DAISY AMES

I have gotten my top electives again this semester at Yale School of Architecture. It can be a soul crushing process, as I have mentioned before, but I’ve been incredibly lucky thus far.

Peter Eisenman’s seminar this year is about Piranesi’s Campo Marzio (below). We have the unimaginable and impossible task of tracing the plan in 2D CAD format as well as making a digital 3D model from which we will be building a physical model for an exhibition at Yale in September.

Eisenman was inspired by Dean Robert A. M. Stern’s seminar last year called Parallel Moderns, which I was also fortunate enough to have taken. In his class, we reinterpreted the facades along the Strada Novissimo at the 1980 Venice Biennale. We were assigned an architect and then wrote a 15-20 page catalogue of their work in addition to rebuilding/redesigning a physical model of their façade while considering their entire body of work. We recreated the Strada for the final review last December on the central, fourth floor pit. Peter Eisenman crashed our review, and naturally, a great discussion ensued.

So, through the lens of Piranesi we are asked to interpret/ reinterpret Campo Marzio, while of course, considering the dense readings of Tafuri, Rowe, Aureli, Perez-Gomez, Wittkower, Kantor-Kazovsky, etc. Really looking forward to this semester.

I am looking to analyze a variety of cities in order to compare their scalar differences, figure-ground relationships and their means of transporation. GIS (Geographical Information Services) is not complying, so if anyone out there has a major city, or town in any vector-based format that I can use for this comparison I would greatly appreciate it. You can email me at: info at daisyames dot com

I am looking for a wide range of cities and towns… so anything from Mexico City to a small African village would be useful. Thank you! 

I made these sequence of collages to capture the varying lifestyles that the typical businessman in Stamford, CT transitions through on a daily basis. This is all in part to capture the inherent culture of Stamford, which we are redesigning/re-evaluating for our studio project this year. The first image is the bustling commute from New York City, followed by an image of the regimented corporate environment in Stamford. Then, the next image represents the family life in the suburbs juxtaposed to the life of indulgence after hours. Below these images is a sequence of abstractions from these collages that could possibly be used to inform our design in some way. Right now these ideas are very indirect and uncalculated and I am enjoying this approach for once. 

For our design studio this year we are doing an urban design project in groups of two in Stamford, Connecticut. We are analyzing the current social, economic, and physical parameters of the area and making design strategies based on the direction we think the area would benefit most.  Stamford is currently a corporate financial satellite for New York City and hosts a bustling transportation corridor along the Northeastern coastline. It is a town that “works,” economically-speaking, and provides the city with what it needs to accommodate the commuting workers and other operational aspects of the city in a timely and spacious manner.  We have been given two sites to focus our attention on for the first few weeks. One site is in the downtown financial district, and one site on the water, and they are separated by a large low-income multi-family housing district and a cemetery. My partner and I have recognized that the educated workers that commute to Stamford return to New York City immediately after work and have no need stay.  An idea of ours is to establish one or both sites as a place for these workers to spend their time, and potentially view Stamford as a place that offers as good a night life or experience as New York City. Since the commuting population is generally stereotyped as the white, educated, cookie-cutter, corporate, young singles, we have made the obvious reference to Mad Men. So what we want our urban design initiatives to do is encourage these professionals to invest in Stamford, and find a way to keep them there so that Stamford becomes its own enclave of New York City. We are considering Brooklyn, “an enclave of Manhattan,” as an example in which people initially moved their for economical reasons but now have chosen to be separate and embrace the particular “inherent” style that comes along with it, given the fact that places like Williamsburg have rent prices comparable to Manhattan. Yet, Stamford, we are arguing already has its own style – a la Mad Men… and it is our challenge to create spaces and architecture that support this way of life.

It was the first weekend back at Yale and we had class all weekend - learning Revit. While we already had a few tutorials on Revit last year, this year we are expected to integrate MEP (mechanical, electrical and plumbing) systems into our structures. It’s extremely fascinating how already, in these few days, the dialogue around design has changed significantly once the reality of floor plate thicknesses and duct-work has been introduced. 

I was apprehensive about System Integration, but firms are being required to make the leap and communicate better with contractors and other consultants via such programs. It’s really nice to have it included into our curriculum as second years students.

It was my first night working in studio, and I felt my heart racing with excitement for the coming year. Plus, I just came home to a few paintings I worked on over the weekend drying on my kitchen table, and Log 22 on my bed. Feeling very fortunate. 

Peter Eisenman introducing his Advanced Studio at Yale School of Architecture to the final review critics while holding a stuffed guerilla with a football. Critics include: David Chipperfield, Harry Cobb, Peggy Deamer, Stanley Tigerman, Mark Wigley, Guido Zuilliani, Lucia Allais, Pier Vittoria Aureli and Sylvia Lavin… Very tough critics and very lively discussion so far!

I am a big fan of axonometric drawings, partiuclarly exploded axos like the one below. So, I thought it would be helpful for those who do not have the script to provide it and include some simple directions.  

1. First, save your model under a different name because your model will get distorted.

2.  View your model in Perspective (even though no persepctive is being used)… just anything other than the given ‘top,’ ‘back,’ ‘right,’ ‘left’ etc…

3. Enter this script: ! _Select _Pause _SetActiveViewport Top _Rotate 0 30 _SetActiveViewport Right

_Shear w0 w0,0,1 -45 _SetActiveViewport Top _Zoom _All _Extents

4. Then you can view your axonometric in the Top view. 

5. From there you can Make2D to get the line-work only. 

* For this exploded axo, I saved the file in model form before ‘Making2D’ so that I could select layers and pull apart the components ie the structural framework and fenestration. After “Making2D” I was able to isolate the components and extrude the parts equidistant. And, of course, I brought it into Illustrator for line-work and a little fine tuning to come…