Showing posts with label Wes Jones. Show all posts
Showing posts with label Wes Jones. Show all posts

Tuesday, December 11, 2012

Continued use of the Shipping Container: PRO/con

The interest in shipping containers did not end with the primitive hut. Wes Jones continued to use shipping containers in multiple projects, which he titled PRO/con (Program/container). The purpose of PRO/con designs are to solve the problems related to low-cost housing in a time of mobility, therefore the use of transportable, inexpensive manufactured devices to construct a home are important to the theme. The system is based on the primary structural use of 20 ft standard ISO shipping containers. PRO/con takes advantage of the ease of transportation and storage of these containers in the designs.


The functionality of the storage container and its construction with the rest of the home is very accurately described in el segundo: 'It is a fully pre-fabricated unit to be delivered on-site and placed on arrangement of steel dunnage (similar to what is used for anchor billboards). Dunnage transfers loads of the new structure to host the building's structural hard points. A rotating subframe and slewing ring assembly rests immediately upon this anchoring, stabilizing dunnage, and in turn supports the basic PRO/con module of two containers.' The containers include all utilities fit for a typical residential environment, including rooms for sleeping, bathing, a living room, kitchen and study.

In total there are nineteen projects in the PRO/con category of Wes Jones architecture. Here we have done a brief overview of five of these projects. It is very easy to identify the similarities of these projects to the primitive hut.


Tennent, Scott, ed. Jones, Partners Architecture: El Segundo : Designs for Words, Buildings, Machines. New York: Princeton Architectural, 2007. Print. p. 119

Hot Rods, 'Souping-up' and Wes Jones



During the Great Depression, young car enthusiasts wanted to show that money was not the only means to gain automotive status and they began customizing cars, known as ‘glow jobs’ or ‘soup-ups’. It was in the 1940s that the term ‘hot rod’ became popularized. The automobiles were known for their power and performance, but were also a social statement of self-reliance, ingenuity and independence. 
Hot rods were born in the dry lake region of Southern California. A cult of backyard mechanics working with junkyard parts created streamlined, no non-sense racing cars for competitions. The hot rods not only had to be well equipped to compete on the courses laid out on nearby desert sand flats, but also had to be functional for everyday transport.  Most early hot rods were Ford Model T or Model A roadsters as they were cheap, lightweight and readily available. These basic automobiles were stripped of all non-essential parts, including fenders, running boards, ornaments and even their windshields. This editing process allowed for maximum weight reductions and aerodynamics. Coupes and Sedans were eventually used, but needed further surgery as they were generally much heavier in weight. Hot rods were fitted with large front tires in order to achieve a higher gear ratio, and consequently higher available speeds. In contrast, the front tires were standard size or smaller, decreasing wind resistance. Louvres —rows of slots —were cut into the hood, body and rear deck lid to aid in engine cooling and the release of trapped air. If the enthusiast decided to go further, flat aluminum discs could be placed on tires for additional streamlining. 

In 1932, the Ford flathead V8 engines were introduced and became the most popular choice for use in hot rods. These engines were mass produced in the millions, therefore they were inexpensive and plentiful. The design of the V8 engine also allowed for easy and varied enhancements. Common adjustments included the removal of the muffler, straightening of the exhaust pipes, and the addition of multiple carburetors. 

World War II marked the end of early hot rodding. However, in 1945, as the war came to a close, hot rodding exploded in America and emerged as one of the most dominant post-war fads. Young men were returning home with money as well as mechanical and metal working knowledge gained from their time in the army. Young car enthusiast now found themselves with the resources to build their dream cars. Hot rodders and fans gathered in dry lakes in California, while dangerous street racing became prevalent in other parts of the country. These illegal races, coupled with late night gatherings of young hot rodders, led to a negative public view of the subculture. Hot rods, along with rock and roll, became symbolic of the darker side of American youth. 

To reverse negative connotations, the first hot rod exhibition was held during January of 1948. The event was held at the National Guard Armory in Los Angeles and attracted 10 000 spectators. The first issues of the successful Hot Rod Magazine, established by Robert E. Peterson, were sold at the exhibition. The establishment of the ‘Southern California Timing Association’ (SCTA), as well as the ‘National Hot Rod Association’ (NHRA) worked to further diffuse the unfavourable image, and led to a civic-mindedness and cooperative relationship with the police authorities. Racing was now limited to organized, straight-line courses, known as drag strips. Enthusiasts became increasingly serious and began building vehicles meant solely for racing, and ‘street rods’ as well as customs emerged as sub-sets of the automobile culture. By the end of the 1950s, competition was fierce and top cars were only taken out for races or exhibitions. The junkyard parts used during the movement’s infancy were no longer adequate, and as a consequence demographics of hot rodding adjusted to an older, wealthier population. 

The 1960s marked a rebellion against elegant hot rods and the emergence of ‘muscle cars’—plain automobiles with huge amounts of power. The gas shortage of the 1970s resulted in the smaller ‘pony cars’. However, hot rods reemerged once again in the 1980s. There were two dominant groups keeping the hot rod culture alive, those driven by nostalgia and the young, primarily latino, car enthusiasts. The hot rod culture has evolved dramatically from its birth in the junkyards or Southern California, but hot rodding remains popular today. 
Warde, John. "A Short History of Hot Rods ." MSN Autos. N.p., n.d. Web. 10 Dec. 2012. <http://editorial.autos.msn.com/article.aspx?cp-documentid=435974>.

The concept of “souping-up”, prevalent in the 1930s, 40s and 50s, has served as a central inspiration for Wes Jones in his approach to architecture. The primitive huts by Wes Jones and Peter Pfau are clear reflections of the deconstructive and additive processes present during the ‘souping-up’ of a basic car body (such as the Ford Model T). In the following clip Jones describes how his strategy in constructing the Stieglitz Residence is comparable to that of ‘souping-up’ an automobile. 

Saturday, December 8, 2012

Panorama Shipping Containters

Here is a larger scale version of the morphology of the use of shipping containers for the Primitive Hut. This gives a better perspective of the influence that shipping containers had on their work and the final design.

The idea behind the primitive hut was to use existing materials that are massed produced, and incorporate them into the design for a home, whose final form would consist of completely scavenged and recycled materials, similar to the work of a hunter or gatherer. Jones and Phau took on this ideal and decided on the use of a shipping container as the basis for their primitive hut design. Shipping containers come in various sizes, but they worked with the standard 20 ft standard ISO shipping container, which Jones had and continued to use in later projects for PRO/con. From the shipping container base, the home dwells into more stacking and collecting of parts to create a collage-like effect, and a primitive look. 

Irony can be found through this design because of the lack of typical primal materials to build the home. The word primitive is more often thought of as being natural, wild-like, and something taken from the Earth, rather than manufactured goods. However the ironic juxtaposition found in Jones and Phau's primitive hut, with its inclusion of wood logs and branches in each of their designs, develops a new way to consider the ideals of a primitive hut. 



Wednesday, December 5, 2012

Wes Jones and Peter Pfau's Primitive Hut

Wes Jones’ preoccupation and fascination with shipping containers dates back to the 1980s. His interest in the utilization of this resource is a response to the number of unused shipping containers available worldwide. Wes saw the unique potential for them to be used as elements for refurbished homes. These ready- made durable blocks could be modified, dissected and added to depending on the client's particular needs and requirements. These additions may include ramps, shades, photovoltaic panels, HVAC systems, furniture, porches, pools and struts —becoming a collage-like exercise in an attempt to customize an otherwise standard and impersonal container. 

Wes’ earliest proposal was the Hesselink Guest House —also known as the “Container House”. In this project he showcased his unique drawing style, using exploded axonometric drawings to depict the building as a kit or assemblage of parts. From this initial project, Jones continued to expand on the idea of shipping container structures. Within 4 years he produced a series of proposals known as ‘Primitive Huts’. These huts were built as models and were a direct reference to Marc- Antoine Laugier’s 'Essay on Architecture'. Laugier’s essay argues that architecture must derive all its forms from basic requirements of structural stability. This concept is embraced by Wes Jones and Peter Pfau’s ‘Primitive Huts’. Jones’s proposal, communicated through the huts, is an architecture for the hunter-gatherer, for someone who seeks to scavenge materials and to subsequently recycle them without the support of market infrastructure for their livelihood. Jones continues this type of work today as he has developed a series of container based homes referred to as PRO/con (program/container).

Bergdoll, Barry, Peter Christensen, and Ron Broadhurst. Home delivery: fabricating the modern dwelling. New York: Museum of Modern Art :, 2008


The Purpose: 

The concept of the origin, especially the origin of architecture, is fundamentally flawed in nature- and the search for said origin is often futile. Peter Pfau and Wes Jones acknowledged this truth, but chose to delve into their search regardless. It is in this exploration of the idea of an architectural origin in which the Primitive Huts and their purpose were conceptualized. 

The Primitive Huts have a dual purpose: 
  1. To elevate the machine and its role as a dwelling to the status of architecture 
  2. To subvert architecture and urban form in their project

Through these fundamental goals, Pfau and Jones set out to question the validity of the origins of architecture present in the form of the primitive hut, while simultaneously exploring its relationships to the machine and the spacial structure of suburbia. They chose to challenge suburbia, without attacking it. The interpretation of the ambiguous origin of architecture lead them to rather revitalize and improve the concept of building in suburbia. This process was referred to as “souping up”, an upgrade to the body of suburbia, with obvious reference to the “souping up” of hot-rods in the automobile industry. Pfau and Jones looked to add meaning and expression of the individual to the mass produced, repetitive housing in modern suburban settings. 

Ostwald, Michael, and John Moore. "AA - Adam's House in Cyberbia-." Architecture Media . http://www.architecturemedia.com/aa/aaissue.php?issueid=199703&article=13&typeon=3 (accessed November 8, 2012).


Construction: 

The shipping containers used in the construction of the primitive huts may be used similarly to lego blocks, as they can easily stack to form more complex and versatile compositions. They are essentially economical steel and aluminum building blocks. The shipping container is extremely versatile as it may be used for both permanent and impermanent dwellings, while providing ease of transportation.Because shipping containers were designed to withstand extreme weather conditions during travel, they are watertight and built to resist hurricanes, tornados and earthquakes, therefore they are not only inexpensive, but also exceedingly durable. 

The construction of the Primitive Huts consists of standard cube shipping containers. The containers were then customized and improved upon with the addition of a series of elements. Logs, twigs, I-beams, glass and aluminum were added to perform the supporting functions of the structure.The Huts were then customized through the dissection, modification and additions which were particular to the clients needs. Some of these additions include: ramps, shades, photovoltaic panels, HVAC systems, porches, pools and struts. The Primitive Huts were part ready-made , part customized collage. Jones' distinctive drawing style with annotations and exploded axonometrics conveying the house as a kit, portrayed his view of the construction as an assemblage of parts. 

Arieff, Allison, and Bryan Burkhart. Prefab. Salt Lake City: Gibbs Smith, 2002.
Bergdoll, Barry, Peter Christensen, and Ron Broadhurst. Home delivery: fabricating the modern dwelling. New York: Museum of Modern Art :, 2008.




“The descent of post-war optimism to outright nihilism ends with ones of Wes Jones’s militaristic Primitive Huts (1994-8). A rigid steel fame on which mechanical shutters are mounted, the hut is covered by a pitched roof made of uneven wooden logs.

The heavy shutters look like protective shields; it could be the ideal hideaway for a recluse, Unabomber style, suggesting American individualism taken to its darkest extreme”



Ouroussoff, Nicolai. " Home Delivery’ - At MoMA, a Look at Instant Houses, Past, Present and Future ." The New York Times . http://www.nytimes.com/2008/07/18/arts/design/18dwel.html?pagewanted=all&_r=1& (accessed November 5, 2012).

Wes Jones on Technology and Architecture

Wes Jones
"December 2010." unit A [obu]. N.p., n.d. Web. 10 Dec. 2012.
 <http://ob23ua.blogspot.ca/2010_12_01_archive.html>.
The end of the millennium synonymously celebrated the conclusion of modernism. Undeniable technological expertise made known by the “new” form, which was coming  into fashion, was directed largely towards the indiscriminate production of difference. However, the importance and relevance of this form to architecture remains unclear. The idea that architecture would refer to technology is not a new phenomenon, but technology is now addressed in a thematic sense, and this new use has translated technology into a metaphor. If the theme is critical then the architecture is sharp and pointy and becomes wordy and “difficult”. If the theme is more affirmational, the architecture may become chrome-plated and party-coloured, or more recently virtual and amorphous. In both examples technology is treated as something to be exposed, as one would expose an unpleasant secret, or something liberated or revealed. In an opposing approach, one can understand architecture as technological at heart, inspiring the possibility of a more straight forward expression of architecture. 

The difference between using technology as a symbol, and accepting architecture as technology itself, as an expression arising from within technology, rather than one that rather borrows mere technological form to illustrate some non-technological difference, is the difference between Jones, Partners: Architecture and others who might be considered technologically oriented. Technology however admits only an origin in nature, therefore an architect who wishes to be original must assert themselves as somehow non- or anti-technological. In doing so, an architect seeks to serve their own interests rather than the program’s. This adjustment will assert the architect’s control, and solidifies their authorship. 

These issues were clearly and directly expressed by Jones, Partners: Architecture in four of their residential projects. The architectural programs are at the root houses-for-something, or similarly, machines-for-something. 

Jones, Wes. "Jones, Partners : Architecture." archilab . http://www.archilab.org/public/2000/catalog/jones/jonesen.htm (accessed December 4, 2012).


1)
Brill.2 Residence San Clemente, USA, 1998







2)
Arias Tsang Residence Brisbane, USA, 2000

3)
Brill.1 Residence silverlake, USA, 1998-99





4)
Stieglitz Residence Hollywood, USA, 1998

Wes Jones

The New York Times Capsule


Wes Jones and his views regarding architecture were greatly influenced by his experience with the Cold War. A common theme which weaves through his work is the fear that technology generated in the nuclear age. Wes was opposed to the blending of the social environment and technology, as he believed that machines should not be disguised superficially. His view on technology not only challenged its impact on society, but rather focused on its detriment to humanity. 

Wes Jones took his ideologies into his practice. He is a partner in Jones, Partners: Architecture, founded in 1993. Jones, Partners: Architecture is an architectural firm based out of California with an “international reputation for designing richly engaging, technologically intense environments”. Jones, Partners: Architecture is therefore widely considered a design firm first and foremost. The firm is preoccupied with what is considered “cool” and openly admit and advocate that “cool” matters. The concept of “machine architecture” has been a prevalent theme in Jones’ work since the mid 1980’s, as he has been searching for an organization and relationship between the body and the technological environment and seeks clear ways to express and represent mechanical and industrial forms.

Astronaut's Memorial
Jones’ efforts in the “critical manipulation of technology” in his work as a designer at Holt Hinshaw Pfau and Jones as well as at J,P:A has gathered recognition for the “engaging contemporary experience” it creates. Jones has become recognized in the architectural community as he is the recipient of 8 progressive architectural awards. His work on the Astronaut’s Memorial at the Kennedy Space Center was well received and he was a recipient for the Rome Prize in Architecture. 

Jones’ work extends into the academic world as he is widely published and has given lectures internationally on technology in conjunction with the work of his firm. He has taught in schools of architecture at Harvard, Princeton, ITT, Columbia, UCLA, UC Berkeley, Ohio State University and the Southern California Institute of Architecture. Jones’ own eduction includes an AB with highest honours from UC Berkeley in 1980 and Master of Architecture with distinction from Harvard. In 2007, Princeton Architectural Press published their second monograph of his work, covering the period from 1998 to date, titled El Segundo. Wes Jones’ work, including the Primitive Hut series,  has been exhibited in museums and galleries on four continents. 

"Jones, Partners: Architecture ." Hometta. http://www.hometta.com/design/studios/jones-partners-architecture-0 (accessed December 4, 2012).

Jones, Wes. "J,P:A." JONES,PARTNERS;ARCHITECTURE. http://www.jonespartners.com (accessed November 5, 2012).

Muschamp, Herbert. "ARCHITECTURE VIEW; 'Boss' Design: A Los Angeles Sketchbook ." The New York Times. http://www.nytimes.com/1994/06/12/arts/architecture-view-boss-design-a-los-angeles-sketchbook.html?pagewanted=all/ (accessed November 7, 2012).