Comprehensive Studio Documentation

TRAVIS COUNTY COURTHOUSE - AUSTIN, TEXAS COMPREHENSIVE STUDIO 609.

Professor J.Trefry Andrea Ramirez Caceres & Tonie Barnett Bruns

The Travis County Courthouse project consists of developing 100,000 sqf of a 1,500,000 project. The project has three phases. Phase one is the 100,000 sqf Harbinger Courthouse.

Phase two is the addition of 400,000 sqf to the courthouse. Lastly, phase three is a one million sqf mixed use tower.

TABLE OF CONTENTS predesign

patterns..............................................................

4

objects................................................................

10

site analysis........................................................

12 solar analysis......................................................

14

concept sketches................................................

15

massing model...................................................

16

video stills...........................................................

17 design

site plan..............................................................

19

building plans.....................................................

20

building sections.................................................

23 renderings........................................................... 24 models................................................................ 25 systems diagrams............................................................. 28 structure.............................................................. 30

detailed sections.................................................

31 reflection........................................................................

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PRE-DESIGN

PATTERNS - ANDREA

When thinking about inevitability, I chose to represent war. A historic event created by conflicts in between two groups of people usually seeking power.

Timelessness on the other hand, to me meant the idea of things that are kept the same with in change. My example of this would be pearls that have been used as valuable ornamentations for thousands of years in different fashion eras. Also, the idea of the portrait. I chose to represent portraits with “The Green Stripe” by Henry Matisse.

This German Expressionist artist shows us that the idea of a portrait is not defined by the style of painting but by the content of the art piece.

Permanence was to me the hardest to describe.

Again the idea of constant change was kept in my mind. I decided to represent with a multipurpose knife with the idea of a tool that now a days is invaded in technology but once upon a time was probably a sharp rock use by the Paleolithic to hunt.

Finally, I decided to represent monumentality by looking into a contemporary building that to me evoked the same governmental neoclassical old feel. This made me recall a building I visited this past winter in Seoul. The Student Union at Ewha Woman’s University, designed by Dominique Perrault.

4

PRE-DESIGN

PATTERNS - ANDREA

My pattern is formed by three main ideas. The pearl changed to a prims, the changing the perspective and looking for a placement that fools the eye enough to make you believe that a greatly organize pattern is actually random.

The images show the process I went through to create my pattern in which I explored form and composition.

PRE-DESIGN

PATTERNS - TONIE

Inevitability - Dorthea Lange’s photograph, Migrant Mother is my representation of inevitability. The idea that human pain and sacrifice will inherently exist is inevitable. As shown in the photograph, the children clutch their mother to find some comfort and the mother is gazing out as if unsure of what tomorrow will bring.

Timelessness - The Woodstock 1969 Flyer is my idea of timelessness. Music brining people together has always occured, in all cultures, across all ages. The timelessness that humans will want to gather together and be entertain by music and musicians to me, is timeless.

6

Permanence - In my mind, the one thing that seems the most permanent is the space beyond what we know. The idea of an expansive darkness that is unable to be explored and discovered, that has existed for so long (that we know of) and will probably continue to exist.

PRE-DESIGN

PATTERNS - TONIE

To coexist with our visual representations of Inevitability, Timelessness and Permanence we were asked to develope shapes that also represent these three ideals.

Inevitability is represented by the elipse.

Timelessness is represented by the diamond.

Permanence is represented by the infinity symbol.

After deciding on shapes, I layered them and connected them until I created a pattern that I could use as a visual guide for the rest of the project.

The overall pattern is conducive to courthouse architecture in the way I have seen and experienced it. The grid was important to emphasize the formality of the courthouses. The soft curves symbolizes the sensitivity of the human experience based on usual anxiety felt when experiencing a courthouse. The color choices was to show the contrast between void and solid and to give the viewer another perspective each time shehe views it.

PRE-DESIGN

FINAL PATTERNS

About my final pattern, I think it developed itself gradually. I am a very systematic thinker and rationalize a lot by applying rules, so once I stated what I was looking for and a couple rules, the pattern developed itself. I was very clear from the beginning that I wanted to create a modular pattern that did not look modular. I wanted to be able to fool the eye of the receptor for a minute before he/she realize it actually was a very organized pattern.

To achieve this, I created three main shapes that where flipped, mirrored and organized throughout a canvas. After determining the main area of the pattern, I cropped it by following the lines that were in the drawing, creating a unique shape.

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PRE-DESIGN

FINAL PATTERNS

The finished pattern became a relentless play on contrast, void and solid, and curves on a grid. The system by which I designed it was based on rationality, repetition, and connections. I was eager to create a pattern that almost invades the comfort level of the viewer. By choosing to size the individual pieces of the pattern smaller, they began to look more like a whole rather than individual pieces.

Having a 36�x36� board size, gave me an opportunity to crop the pattern through a line of individual pattern pieces. This leaves you wondering how far it continues passed the end of the page. I wanted to make you believe this was a piece of something even larger.

PRE-DESIGN

OBJECTS - ANDREA

My object on the other hand, was completely inspired by the idea of changing perspectives.

As looking at the same place in different angles.

It looked very simple and clean but it was a playful cube that allowed the visual discovery of perspective and interaction with the user.

10

PRE-DESIGN

OBJECTS - TONIE

In developing a three dimensional representation of Inevitability, Timelessness and Permanence, I utilized the same system as with the pattern.

The structure of the object is painted wood. Taking inspiration from the curves, I created to opposing S-curves. I drilled a grid into the S-curves, I stood them up and opposed them on the base. I used black, blue and orange string to weave through the grid to produce a series of lines that appear horizontal from one perspective, crossing or intersection from another perspective.

PRE-DESIGN SITE ANALYSIS

1

3 4

2

5

SITE CONTEXT Austin Texas City Center - Not to scale 1. The Austin U.S. Federal Courthouse 2. Major Transit Stop 3. Republic Square Park 4. West View of the Site 5. South View of the Site

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PRE-DESIGN

SITE ANALYSIS

1. The Austin U.S. Federal Courthouse

2. Major Transit Stop

3. Republic Square Park

4. West View of the Site

5. South View of the Site

PRE-DESIGN

CONCEPT SKETCHES

We began by sketching ideas to decide how we wanted to incorporate the systems we used to develope our patterns and objects.

We considered the Federal Courthouse across the area, and used it’s cube-like massing to propell our project.

Our inspirations also stemmed from traditional doric columns.

We decided to design a modern take on the traditional, monumental column.

We call them, Structural Light Wells.

These would be structural, they would allow light to enter the building, and they would represent spaces for transitions.

These Light Wells would take on an organic shape.

We set rules for them in terms of how they would interact with the Harbinger Courthouse and how they would interact with the 1.4 million sqf tower addition.

We started with a cube for our Harbinger Courthouse and allowed the organic shapes to disrespect the cube.

We set the opposite rule for the tower. We began with the organic shapes and let the cube crop them.

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PRE-DESIGN

SOLAR ANALYSIS

NOR

TH

The main entry to the building is on the North side of the building. The building is glazed where the public program and restricted program exist within the building. The areas that are secure are cladded in a slate stone panel system.

We designed a perforated metal rain screen that hangs between each Light Well, 42� away from the exterior walls. The rain screen is designed to allow more perforations that are closer together in the more public areas and less perforations further apart in the more secure areas. This allows for maximum solar exposure on the north and east sides of the building and still allowing in light in the other non-secure areas but blocking solar gain.

Spring Equinox

Summer Solstice

Fall Equinox

Winter Solstice

PRE-DESIGN

MASSING MODEL

This massing model was an exercise in form. We were not sure how the Structural Light Wells should be seen from the exterior, so this was an attempt to showcase the Light Wells on the faรงade.

As seen on the lower portion of the model.

The concept mass for the 1.4 million square foot future addition was designed based on the contrasting idea of our Harbinger Courthouse. Instead of the organic shapes disrespecting the cube, the cube would crop the organic shapes for the tower.

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PRE-DESIGN VIDEO STILLS

Throughout the design process we have also been producing a short film that is a representation of the things that have inspired our design. It is a culmination of organic shapes and movements. The film is intended to help induce the feeling of our design through visual and audible sensory.

DESIGN

North East View of the Courthouse

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DESIGN

SITE PLAN

The building is located facing the republic square plaza in the downtonw area of Austin, Texas. It has a visual connectin with Austin Federal Courthouse located to the west of the plaza.

DESIGN

BUILDING PLANS

Publilc Parking

Mechanical Room

Publilc Parking

Public Parking

Mechanical Room

Restricted Parking

Vehicle Sally Port

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Restricted Parking Access Gate

Vehicle Sally Port

DESIGN

D

B

B

A

D

BUILDING PLANS

Open Workspace Public Lobby Office

B Office

Exhibit Storage

B

District Clerk Reception

Office

Mech.

Chase

Jury Deliberation

Attorn.

Conf.

Reception

A

Sally Port

Ceremonial Courtroom A

Outdoor Terrace

Shared Workspace

Holding Cells

Law Clerk

Attorn.

Conf.

Judge’s Office

D D

B

B

A

A

C

C

A/V Storage

Jury Assembly

B

B

Public Lobby

Jury Service Juror Check-in

Clerk

Pretrial Reception

Sheriff Reception & workspace

Mech. Vault Chase

Office

Office Office

Office

Office Office

Galley Employee Lounge

A

Employee Lounge

Processing Office Manager

C

A

Office Office

C

A

Security Command

D

B

B

A

BUILDING PLANS

D

DESIGN

B

B Public Lobby

Attorn.

Conference Jury Deliberation

District Courtroom

Mech.

Chase A/V Storage A/V Storage

Attorn. Jury Conf. Deliberation District Courtroom

Shared Recept. Workspace Reception A

Law Clerk

Judge’s Office

Law Clerk

A

C

C

Judge’s Office

Shared Workspace

Sally Port

A

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DESIGN

BUILDING SECTIONS

The Sections of the building show that the building is placed on a plinth to create a sense of monumentality through the premonage of the user. It shows the connection of the Structural Light Wells with the rest of the building and it’s connection with the parking lot structure.

DESIGN

RENDERINGS

North West View of the Courthouse

24

Cortuhouse Lobby

DESIGN

RENDERINGS

North East View of the Courthouse

Ceremonial Courtroom

DESIGN

1”=50’-0” MODEL

This model is a representation of the 100,000 Harbinger Courthouse. This includes the plinth, orientation to the street, Structural Light Wells, and rainscreen.

The model on the next page is also a representation of the Harbinger Courthouse at a larger, more detailed scale.

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DESIGN

1/16”=1’-0” MODEL

SYSTEMS

DIAGRAMS

Circulation

Egress

+/- 114’

+/- 92’ +/- 97’ +/- 76’

+/

Office

20 7’ 1/ 20 3( 7) = 69 ’

Restricted Access Public Access Secure Access

Common Path of Travel: </= 100’ Diagonal Distance: Exits </= 1/3 = 69’

+/- 91’

+/- 114’

+/- 98’

-

+/ 7’

20 7)

20

3(

1/ = ’

69 +/- 114’ +/- 100’

+/- 76’

-

+/ 7’

20 1/ 7)

20

3( = 69 ’

Law Clerk

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SYSTEMS

Mechanical Systems

Office

SUPPLY RETURN

Reflective Ceiling Plans

DIAGRAMS

SYSTEMS

STRUCTURE

The Structure of the building was inspired by the greek doric columns as a example of Monumentality, and by Toyo Ito Mediatheque in Tokio. It is shaped by 17 organic cylinders that carve the building. These Structural Light Wells are composed of ten 10” tubes of extra strong steel and go all the way from the first floor to six feet above the roof.

Structural Diagrams

Level 3 Scale: 1/32” = 1’-0”

Upper Parking Level Scale: 1/32” = 1’-0”

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Level 1 Scale: 1/32” = 1’-0”

Level 2 Scale: 1/32” = 1’-0”

Lower Parking Level Scale: 1/32” = 1’-0”

Ground Level Scale: 1/32” = 1’-0”

SYSTEMS

Painted Aluminum

Detail 1

Blocking

DETAILED SECTIONS

Skylight Glass

Light gauge steel framing Cant strip Rigid Insulation

Steel WF beam

Concrete roof structure

16'-3"

Ceiling

Concrete deck Welded steel floor structure

Detail 2

Concrete deck

13'-6"

Ceiling Kicker support

Welded steel floor structure

Ceiling Kicker support

18'-3"

10" Diameter extra Strong steel cylinder Aluminum mullion

Detail 3

10" Diameter extra Strong steel cylinder

Glazing Concrete deck

Concrete deck

GRADE Cast-in-place concrete beam

PARKING GARAGE

Cast-in-place concrete beam

Concrete pier

Concrete slab

SYSTEMS

STRUCTURE

Skylight glass Aluminum flashing

Light gauge steel framing

Aluminum flashing Lap waterproofing over parapet Light gauge steel framing Gypsum sheathing

Lap roofing membrane under water proofing Cant strip Tapered insulation Slab

Detail 1

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SYSTEMS

DETAILED SECTIONS

Glazing Aluminum mullion Light gauge steel framing

Wood floor on sleepers

Welded steel floor structure Steel WF beam

Detail 2

Glazing Aluminum mullion

Wood flooring on sleepers Waterproofing Concrete deck

Detail 3

SYSTEMS

STRUCTURE

Detail 1

Detail 2

Detail 3

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SYSTEMS

DETAILED SECTIONS

Detail 1

Detail 2

Detail 3

SYSTEMS

STRUCTURE

Detail 1

Detail 2

Detail 3

36

SYSTEMS

DETAILED SECTIONS

Detail 1

Detail 2

Detail 3

REFLECTION

Comprehensive studio was to me a revival to our love towards architecture. After spending the last year and a half learning about the more technical side of the profession, I felt like this studio was the conclusion of all the things we learn through architecture school and now, that we had the tools, we also had the opportunity to take bigger risks and enjoying every face of the project. At the same time, we were expected to give more realistic explanations about how our building was put together. I though this studio really was one of the best one I ever had, and I thank our professor Trefry for it.

Andrea Ramirez

Comprehensive Studio this semester has been by far the best studio I have had. I feel as though there has really been a coming together of everything I have learned thus far at KU. Professor John Trefry was an insightful guide throughout the semester, and helped me expose my own creative potential. I feel confident and prepared to enter my final year.

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Tonie Barnett