Rebecca's Fitness Studio

final site and detail

2006-05-21T18:40:00.000-07:00

Through probing and optimizing exercises, this phase nurtures select seedlings while developing combinatory logics, or ground rules, and establishing a site as an emerging structural matrix.When a possible site has been established, it is analyzed to reveal both rhizomatic and hierarchical qualities. Here, as in crystallography, cellular formations and infrastructural networks are tested for their integrity and stability as well as for their deviations, dislocations and enclosures. Potential points of intervention are identified and internal growth is manipulated and exaggerated through external reference.Finally, aberrations emerge from the meshwork and become objects of architectural speculation further guided by the programmatic demands of a gym.
This diagrams the gym's multipale spaces and distinct circulation
If the diagram is split in thirds around the spaces the left section is, middle section is, and the right section
The darkest box is the entrance and central gathering space
The ovals are personal spaces to do exercices alone
The double box shows an upper and lower space
The other boxes show the public gathering spaces for exercises

Theses are the final gym

1/2 Scale detail model of a particular moment in the model which captures the main entrance with added detail compared to the entire site model

Intial test for detail model

Plan of model

The beginning of the final

2006-04-21T18:13:00.000-07:00

The final Fitness Studio model is the most comprehensive piece of your design work. It is a proposal that answers to core architectural demands, such as structure, shelter, program and circulation.

It will be read in context with and against your midterm field model (basswood limit 6x18x24) and show how much the default tectonic field - the site - has emerged and grown into an occupied building structure. Though based on the same tectonic language, the final model will differ significantly from its predecessor. While the midterm model established a language, the final model uses that language to compose a building.

While the midterm model was general, open and low-res., your final model is SPECIFIC, ENCLOSING and HIGH-RES.:

The final model is SPECIFIC in its response to the volumetric demands of your body in exercise. The body envelope (result of body analysis assignment 11) is understood as a measure of the human figure to support your sense of scale; it is also understood as a generator of specific spatial characteristic acting upon the structure, expanding the field and leaving traces of its spatial identity (It is not the sufficient volumetric expanse for a room as a restrictive program envelope).

The final model is also specific to the circulation derived from the project's exercise routine. The Fitness Studio is made up of a specific sequence of performance spaces generating a spatial continuum. The circulation space overlaps and loops providing for moments of contemplation and isolation as well as spaces of interaction and gathering. With the final model in hand you can give a 'walk through' of the Fitness Studio.

The final model is ENCLOSING as it provides the primal architectural function of shelter. The degree of openess and juxtaposition of open and enclosed space is specific to the programmatic needs of each exercise routine. However, each Fitness Studio provides some amount of enclosed space that allows for protection from environmental forces. Building entries and openings are articulated with great care to define these moments of transition. Outdoor spaces providing room for parts of the exercise routine are defined as performance ground and distinguished form the default site by the level of built-in resolution. At very few moments the final model resembles the midterm model; it is the uninhabited parts that communicate the transition to the general field.

The final model is a HIGH-RESOLUTION model that incorporates a specific tectonic syntax on dramatically different scales. The finer the grain the more responsive the building fabric to the programmatic demands. It is a high-resolution structure that incorporates distinctly different hierarchical levels that perform together as one coherent structure.

The structure of the final model is of much higher definition than the midterm field model. The final model not only passes the physical 'shake test' of structural stability; but it reveals a clear understanding of the system's hierarchical qualities. Primary load bearing elements are distinguishable from secondary elements and enclosure, screening modules.

Functional differences among building parts are incorporated. Walkable surfaces are treated differently than ceiling surfaces. Haptic, visual and lighting conditions are discussed on the model's smallest scale.

Sections with space

2006-04-02T13:10:00.000-07:00

Inhabitals spaces insterted in to sections

The Program begins with space and scale

2006-03-29T05:37:00.000-08:00

This is the matrix that shows the evolution of the inhabital spaces

ciculation diagram 1

circulation diagram 2

circulation diagram 3 and 4

Assignment:For a moment we take our focus off the ground and return to the training routine established in Week One. We identify body positions and derive the spatial demands for each exercise of the routine. While articulating the spatial characteristics of the exercises we introduce scale as an architectural means, starting with 1/4" = 1'-0". Ultimately we form an understanding of scale in relation to the human figure.
The Movements - of crowds, dancers, fighters - recall the inevitable intrusion of bodies into architectural spaces, the intrusion of one order into another. The need to record accurately such confrontations, without falling into functionalist formulas suggested precise forms of movement notation. An extension of the drawn conventions or choreography, this notation attempts to eliminate the preconceived meaning given to particular actions in order to concentrate on their spatial effects: the movement of bodies in space. Rather than merely indicating directional arrows on a neutral surface, the logic of movement notation ultimately suggests real corridors of space, as if the dancer has been carving space out of a pliable substance': or the reverse, shaping continuous volumes, as if a whole movement has been literally solidified, 'frozen' into a permanent and massive vector. (Bernard Tschumi)
We also want to show some appreciation for the phenomenological conditions specific to each exercise. Performing each activity, how does the body experience space? Is your routine designed to build endurance, strength or speed; how does that affect the exerience? Privileged Wordset: Develop a matrix of terms that relates the Exercise (noun) of your routine and its Activity (verb) to a Spatial quality (adj.) Example:
warm-up / to crouch / compressed
warm-up / to stretch / expansive
warm-up / to jump rope / continuous
sparring / to jab / measured
sparring / to swerve / dented
sparring / to duck / depressed
The authenticity of Architectural experience is grounded in the tectonic language of building and the comprehensibility of the act of construction to the senses. We behold, touch, listen, and measure the world with our entire bodily existence and the experiential world is organized and articulated around the center of the body. Our domicile is the refuge of our body, memory and identity. We are in constant dialogue and interaction with the environment, to the degree that it is impossible to detach the image of the self from its spatial and situational existence. "I am the space, where I am," as the poet Noel Arnaud established. (Juhani Pallasmaa)
In addition to the individual moments of perception we map the procedural character of the routine. From the bodily procession emerges an infrastructural, navigational system, which currently comes in the form of an abstract notation - a circulation diagram. It defines the sequence of spaces and spatial potential of an overlapping and loosely knotted path.

Light study Interior investagation

2006-03-29T04:43:00.000-08:00

The are light study pictures that look at interior spaces, what happens to those spaces when shadows are added and changed. This is about having fun with the spaces i made previously, what can i do to enrich them, and how light and shadows gives them a new life.

Light Studies and Axon

2006-03-12T11:36:00.000-08:00

Assignment:Document and thoroughly analyze the site. In your analysis consider both intensive and extensive properties of the ground, testing points as well as assemblies.
Photo Documentation: Capture your basswood site from bottom and top. Move the light sources and define 3 corresponding positions for both sides, casting distinctly different shadows across the field. Examine how specific tectonic and spatial properties are amplified by the projected shadows, how patterns solidify and open up. Print out a series of 6 high contrast images (b/w) in 1/2 model scale, 9x12.
Axonometric Analysis: Generate a 30/60 axon based on the recent plan and sections of your site. Draw visible and hidden lines; establish hierarchies of material thickness; inscribe infrastructural systems and cellular formations. Use line weight type to distinguish layers of information within the drawing, as well as hierarchies within the construction lines

This set shows the movement of the light horizontally across the bottom of the model

This set of three shows the movement of the light vertically across the bottom of the model

This set shows the movement of the light horizontally across the top of the model

This set shows the movement of the light vertically across the top of my model

This is the axon

Midterm layout

2006-03-12T11:34:00.000-08:00

The main deliverable for the mid-term is a final basswood model for the performance landscape; limit 18x24x6, built up from three basswood sheets: 1/16, 1/4, 1/2. At this point, main areas of research and the conceptual framework have been established; Testing Grounds have emerged, and the evolution of Creatures (structural seedlings) is well under way. We introduce a 3D authoring tool in order to support the synthesis of creatures and ground (lattice and cell). The continuity of the individual projects needs to be assured, and all work is geared towards the mid-term deliverable, the basswood model.

It will be rewarding to address the cell/lattice operations, and it is a major act of transposition to feed the results back into the basswood realm. We shall take a very pragmatic approach to this. Simple screenshot print outs serve as templates for basswood elements to be built up. We do not use the tool as a representational one, but use it for its generative powers alone. Renderings are excluded and we go as far as eliminating any prints from presentations; successful line drawings need to be reworked in pencil on vellum to become part of the presentation material. The 3D tool registers in a project only through the immediate impact on the physical model.

We will introduce the very basics of the software and limit the package to a tight set of essential tools. The geometry will be limited to nurbs, understanding of nurb surface tectonic is key. Hierarchies of CVs, curves and surfaces shall be understood. Issues of control and curve intelligence shall be discussed. CVs are counted and indexed. All operations are recorded numerically. References nurb-surface-tectonic to wood-tectonic are welcome. Transposition between pure surface geometry and basswood in different thickness is important.

After a brief round of familiarizing with the tools, present data of the project will be converted into xyz location of CVs. (snap grid (unit=inch) Â¼ subdiv) Sets of simple curves with a given cv count generate simple, very clean nurb surfaces. Operational integrity with current stage project is privileged over formal identity, yet formal references are encouraged. Three creatures emerge in direct lineage from current paper and basswood models; they are enhanced in sequence within the tool and transported right back into the phys. model. Operations are based on project recipes and operational language (fitness and crystallography, see 'Works' above) Direct links are made between recent paper enfolding model and nurb manipulations.

Combinatory logic is tested in series (structural matrix formation) expanding the field. Emerging landscapes are to be seen in direct relation to existing â€˜testing groundâ€™ models (paper). Patterns and lattice formations are generated in continuous variation. Simple numerically controlled duplications in series generate first landscape formations.

Interface, navigation, basic settings, groups and hierarchies, outliner as organizational tool, cv curve tool, lofting and manipulators will be introduced in the first session today. Surface operations for creatures, duplication techniques for landscape formations and use of templates will be discussed in a second session tomorrow.

Model sequence

2006-03-12T11:32:00.000-08:00

Assignment:model sequence (4-5 instances in white paper or museum board, mounted on foam core 10 x 24) showing discrete steps of manipulation for one creature, c1. (Additional set for c2, c3 are optional)Be specific about the properties you created by manipulating the material. Cutting in one direction allows a maneuver in the other etc. When cuts are not needed at a certain point, leave them out next time, or explore the spatial potential of those extra cuts. When material is unfolded and becomes flat your manipulations show, revealing a material logic. Later you might discover that the sheet and the creature both are beautiful, as flat and sculpted pieces respectively.

final recipes

2006-03-12T11:29:00.000-08:00

Focus area: Strength
Individual elements:
Side lunge-Ready set, spread, overlap, unfold, crossover, overlap, unfold
Unfolding Overlap
Bent Knee Dead lift- Close, compress and unfold, rest, compress, unfold
Compressed folding
Side Left Lift- Lift, extend, align, cross, lift extend align
Aligned crossing
The individual elements form to make a cohesive routine: Side lunge, Bent Knee Dead lift, and Side Leg Lift combined in to routine-
Ready set, spread, overlap, unfold, crossover, overlap, unfold, repeat, overlap, unfold, crossover, overlap, unfold, repeat, overlap, unfold, crossover, overlap, unfold, repeat. Close compress, unfold, rest, repeat, compress, unfold, rest repeat, compress unfold rest repeat compress unfold repeat. Lift extend align cross lift extend align, repeat lift extend align cross lift extend align, again, Lift extend align cross lift extend align, again, life extend align cross lift extend repeat lift extend align, and again.
Once this structure regimen gets perfected, deviations are then permitted to keep making your muscles more fit than the last step, every exercise or addition will add to your fitness. Skip a rep for one exercise and add in two for another one, each exercise is able to be put before or after another one including itself.

Three simple cells are extracted and go through a process of translation which produces a crystal. Accuracy is key when starting this process because a structure needs to be in place before deviation can occur. Take one cell and refine the data based on parameters of refinement- occupancy (spatial, kinetic, and tectonic) within the lattice, structure, neighboring conditions. Occupancy is the amount of one cell found in combination with others, after refining three areas in which they occupy the lattice. That amount must be at the right level. Neighboring conditions must be a transition point with in the structure of the lattice. The lattice is a frame work that holds everything in place, that grows as the individual cell becomes more refined.

Unit cell: C1=Unfolding Overlap (3 similar types splitting) C2= Compressed Folding (same type splitting) C3=Aligned Crossing (2 similar types splitting)

12 (C1+C2+C3) = lattice
12(C1+C2+C3) = lattice +/- X=lattice reformed

Possible Neighboring conditions longitudinally
C1+C2+C3 C2+C3+C1

C3+C2+C1

Original layout in field this arrangement would continue in all directions:
Cluster type : 1 3 3 3 2 4 1 3 3 2 4 1
C1 C1 C1 C1 C1 C1
/ \ / \ / \ / \ / \ / C2 C2 C2 C2 C2 C2 C2 C2 C2 C2 C2 C2
\ \ / \ \ / \ \ / \ \ /
C3 C3 C3 C3
Type 1: A cluster that is not folded
Type 2: A cluster that is at the greatest fold
Type 3: A cluster that is transitioning up to the greatest fold
Type 4: A cluster that is transitioning down to the not folded

Current layout arrangement this would continue in a greater field:
1 3 3 3 2 4 1 3 3 2 4 1
C1 C1 C1 C2 C2 C2 C3 C3 C3 C1 C1 C1
C2 C2 C2 C3 C3 C3 C1 C1 C1 C2 C2 C2
C3 C3 C3 C1 C1 C1 C2 C2 C2 C3 C3 C3

Example of this in a larger landscape:

3 2 4 1 1 3 3 3 2 4 1 3 3 2 4 1 1 3 3 3
C2 C3 C3 C3 C1 C1 C1 C2 C2 C2 C3 C3 C3 C1 C1 C1 C2 C2 C2 C3
C3 C1 C1 C1 C2 C2 C2 C3 C3 C3 C1 C1 C1 C2 C2 C2 C3 C3 C3 C1
C1 C2 C2 C2 C3 C3 C3 C1 C1 C1 C2 C2 C2 C3 C3 C3 C1 C1 C1 C2

Moments

2006-03-12T11:25:00.000-08:00

Assignment: Identify three characteristic moments within the testing ground. Each moment frequently reoccurs within the field in continuous variation. It resurfaces - topologically identical and changing in proportion - at least three times. It holds distinct spatial properties and performs as a piece of joinery throughout the ground. Moments may be related to N1-N3 or M1, M2; but they are not exact replicas of frames within any of these notational sequences. Build the three moments as study models in paper, chip-, museum board
Three models Type A (planar additive)
Basswood sheets 1/16, 1/8, 1/4
3x3x3 limit

Cut one section through each of the 2x3 basswood creatures in model scale. Within each drawing overlay 'as is' section with 'possible' section. The overlay exaggerates distinct spatial and tectonic features of the individual unit. Use different line weight and -type to distinguish and identify overlaps, and accentuate qualities - a generative drawing emerges. Build a prototype for the second generation creatures (each: white paper (thin), museum board (mid) and white foam core (thick)) - limit 3x3x4, enhancing qualities as identified in the generative sections (above). Build the second generation in basswood.In parallel, build simple white paper version of the creatures to test their combinatory logic and their potential for a second generation testing ground.
Probe, learn and improve the creatures
spatial fitness
tectonic fitness
structural fitness
kinetic fitness
combinatory fitness

Project 1 models

2006-03-12T11:13:00.000-08:00

Assignment:

illustration of assignment

I cut out a copy of the notations and made my model by cutting and scoring the lines from the notation

Operative terms

2006-03-12T11:09:00.000-08:00

Assignment:Identify moments of qualitative change, and put into words their properties and behaviors; articulate their spatial effects. Generate a list of operative terms (8 1/2 x 11 portrait, Arial 12 point), so that you can describe the observed with great and greater specificity. The terms are taken from the world of fitness, yet describe universal spatial operations (ex. crossing, stretching, racking).

Operative terms- Fitness sequences

Sequence 1- Side lunges
Lifting, dropping, extending, closing, overlapping, bending, condensing, consolidating, stretching, rotating

Sequence 2: Bent knee dead lift
Crossing, overlapping, compressing, elongating, shorting, straightening

Sequence 3: Side leg lift
Expanding, lifting, opening, closing, fixed, stretching, aligning, rotating, crossing

All of them: Branching, fork, deviation, dichotomous branching, crossing, extending, alternating

Photo Sequence Of Fitness Routine and Diagrams

2006-03-12T10:12:00.000-08:00

Assignment:Select three sequences from your routine to be video recorded. From each recording extract 6 - 18 consecutive/same interval frames. Deliberately choose a sequence that reveals both continuation and variation. Draw three movement notations on the basis of your photo sequences. Start with a 36" vellum overlay inscribing your body and its axis as they occur in each frame. Draw simple outlines capturing the general expanse of the body; draw straight lines as axis. Connect and interpolate the frames. Consider different line weight and -type to account for different layers of information. Develop a language of notation that is consistent throughout all frames and sequences.Rework and redraw your movement notations on the basis of today's feedback. Be very literal in your temporal and spatial recordings; leave out no detail of the source material. Consider the notations as scientific assessments of select moments within your training routine.In a second drawing the notations are compressed to l = 18". Identify critical operations within the three notations; mark and connect specific points: trigger points, turning points, high points, nodal-, attractor-, control points, and levers. The notations can be read outside of their original context of the body's exercise. Abstract organizations emerge.In a third drawing the three organizations of the second drawing connect and form a field. Identify similar and identical moments within the three organizations and draw out their connections. Continue to use different line weight (3: thick, medium, thin) and -type (2: continuous, dashed) to account for different layers of information.

Original squence

Original notation emphasizeing the important areas in each exercise

Compressed sequence to condense/intensify information (variations were made but are not relevant to project anymore)

First attempt at overlapping my new way of notating

Second attempt to include more information over a larger feild. (more attempts were made but not relevant to project anymore)

Workout

2006-03-12T10:08:00.000-08:00

Assignment: Assemble a training routine to improve your physical fitness. The routine addresses your general condition, and zeros in on one specific area (flexibility, endurance, strength, shape). Organize in sequences, then type up the program of your routine. List the name of each exercise with relevant additional information (duration, frequency, equipment, orientation, soundtrack).

Fitness Routine
General condition: Medium to poor, used to bike 20-30 miles a few days a week, but ever since school started I haven’t exercised at all other that walking all over campus.

Target area: Strength in order to be able to withstand more. To work on target area, continue this routine twice a week for now and then increase time.

Environment outside: makes exercising more pleasurable or in the gym

This routine is intermediate; some moves are from weight strengthening competitions obviously using lighter weights, but the moves are still the same. It is a good way to start out when the target goal is strengthening the body as a whole.

Start out by stretching, basic stretching helps before starting the routine

Warm-up- light cardio, jogs to get heart rate raised

Sequence 1: Medicine ball, 1-3 of 12-16 reps
Side to side lunge
Squat and toss
Seated torso twist

Sequence 2: Dumbbells, 2-4 sets of 10-12 reps
Bent leg dead lift
Clean and press
Pile squat with upright row

Sequence 3: Block, a couple of minutes of each for 10-15 minutes total
Standing leg lift
Calf raise
Heel drops with leg extension

Cool down and stretch after completing the routine.

Squat toss- Stand with feet hip-width apart and hold a med ball or dumbbell. Squat as low as you can (knees behind toes and abs contracted) and touch the ball to the floor. Press through the heels to press back up while sweeping the weight up and overhead. Toss the ball up, catch it

Side to side lunge- Stand with feet wide, toes out slightly, holding weight at chest level. Lunge to the right, bending the right knee (keeping that knee behind the toe) and touching the weight to the floor while keeping the abs engaged, torso straight. Press back to start and lunge to the left, touching the ball to the floor. Take your time and try not to use momentum.

Seated torso twist- Sit cross-legged with med ball in front of you, sitting very tall with abs engaged. Rotate at torso and place medicine ball directly behind you and then rotate to the opposite side to take med ball and bring it back around front. Repeat going in the opposite direction. Be sure to keep back straight--don't arch or round through the back.

Bent leg dead lift- This is another move that's often seen in competition, but it's great for us regular folks too since it works all the muscle of the lower body as well as challenging the abs and back. Place a heavy weight on the floor in front of you (dumbbells or a barbell). Squat down as though you're sitting in a chair--knees behind toes, chest lifted and shoulders back. Pick up the weight and stand up. You're not pulling the weight up with your hands...all your concentration should be in your legs. Lower back down, keeping that good squat form and repeat. This is also the proper way to pick anything up--you use your legs and not your back.

Clean and press- This is yet another competition move, designed to help competitors lift a heavy weight and get into position for pressing that weight overhead. Again, another great move for the entire upper body. Begin with weights in front of thighs, palms in. Raise the weights up to chest level (almost like an upright row) and in a smooth move, flip elbows down and weights up so that they're over the shoulders. Press the weights up overhead and lower back down, flip the arms back to upright row position and lower. You can do this with a barbell or dumbbells.

Pile squat with upright row- Begin with feet wider than shoulders, toes out, holding weights or bar in front of body. Bend knees and lower into a squat, knees in line with toes. Simultaneously, bend elbows and raise weight to chest level. Stand, lower weight and repeat.

Standing leg lift- Stand with feet hip distance apart, holding onto a chair for balance (if needed). Slowly lift right leg out to the side, keeping hip, knee, ankle and toes all in alignment, foot flexed. Raise leg, squeeze glute and slowly lower back down without relaxing the muscle.
Calf raise - Stand on a step or on the floor, holding onto a chair for balance (if needed). Slowly push up onto the tips of your toes, contracting the calves. Lower back down without relaxing and repeat.

Heel drops with leg extension- Stand on a step, bench or platform (you might need to hold onto a chair or the wall for balance). Take one foot and hang it off the side of the step. Bend the standing knee and lower into a one-legged squat, lowering the heel towards the floor. Be sure to keep the standing knee behind the toe.

Project 1

2006-03-12T10:07:00.000-08:00

Fitness is a central concept in evolutionary theory, and in optimization techniques it is an objective measure of how good a found solution is. While deeply exploring Fitness in those terms and extensively utilizing the respective techniques, we start with the common use of the term that refers to being in good shape and physical condition.

Although diagrams can serve an explanatory function, clarifying form, structure or program to the designer and to others, and notations map program in time and space, the primary utility of the diagram is as an abstract means of thinking about organization. (Stan Allen)