side of its highest vocation, something of the past. (Hegel)

Architecture, in serving together memories and recollections of shel-tered past, is an art of space; it gives meaning to man and woman being in the world. Yet, Hegel’s pronouncement brings into question the relevance of any art to human lives. Hegel excludes art from the vital process of mak-ing truth known, for he posits that it is no longer essential and necessary to the way that truth happens. Truth, to Hegel, is linked with the Idea, which is true in itself and not dependent on outward representation. Therefore, a rift occurs between the sensuous form of art and the ideal content of art– Idea. Art’s form, accordingly, is unessential and transitory, since the domain of the absolute Idea is withdrawn from the sensuous reality that connects a person to the world. In answering the challenge of Hegel, architecture must be seen to possess a poetic potential that brings truth into unconcealed ness through development a sense of place. For architecture to serve as a coalescence of meaning, it is incumbent upon the architect to respond to the meaning that evolves out of the nature of the project at hand. Through the poetic potential of architecture, the architect is empowered to create the sense of place, utilizing the language of architec-ture in a marriage of ideas and form. Great architecture retains its potency to freeze meaning by vcreating a world about it. Where history speaks of mythi-cal zeitgeists, works of architecture remain the product of individual architects who struggle with the ontological ramifications of site. Site creates the space for everything to come together in a gathering that architecture preserves and illuminates.

STATEMENT

Specific Site (Context) Inherent is a desire to fill the voids. Voids in a spatial context pose no more an enigma, however, than the solids that fill the voids. In the case of urban density, ‘vacant’ space often tends to be allocated to ‘non-spatial’ use: either by occupation of the ‘ground plane’ (or occupation of multiple ‘ground planes’) disengaged from immediate anthropological or biomorphic value; or a ‘concealed,’ hermetic package disengaged spacio-temporally from the spe-


cific context.

Site Specific The reference to voids and solids naturally tends toward another level of inquiry: ‘positive’ space and ‘negative’ space. Voids and ‘negative’ space are not synonymous in nature. While void is not so much ‘space’ in itself, within the void we may find ‘positive’ and ‘negative’ space. Voids, and then by extension, gaps, cracks, and crevices, may in fact be a break in the continuum. This is, perhaps, a place/time which offers a glimpse of the rational and irrational, a slice across the Laby-ringth.1 Here we might see evidence of an interstice, or interval in an architectural freeze-frame.

Conjunctions/Disjunctions Architecture first as ‘collision’ in turn may become architecture as reflec-tion and mirage. The interstice by implication invites the examination of the co-existence of ‘pairs’. Octavio Paz 2 describes the ideal relationship of such co-exis-tence as demanding slight disequilibrium. The reflection/mirage is a referential device. It places itself in relationship to its other self-between ‘self’ and ‘self,’ or “ego-seeking to constitute-itself and body.”3 An attempt to create a space which is both imaginary with respect to co-existence and differentiation. The production of ‘mental space’ and ‘social space’ through suggestive accommodation in architecture might expose the concept of “centrality” replacing the notion of “totality.”4 The “theory of doubles,” the production of ‘space’ in an interstice/interval (site), and place consecrated by violence. . . from sacrifice or murder, war or terror5 we find that”. . . the essential thing is for the relationship not to be a tranquil one: the dialogue between oscillator and immobility is what gives a culture life nad life form.”6

1. See Dietmar Kamper, “That OlderFamiliarity,” Daidalos 3.2. Octavior Paz, Conjunctions/Disjunctions.3. See Henri Lefebrve, The Projection of Space.4. Ibid.5. See Rene Girard, La violence et le sacre.6. Octavio Paz.



REVELATION

REVELATIONSFRAGMENTED HOUSE > SERIES 3-5

BRIEF>Investigations begun in 1985 contemplating the virtual realm of experience. The original series (“Series1”) investigated the notion of experience, in short through a series of descrete functional “moments” or “events”. The cumalative affects of these experiences would in fact become the collective memory experience of “house”. Influenced by memory and sensory cues, it postulated the possibility that one’s notion of living in a physically manifest environment was nothing more than an finite series of descrete events. “Series 2” advanced the notion more abstractly

through a series of

Since then, further investigations were embarked on to consider the various notions of inhabiting, physically, cerebrally, meta-physically, and spiritually. Such investigations led to “Series 3-5” (1995-2008) in an ongoing invetigation of the

virtual realm without computers.

SOLUTION>Mixed-media:graphite, lithogrpahy, pastel, various

computer software media.FROM SERIES 4

FROMSERIES3

FROM SERIES 4


FROMSERIES5

FROMSERIES3 FROMSERIES3

STUDY + EXPERIMENTEXPERIMENTAL ANIMATION > VARIOUS

BRIEF>Imagining virtual worlds extends into rethinking Euclidian space. As such, unusual juxtapositions of shape, time, and gravity begin to suggest a “landscape” of experience. Video/animation offers the opportunity to experiment in a mode that takes still images another step. Combined with audio, the environment begins to take form

in ways which one’s imagination skews.

SOLUTION>Modeling and animation with 3D Studio MAX; digital generated audio tracks (not expressed in this format) by FL Studio; video editing with Adobe

Premiere

(STILLSFROMANIMATION) “JR WORLD - 4B”>Conceived from the notion that experience modalities fluctuate consistently, immersion into anti-gravity zones and “upside down” realities become normative. Though somewhat fantastical, it challenges the idea that “spatial” norms may not really exist - it is

merely what we are used to.

“iT-01”>Movement through. around, and into seemingly inanimate forms become no longer innocuous, but are revelatory in nature. An experiment in passing thresholds, and an “Escherian” exercise in paradox.

“TUBE CITY”>Influenced by uterine fibroid tumors, the fibroid pods become harbingers of spontaneous community settings. Multiplied over time, these pods become connected with tubes that transport resources across a “spatial medium”. Periodically the tubes crystallize and fracture becoming nests for these pods. An investigation of rapidly multiplying regenerative forms to house communities and

share its resources.

(STILLSFROMANIMATION)

(STILLSFROMANIMATION)


RAJ-Part_3

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