AGGREGATE
Studio: Principles of Architecture I
Rice School of Architecture
Fall 2015
Prof. Jesus Vassallo
This exercise seeks to build up spatial manipulation skills and basic presentation capabilities. Aggregation techniques are introduced as an architectural method for composition, in an attempt to foster an understanding of part-to-whole relationships as well as systematic thinking.
Linear Sequence
This series pushes at the definition and expectation of a linear sequence. The series’ models are a combination or joining of two independent linear sequences which advance in contrasting planes or directions that ultimately create a single, complex linear sequence. This commonality produces diverse dimensions amongst the models and gives the models the appearance that they are folding in upon themselves while continuing to grow, producing a more animated and angular dynamic. Despite the more faceted design element in this series, the individual units, their cuts, and their connections are still quite pronounced in every model. Unlike other linear sequences, the units which compose these models create a more distinct look by connecting on the long sides of the units, rather than the end or tips.
Two-Directional Matrix
This series embraced the restrictions imposed by the nature of two-directional matrices. Because of the models’ simplicity, the cuts made to the units are further stressed. The differences in height and unique connections between units are therefore more apparent in this series, creating a more textured, cohesive, and delicate aesthetic. The models are guided by the ideal of embracing details and subtle differences in the combination of units, which is emphasized by the uniform shape seen throughout all nine models. This concept is visually conducive to the medium, especially in the clean lines and shadows it produces in the series.
Volumetric Cluster
This series is unified by an emphasis on the perpendicular lines created by the relationships between the units of each model, as well as implying the aesthetic of an arch by such relationships. However, in both of the ideals, there is slight deviation, so as to invoke a sense of movement in the models. For instance, while not all models feature a fully enclosed arch, the units are assembled in a manner so as to encourage the viewer’s eye to want to connect the units to create such a shape. Similarly, the majority of the units create perpendicular lines throughout different planes, though there are a few units set askew to create visual interest.
