METHOD[S]

01/10 METHOD[S]

Michael Agustin Attwell B Arch Portfolio 2011 — 2015

>

M I C H A E L A G U S T I N AT T W E L L

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

01/10 METHOD[S]

Michael Agustin Attwell B Arch Portfolio 2011 — 2015

Course

Date

Senior Portfolio

Spring 2016

Instructor[s] Names Mary Scott

>

M I C H A E L A G U S T I N AT T W E L L

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

CONTENTS

02

From Tee to Green and Everything In-Between

006 — 047

03

American vs Scandinavian Rest Areas

048 — 055

04

P[CUBED]

056 — 083

05

Hub Tower

084 — 103

06

PPR Visitor Center

104 — 119

07

Boundless

120 — 125

08

Antioch Music Hall

126 — 139

09

Sunset Sports Supply

140 — 153

10

Framed

154 — 157

Acknowledgements

158 — 159

Colophon

160 — 161

>

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

02/10 FROM TEE TO GREEN AND EVERYTHING IN-BETWEEN

Project Description By definition, a thesis is “a statement or theory that is put forward as a premise to be maintained or proved.” That itself was the task at hand. This year long journey was structured into two parts. The first term dealt mostly with research, whereas the second term required a translation of the research into an architectural proposal. Efforts were guided by the development and refinement of an architectural thesis statement set forth for justification. After extensive research and analysis, the project quickly became an opportunity to address issues exceeding the familiar parameters of a building and led to a venture towards something much larger. The result; an integration of disparate parts in the urban environment as the forefront of this project.

006 0 07

Location

Client

Los Angeles, California

City of Los Angeles

Typology

Size/Scale

Mixed-use

300,000 sq. ft.

Master plan Urban design

B A R C H P O R T F O L I O 2 011—15

THESIS

Course

Date

Studio 9: Mixed Use Urbanism & Research

Spring — Fall 2015

Studio 10: Final Thesis Project Instructor[s] Names Janek Bielski Partner[s] Names Benny Flores, Alfredo Lopez, Yuan ‘Paris’ Yuan

>

M I C H A E L A G U S T I N AT T W E L L

008 009

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

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THESIS

01 Site aerial of Griffith Park Los Angeles, CA

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Burbank

Glendale

Overview With over 4,210 acres of both natural chapparal-

tions, several miles of hiking and horseback riding trails

covered terrain and landscaped parkland with picnic areas,

that ultimately provides visitors with an ideal environment

Griffith Park is the largest municipal park with urban wil-

for enjoyable recreational activities.

derness in the United States. Situated in the eastern Santa Monica Mountain range, the park’s elevations range from 384 to 1,625 feet above sea level. With an arid climate, the

III

4,210 acres

II

park’s plant communities vary from coastal sage scrub, oak, and walnut woodlands to riparian vegetation with trees in the park’s deep canyons. California native plants repre-

I

sented in Griffith Park include the California species of oak, walnut, lilac, mountain mahogany, sages, toyon, and sumac.

Present, in small quantities, are the threatened species of

Hollywood

manzanita and berberis.

B A R C H P O R T F O L I O 2 011—15

Griffith J. Griffith. Born in Glamorganshire, South Wales, Griffith emigrated to the United States in 1865, eventually making a personal fortune in California gold mine speculation. In 1882, Griffith settled in Los Angeles, and purchased a 4,071 acre portion of the Rancho Los Feliz, which stretched northward from the northern boundaries of the Pueblo de Los Angeles. On December 16, 1896, the civicminded Griffith bequeathed 3,015 acres of his Rancho Los Feliz estate as a Christmas gift to the people of Los Angeles

developed throughout the park. However, an amazingly large

to be used as parkland. The enormous gift, equal to five

portion of the park still remains virtually unchanged from

square miles, was to be given to the city unconditionally.

lower slopes. Today, Griffith Park offers attractions for

010 011

Feliz, the park was named for its former owner, Colonel

Over the years, many recreational attractions have been

the days Native American villages used to occupy the area’s DTLA

Originally a part of the Spanish land grant, Rancho Los

families, an assortment of educational and cultural institu-

“It must be made a place of recreation and rest for the masses, a resort for the rank and file, for the plain people,”

0 2 / 10 F R O M T E E T O G R E E N A N D E V E R Y T H I N G I N - B E T W E E N

said Griffith on that occasion. “I consider it my obligation

Feliz Boulevard, Griffith Park [direct entry] and Zoo Drive. If

to make Los Angeles a happier, cleaner, and finer city. I

approaching the park on SR 134 eastbound, take either the

wish to pay my debt of duty in this way to the community in

Forest Lawn Drive or Victory Boulevard off-ramp. From SR

which I have prospered.”

134 westbound, take Zoo Drive or Forest Lawn Drive. After

Since Griffith’s original gift, further donations of land, along

leaving freeways, follow the signs into the park.

with city purchases and the reversion of private land to

Access Griffith Park is open to the public from 5:00 am to

public domain have expanded the park to its present size.

10:30 p.m. Bridle trails, hiking paths, and mountain roads

Colonel Griffith died July 7, 1919, however, he had left a

are closed at sunset. The speed limit on all park roads is 25

sizeable trust fund to complete the dreams he had for the

mph and is strictly enforced. Brush fires present a definite

park, specifically designating funds for the construction

safety hazard, especially from Spring to early Fall, when the

of a Greek amphitheater [the Greek Theatre built in 1930]

natural chaparral and underbrush is very dry. Open fires are

and an observatory and hall of science [Griffith Observatory

prohibited; barbecue pits are provided free of charge at pic-

built in 1935]. Griffith Park stands today a monument to

nic areas. In case of an emergency in the park, notify the

the dedicated vision.

Ranger Station at [213] 978-4670 or dial 911. The Griffith

Location Griffith Park lies just west of the Golden State Freeway [I-5], roughly between Los Feliz Boulevard on the

THESIS

Park Fire Recovery Blog offers updated park information.

Source: LA City / Department of Recreation & Parks

south and the Ventura Freeway [SR 134] on the north.

Freeway off-ramps leading to the park from I-5 include Los

02 Griffith Park outline diagram

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

3 2

High central ridge line

10

1 8

7

6 4

9

Cahuenga [1820’] 5

Burbank [1690’]

Mt. Lee [1680’]

Mt. Chapel [1614’]

Mt. Hollywood [1625’] Mt. Bell [1582’]

Glendale Peak [1184’]

Beacon Hill [1001’] Bee Rock [1056’]

012 013

1 2 3 4 5 6 7 8 9 10

Spring Sennet & Royce Oak Vermont Western Brush Coolidge Fern Aberdeen Coyote

Natural Conditions: Peaks & Ridges

Natural Conditions: Canyons & Creeks

A series of peaks extending southeast from Mt. Lee/Cahuenga Peak near the Hollywood Sign bifurcates the park with their steepness accounting for the low level of human disturbance at high elevations here.

Griffith Park is criss-crossed by steep canyons that basically encircle a high, central ridge. From the famous “Hollywood Sign,” located just outside the park’s western boundary, several parallel canyons flow south into Hollywood, where they once ended in swampy land along the current path of the 101 Freeway, including [west to east] Brush [aka Bronson], Western [includes Fern Dell], Vermont [includes the Greek Theater], and Aberdeen.

Wildlife usage of these ridges is sparse but distinctive, limited to reptiles, birds and insects adapted to low-growing plants on rocky soils, including western whiptail [lizard] and rufous-crowned sparrow.

Rare plants such as Eastman’s manzanita are found at the highest peaks and wildflower populations rebound after a rainy winte , when mats of Phacelia, buckwheats and numerous asters can be alive with native bees and butterflies.

Though unstudied, it is likely that several species of bats make day roosts in the rock crevices of the more inaccessible ridges and outcrops.

B A R C H P O R T F O L I O 2 011—15

Another set of canyons drain east into the Los Angeles River, including [north to south] Spring, Fern, and Coolidge. Important unamed eastern canyons include one through Mineral Wells picnic area and the other near the Boy Scout camp south of the zoo. Oak, Royce, and Sennett canyons flow north, also into the Los Angeles Rive .

These canyons are relatively wild at upper elevations in the park, but have been channelized or placed into cement culverts lower down through picnic areas and golf courses. Still, some of the original vegetation remains, including massive sycamores and oaks, notably in the Crystal Springs area of lower Fern and Spring canyons.

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THESIS

2

1 Chaparral

Lawn & Parkland

3 [Coastal] Sage Brush

4 Non-native Trees

6

5 Oak/Walnut Woodland

Ruderal & Grassland

High

Mid

Low Abundant

Natural Conditions: Vegetation Over 150 plant species have been recorded in the park, including trees, shrubs, grasses, wildflowers, ferns, and vines. The park boasts rare native species such as southern California Black Walnut [found only in the LA area], Nevin’s Barberry and Humboldt Lily.

The Oak-Walnut Woodland areas are generally found on northern mountain slopes and in canyon bottoms. The Oak-Sycamore Riparian community occurs along creeks and moist areas in the lower elevations, including Brush, Royce, and Western Canyons. Mixed Chaparral is the most widespread plant community in the park. It occurs in a nearly uniform canopy of ceanothus, chamise, and toyon on north slopes and is generally more sparse on steeper slopes. Mixed scrub is the second most abundant, occuring in scattered patches of laurel sumac, California sagebrush, California buckwheat, and black sage.

7 Riparian

8 Rock

Scarce

03 Diagrams of existing conditions

M I C H A E L A G U S T I N AT T W E L L

014 015

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

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THESIS

04 Standard map of Griffith Park Los Angeles, CA

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Targets of Interest The golf course typology is often encountered at several points throughout los angeles. In most cases, their locations are strong indicators of several urban and social conditions such as demographics and scoial classes.

Despite the exclusivity nature of the city, several public golf courses exist and are heavily utilized.

Private Clubs

Public LA City Courses

Bel-air Braemar Brentwood El Caballero Hillcrest Lakeside Los Angeles Riviera Wilshire

Harding Balboa Encino Hansen Dam Rancho Park Wilson Woodley Lakes

Which questions such as: + How well do they perform spatially, programmatically, and culturally? + How will they be affected by a projected growth in population? + Isn’t it time we re-imagine them?

-

-

Armand Hammer Harbor Park Los Feliz [3-par] Penmar Rancho Park [3-par] Roosevelt

Woodley Lakes 016 017

Encino & Balboa

1

Along the LA River A series of golf courses are directly adjacent to the Los Angeles river; each forming a unique set of conditions. Out of the six courses along the river’s banks, only one is private. All others are owned and operated by the city. These public courses are in constant use and at times cannot meet the full demand from its users. All LA city golf courses operate similarily, however the golf courses adjacent to the river seem to perform slightly differently given the neighboring “natural” feature.

More so, what does it mean to have large recreational spaces depenedent on high water-use adjacent to a commodity such as the LA river?

B A R C H P O R T F O L I O 2 011—15

Lakeside Cc

2

Wilson & Harding

3

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1 Encino & Balboa @ Sepulveda

2 Lakeside Country Club

THESIS

3 Wilson & Harding @ Griffith Par

N

1 I

II

II

IV

V

VI

3

2

I

II

URBAN

URBAN

II

IV

V

VI

URBAN HWY 134

URBAN

URBAN URBAN

LA RIVER

URBAN URBAN URBAN

LAKE

URBAN

LAKE GOLF COURSE

I-5 GOLF COURSE URBAN

LA RIVER

LA RIVER

GOLF COURSE

OFFRAMP URBAN

LA RIVER

LAKE

GOLF COURSE LA RIVER URBAN GOLF COURSE

URBAN GOLF COURSE URBAN URBAN URBAN

HWY 101 URBAN URBAN URBAN

05 Golf in Los Angeles analysis 06 Golf courses along LA River analysis

URBAN

M I C H A E L A G U S T I N AT T W E L L

018 019

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

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THESIS

07 Figure ground drawing of Los Angeles, CA

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Greenbelt Line Griffith Park Fill Station 5200 North Zoo Drive Los Angeles, CA 90027

Initiated: 1991 // Dedicated: 1992 [Extension of orignal Griffith Park Project 5 miles of pipeline // $4.6 million Projected: 525 MG of RW

City of Glendale

[#74] out of service

1 of 8 reclamation projects by 2010 Total: $500 million “Supply 40% city water needs”

Fill Stations: Small access structures built into recycled water pipelines

Supplies: Caltrans [I-5] Griffith Par Headworks Construction LA Zoo Parking Los Feliz Golf Course Wilson & Harding golf courses

Total: 9 stations across LA Accessed only by certified customer Only 3 current users Future users: non-profit environmental group

Forest Lawn Memorial Park Hollywood Hills Lakeside Golf Club Mount Sinai Memorial Park Universal Studios

II

Potential customers: Forest Lawn expansion Bette Davis park Chevy Chase park North Atwater park [Zoo] PW

[#73] RW

[Toyon] RW

[#76] 2 MG

700 AFY

Wilson & Harding Golf Courses 900 AFY [293.25 MG/year]

LAGRP

Los Angeles - Glendale Reclamation Plant

Opened in 1976 4600 Colorado Avenue

+

T

First water reclamation plant in Los Angeles Serves: East San Fernando Valley, Glendale, Burbank, La Crescenta 1/4 plants currently operating

[#72] out of service

Annual budget: $4.7 million Co-owned by City of LA and City of Glendale Each pay 50% Equality share recycled water [RW] 205 acres Not planned for RW irrigation Armand Hammer Penmar Rancho Park Tregnan Golf Academy *Currently, these four projects are not financially responsible due to the significant amount of pipeline needed to be installed.

LA City Public Golf Courses

9%

*Economic analyses are performed to determine the cost/benefit of each W project.

15%

76%

LA City Bureau of Sanitation operates and maintains plant

I

Treatment Processes: Nitrification/Dentrification [Nde Tertiary Disinfection Dechlorination

30” diameter pipeline

*Acre-foot = a football field covered at 1 foot depth of water

*Processes around 20 MG of wastewater per day

$280 acre-foot [20% less than usual rate]

4.5 MG [23%] of water is reclaimed per day 995 acres Currently irrigated by RW Encino & Balboa Hansen Dam Los Feliz Wilson & Harding Woodley Lakes

020 0 21

NEW Pump Station 50’ X 40’

III

PS

Griffith Park South ater Recycling Project [GPSWRP] Goals: + Extend exisitng recycled water system to southern Griffith Park facilitie + Increase recycled water supply + Offset demand of potable water for irrigation

NEW Pipeline: 12-inch diameter

To provide: 370 AFY [120.56 MG/year] Pump Station

[a] Cut & Cover: Trench: 4,900 feet [b] Horizontal Directional Drilling [HDD]: trench-less: 2,500 feet

Tank [March 2015 - September 2016] Cut & Cover Pipeline [February 2014 - March 2017]

Landscaping / Commissioning HDD Pipeline

[March 2017 - June 2017]

[October 2016 - January 2017]

Roosevelt golf course [currently uses potable water for irrigation] is considered a “prime customer” for this project.

T

B A R C H P O R T F O L I O 2 011—15

NEW 1 MG Tank 84’ diameter X 32’ tall

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THESIS

Regional Systems [Fiscal year 2013-2014]

Valley

Current demand: 2,785 AFY [25,600 environmental use] Future: 1,537 [npr] AFY // 30,000 [gwr] AFY Total: 34,322 AFY

33%

Westside

Metro

LADWP Recycled Water System Los Angeles began recycling water [via purple pipe] in

Current demand: 935 AFY Future: 95 AFY

Current demand: 2,708 AFY Future: 4,136 AFY

1979 after introducing the Los Angeles Glendale Reclamation Plant [LAGRP], which first sup-

Total: 1,030 AFY

Total: 6,844 AFY

plied water to the Wilson and Harding golf courses at Griffith Park. Future plans are to include groundwater replenishment. According to John Ferraro, the LA City Council President, “While water conservation will be a solution to our short-term problems, reclamation provides part of a long-term answer to future freshwater shortages.�

Harbor

Source: LADWP

08 Recycled water analysis

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Statement Golf courses in urban environments require a re-structuring response to an ongoing state of drought. The resulting new integration of disparate water-related components will increase public awareness of drought, showcase a holistic system, and encourage further adaptability techniques via a series of educational and recreational hybrid clubhouses.

P [roblem] California Drought / Mono-programmed / Projected LA population increase / LA comprises the least amount of urban park in the US

O [pportunity] Vast, centrally located landscape / In-between urban/infrastructure and natural conditions / Drawing on adjacent/existing recreational, cultural, and utilitarian adjacencies programs

R [esponse] Preserve, expand, re-program, and re-stitch existing conditions

T [echnique] Via public ‘clubhouses’ that overlaps recreational and educational activities to develop a deeper appreciation of an ‘invisible network.’

022 023

B A R C H P O R T F O L I O 2 011—15

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THESIS

CURRENT GOLF CLUBHOUSE

SNACKSHOP WATER TANK SUPPLYING GOLF COURSES

PUMP STATION

LOS ANGELES/GLENDALE WATER TREATMENT CENTER

12

09

Aerial view of thesis site

Figure-ground diagram of thesis site

13

PARK RANGER STATION

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Abstract Recognized as one of the largest urban parks in

scape currently lies between urban, infrastructural compo-

the United States, the centrally located open space haven

nents, and other ‘natural’ conditions, but their interaction is

known as Griffith Park is considered to be the lungs of Los

non-existent. This [lack-of] relationship is one of the driving

Angeles [a city full of contradictions]. Meanwhile, the city

forces surveyed in large part to this thesis.

ranks as the most deprived of public space in the country.

An obvious opportunity presents itself here. Public space,

cies, the nearby automobile culture, and recreational/cul-

ideally, pertains to everyone and serves those in poverty

tural activities [already present] for intervention strategies;

as much as those who are more privileged. Therefore, it

which suggest overlapping, weaving, zoning, and a linkage

should be constructed and operate to an extremity of com-

of elements. As a result, a re-construction that embodies

mon ground. This is not the case with the park currently;

negotiation as a means of satisfying an ever-increasing pop-

perhaps due in large part to the dominant privatization that

ulation, suffering from insufficient ‘green’ space, emerges.

has discouraged public space throughout much of the city’s rich history. Or at least up until now.

024 025

10 Historical photograph of original Griffith Park golf links

B A R C H P O R T F O L I O 2 011—15

We can begin to draw upon existing programmatic adjacen-

The architectural investigation of this thesis is at the juncture of two distinct geographic levels that is re-imagined

Golf courses are highly prone to the increasing effects of

as a new, hidden ‘edge’ within the current municipal golf

drought. In fact, many of these mono-programmed elements

course. The main level is in conjunction with the current

have already begun to wither away into an unclear future.

road that divides the golf courses into two sides. This road

One of which exists as part of Griffith Park and the city of

is the main route for vehicular movement in the northeast

Los Angeles at large. This vast and centrally located land-

region of Griffith Park and may be considered vital. As a

0 2 / 10 F R O M T E E T O G R E E N A N D E V E R Y T H I N G I N - B E T W E E N

THESIS

result, mostly automobiles dominate this route although pe-

topographic and programmatic conditions, they are all

tional workshops. This level is fragmented into pieces and

destrians are granted a trail in between the paved road and

meant to reflect their adjacencies thus developing their own

without a continuous source of circulation. These contrast-

golf course perimeter marked by chain-link fencing.

‘personality.’ For example, the fourth rib is asymmetrically

ing levels are not solely restricted by their vertical orienta-

centered and is closest to the main roadway described ear-

tion. Instead, each level bleeds into the other at specific

lier. Therefore it becomes one of three main access points

points. As a result, a slight blur emerges without completely

for the entire complex.

eroding the character of each level.

pedestrian. With a total length of approximately 1.75 miles,

The architectural building proposal itself is characterized

In summary, this project dissects the California drought

this ‘spine’ will allow people on foot, bike, and/or horseback

by a main level of relaxation, observation, and playfulness.

condition via water and a golf course in effort to re-struc-

to experience a series of contrasting spaces and events as

Meaning, spaces are primarily dedicated towards leisure by

ture activities for the community with a new hybrid venue

they travel across an ever changing landscape; once solely

way of clubhouses with bars/restaurants, scenic overlooks,

that allows a direct exchange between recreational, educa-

purposed for the sport of golf.

pedestrian rest areas; all linked by a continuous trail. This

tive, and utilitarian components.

However, the new ‘edge’, derived from the necessity to connect existing neighborhoods from across the interstate highway and Los Angeles River, is strictly dedicated towards the

Furthermore, the spine is meant to grant the general public greater access to scenic property; which then immediately

level is formally oriented towards the Griffith Park hillsides which serve as a picturesque background.

suggests re-purposing most of the landscape to serve a

Meanwhile, the lower level is a new interpretation and

more expansive set of needs. The spine is broken down into

extension of the adjacent infrastructural and utilitarian

seven ‘ribs’ or segments at an interval of one-quarter mile

elements nearby. It is rigid, informative, productive,and ma-

[the distance Angelenos are willing to walk to a neighbor-

chine-like with programmatic elements such as a memorial,

hood park].Given how each rib is surrounded by specific

botanical nurseries, a water treatment center, and educa-

M I C H A E L A G U S T I N AT T W E L L

026 027

ME T H O D [S]

11

12

13

14

15

16

B A R C H P O R T F O L I O 2 011—15

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17

THESIS

11 — 17 Process snapshots

M I C H A E L A G U S T I N AT T W E L L

+

ME T H O D [S]

4

7

CURRENT GOLF CLUBHOUSE

+

2

1

I-5

WATER TANK SUPPLYING GOLF COURSES

+

PUMP STATION

LOS ANGELES/GLENDALE WATER TREATMENT CENTER

5 3 028 029

PARK RANGER STATION

+ OLD LA ZOO RELICS

B A R C H P O R T F O L I O 2 011—15

6 ATWATER VILLAGE

+

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THESIS

1 Traditional Golf 2 Altered Golf 3 Specialized Golf Training 4 LA River 5 Wildlife Preserve 6 Recreational Fields 7 Cultural Centre

18 Master plan

N 8 32

64

128

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Mediating Spine A new edge, porous in character, soaks

This spine is fragmented into seven distinct pieces by a

in all existing conditions thus becoming a dynamic hybrid

constant distance of one quarter mile [distance most Ange-

component within a rather bland environment.

lenos are willing to walk]. Each spine houses programmatic

The site consists of various conditions currently existing in a simple layering organization. By which a unique urban strata is identified. It consists of an urban street grid, an ‘unnatural’ river, a critical interstate highway, and the largest source of public recreational land in Los Angeles.

This strata has a long history of development without any true investigation in any sort of ‘inner-integration.’ As a re-

elements according to its immediate adjacencies. This produces a variety of conditions, spaces, and events that are then held together by a continuous source for circulation shared by pedestrians, runners, and cyclists.

The essence of this spine is its ability to facilitate pedestrian movement throughout an environment that varies from urban to natural almost instantaneously.

sult, each layer is independent and coexists with the others.

The introduction of a new continuous spine or ribbon is envisioned here in effort to intertwine and blend the layers of strata and ultimately create a much more dynamic environment while increasing the performance of each element.

19

030 0 31

Mediating Spine diagram

B A R C H P O R T F O L I O 2 011—15

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L 1280 ft.

W 30 ft.

THESIS

1

L 1607 ft.

W 50 ft.

3

L 1522 ft.

W 50 ft.

5

Neighborhood Park LA River Rest Station Art/History Exhibits Bridge Observation Deck

L 1527 ft.

W 50 ft.

Ampitheater Resource Recovery Center GC Maintenance Storage Playhouse LA River Memorial Wildlife Preserve Disc Golf Golf Training

Ampitheater Lecture Hall Playhouse Outdoor Strength Training Recreational Center Locker Rooms Food + Drink Entertainment

L 1413 ft.

W 50/25 ft.

L 2703 ft.

W 50 ft.

6

2

4

Cultural Institution Main North Entry Welcome Center Golf Starter Food + Beverage ‘Caddy-shack’ Wildlife Corridor Observation Decks Ampitheaters Nightclub [House] Rest Area

Senior Care Center Main Entry Observation Deck Main ‘Welcome Center’ GC Clubhouse Food + Beverage Water Treatment Rehab Center Golf Training Gentlemen’s Club Rest Area

LA River Station Bridge Observation Deck Community Centre Rest Area

L 1260 ft.

W 50/30 ft.

7

Neighborhood Park LA River Station Community Centre

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

1 3

B

1

2

3

3

4

A 032 033

5

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THESIS

1

Access

2

Driving range

3

Gardens

4

Parking

5

Plaza

A

1

3

B

20 Roof plan

N

4

8

16

8 16

32

3264

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

8

13

UP

16 DN

Open to Below

5

B UP

11

1

1

10 1:1

5

slo

pe

14 12

U

RAMP DN

4

15

DN

5

A 034 035

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A

13

THESIS

1

Bar

2

Caddy-shack

3

Cafe

4

Entry

5

Kitchen

6

Library

7

Lounge

8

Massage

9

Plaza

10

Re-fuel

11

Restaurant

12

Restrooms

13

Scenic view

14

Therapeutic pool

15

Welcome center

16

Youth golf training

Open to Below

UP DN

3

7 6

B

Open to Below

DN

21 Main level floor plan

N

4

8

16

8 16

32

3264

+5’

M I C H A E L A G U S T I N AT T W E L L

+4’

+3’

+2’

+1’

0’

-1’

-2’

-3’

-4’

-6’

-7’

-8’

ME T H O D [S]

2

UP

13 UP

B

11 14

UP UP

17

3 7 8 UP

9

11

12 1:1

5

16 6

slo

pe

13 UP

15

2 10 UP

5

A 036 0 37

+5’

+4’

B A R C H P O R T F O L I O 2 011—15

+5’

+4’

+3’

+2’

+1’

0’

-1’

-2’

-3’

-4’

-9’

-10’

-10’

-9’

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THESIS

-9’

-10’

-11’

-12’

16

A

UP

4

-13’

UP

UP

UP UP

1

Amphitheater

2

Conference

3

Demonstration space

4

Field access

5

Film room

6

Gallery

7

Garden

8

Information

9

Interactive learning

10

Offices

11

Outdoor patio

12

Reception/gathering

13

Restrooms

14

Theater

15

Tickets

16

Water tank

17

Workshops

Interior Perspective

12

17

1

B

16

UP

22 10’

Lower level floor plan

N

4

-5’

-6’

-7’

-8’

-9’

-10’

-11’

-12’

-13’

8

16

8 16

32

3264

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Program The programmatic elements in this project were

develop talents and increase potential, build human capital

defined by a new found necessity to expand public access

and facilitate employability, enhance quality of life and

and awareness to the selected site and all of its conditions.

contribute to the realization of dreams and aspirations. This

This translates into recreational and educational elements.

entails programs that require a teacher, guide, counselor,

Conceptually, the choice of program is thought of in a way of reflecting or expanding the program already on site. As well as, introducing a new ‘layer’ of spaces for events and

ing, and coaching; all housed in designated spaces.

The two lists to the right depict the programs that meet the

logue between each other.

goals and aspirations of this proposal. The first list refers to

phasis in this proposal. Various elements are revealed to users as they are granted the liberty to circulate through the ‘open’ complex; increasing the likelihood of new encounters and increasing the distribution of user interaction evenly rather than a concentrated approach.

The program agenda for this project revolves around personal development, more specifically, activities that increase self-awareness and identity. Furthermore, they are means to

B A R C H P O R T F O L I O 2 011—15

vational speaking, electronic learning, workshops, counsel-

activities that can begin to inform and create a new dia-

The public and their engagement is certainly the main em-

038 039

coach, mentor, etc. and can be manifested via books, moti-

the overall master plan, whereas the second strictly adheres to the building proposal represented in ‘From Tee to Green and Everything In-Between.’

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THESIS

Art/history exhibits

Amphitheater

Botanical roof gardens

Amphitheater

Community centre

Resource recovery center

Practice [driving] range

Conference room

Film studios

Horseback stable

LA river rest stations

Golf course maintenance

Bar

Field access

Neighborhood park

Playgrounds

‘Caddy-shack’

Film/documentary showcase

Observation deck

LA river memorial

Cafe

Galleries

Outdoor fitness

Wildlife habitat preserve

Entry

Gardens

Pedestrian bridge

Disc golf

Kitchen

Information

Urban art galleries

Specialized golf training

Library

Interactive learning

Spine main [central] entry

Lounge

Offices

Cultural institution

Observation deck

Massage services

Outdoor patio

Main North Spine entry

Main ‘Welcome Center’

Plaza

Reception/gathering

Welcome center

Golf clubhouse

Re-fuel station

Restrooms

Golf starter

Refuel [food & beverage] station

Restaurant

Theater

Food & beverage

Water treatment learning facility

Restrooms

Ticketing

Youth ‘caddy-shack’

Youth golf training

Scenic view locations

Water storage

Wildlife corridor

Pedestrian rest area

Therapeutic pool

Workshops

Observation decks

Rehabilitation

Welcome center

Amphitheater

Car park

Youth golf training

Nightclub [house music] Refuel station

Amphitheater

Gardens

Lecture hall Playgrounds Outdoor strength training Recreational center Locker rooms Food & drink Entertainment [cinema] Botanical gardens LA river station Pedestrian bridge Observation deck Community centre

Demonstration space

M I C H A E L A G U S T I N AT T W E L L

040 0 41

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

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Component Overview Canopies Three large canopies cap all five pavilions and provide much needed shade within the complex.

Various perforations allows natural sunlight to filter in.

Roof Access Visitors are encouraged to maneuver upwards onto the roof via two sets of stairs and an elevator.

Pavilions Each pavilion consists of floor to ceiling glazing as a wraper. Within these ‘pods,’ there are other non-strutural opaque walls to fragment the interior spaces, but maintining a sense of openness.

Furthermore, specific program is designated to each pavilion according to its contextual adjacencies.

Posts & Beams A set of 50 columns at an average spacing of 25 feet support three large canapies. Though mostly on the upper level, some columns do make their way to the foundation.

Floor Slab The main floor slab acts as a flat datum sprea throughout an undulating landscape. It provides visitors with a continuous source of circulation and is punctured at critical points for lower level access.

Circulation The lower level may be accesed via two sets of ‘standard’ stairs, a winding ramp, two ampitheaters, and three elevators.

23 Topography diagram of thesis site

Retaining Walls The primary spatial organization on the lower level is in direct relation with its structural system. Several retaining walls are designated to ‘hold back’ the surrounding Earth. Meanwhile, interior walls also made from concrete create a raw and cavern-like atmosphere.

24 Component diagram Foundation Given the ground quality, a basic 2.5 foot mat foundation is used to support the structural systems above.

THESIS

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Section A — A Located at the southern end of the building, a grand amphitheater connects the main entry plaza to a sunken level filled with a series educational spaces. Visitors are encouraged to go out into the field via a channel carved into the natural landscape. Once on the lower level, a cavern-esque atmosphere is to be experienced. This is in great contrast to the open and airy level above.

042 043 Roof +15’

Main Level +0’ 1 5 Lower Level -14’

B A R C H P O R T F O L I O 2 011—15

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THESIS

25 Section A — A

7

12

4

4

8

16

32

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Section B — B A water tank plugs into the building fabric, thus becoming one of the primary programmatic elements. This tank, unlike any other on the site is divided in half horizontally.

The lower half consists of water undergoing extreme purification processes that then supplies a therapeutic pool above it. This allows users to better comprehend the processes and possible applications for future treated water.

044 045 Roof +15’

6

17 Lower Level -14’

B A R C H P O R T F O L I O 2 011—15

12

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THESIS

26 Section B — B

14 11

14

16

4

8

16

32

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

27

28

29

30

34

35

36

37

40

41

42

43

046 0 47

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31

32

38

39

44

45

THESIS

33

27 — 45 Final model making process

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

03/10 AMERICAN VS SCANDINAVIAN REST AREAS Introduction As the American landscape became over-

Yet they still manage to somewhat represent a uniqueness

powered by roadways, an entire new genre of conditions

in a world headed towards extreme commercialization. Un-

emerged along with it. Of these new set of ‘parameters,’

like fast-food restaurants, gas stations, or truck stops, rest

rest areas came into existence and eventually evolved into

areas were meant to evoke genius loci. According to photog-

cultural centers for those traveling by road. Now they purely

rapher Ryann Ford, “For some, what was seen and read at

exist as relics of past social and architectural icons; as they

rest stops could be all that was known of a region’s histori-

continue to vanish from American roadsides.

cal, archeological, geological, or cultural significance.”

They were once a critical source for connecting people

Although driving originally celebrated freedom and touted

to the places they were traveling through. Now they are

a common experience, it has increasingly become a highly

simple benchmarks in an era of bygone leisure travel un-

regulated, isolated activity. As a result, rest areas in the

able to compete with commercial alternatives. As a result,

United States have also undergone a similar transformation

highway peripheries have been homogenized to the point

Commercial alternatives continue to dominate roadsides

where every place looks alike. During the development of

across the country, by which rest areas have become less

the interstate highway system, state jurisdictions controlled

attractive to highway users.

the design of these so called ‘roadside parks.’ Though they may slightly vary in scale and formal aspects, all rest areas are programmatically generic. Car parks, restrooms, ‘green’ space, and some information displays can be expected at each rest area regardless of its surrounding context.

048 0 49

B A R C H P O R T F O L I O 2 011—15

However unlike their homogenous counter-part, rest areas surprisingly evoke a genius loci by their generic quality. In a sense, by performing as ‘nothing’ rest areas allow its context to dominate the experience of a visitor, thus actually becoming ‘something’ of value.

TEXT

According to a nationwide survey, a preference for homog-

Consider this extremely valuable given the state of con-

enous travel centers has increased across the nation in

temporary culture. The increased preference for extreme

recent years. This in itself begins to explain contemporary

commercialization and homogenous travel centers across

American culture. A shift in values by way of an emerg-

the United States presents an opportunity to revitalize rest

ing hyper consumerist culture was directly reflected in the

stops [a dying typology] back to their original intent of road-

expansion of the billboard industry. Suddenly, entirely new

side parks. By which they will act as the latest representa-

typologies came into existence.

tion of authenticity and contextual elements along the road.

Unlike ‘ducks’ whose sole purpose is to attract attention to

Rather than ‘rebuilding’ these relics from a familiar and

themselves more than anything else, rest areas resist such

internal US logic, perhaps there is something to learn from

character. In an age when online shopping and mega-malls

the ‘Scandinavian Approach’ used towards their tourist

have reconfigured American consumerism, rest areas are

route projects. This may lead to the implementation of new

being lost in favor to bland homogeneity.

strategies for the vital preservation and enhancement of

Place no longer exists as its idiosyncrasy has been stripped

domestic roadside parks.

away. Unlike commercialized alternatives, rest stops inher-

This essay serves as a platform to compare and contrast

ently provide a source of authenticity. Meaning, they are

two very distinct approaches towards roadside accommoda-

setup to celebrate the local charm through methods such as

tion. By which, the intent of this essay is to understand how

the use of materiality, symbolism, and scenic views. Thus,

one may potentially inform the other.

evoking a unique sensibility to the region.

Course

Date

01

From Theory to Practice

Spring 2015

Lebec Rest Area / California, U.S.

Instructor[s] Names Janek Bielski

>

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

History The best way to understand the present and envi-

thoughts on roadside parks by a young county engineer,

sion the future is to develop a thorough comprehension of

Allan Williams, in Michigan. He begins by describing his

the past. Therefore, let us first examine the history of rest

personal observations of a family trying to eat a picnic

areas in the United States. They did not suddenly appear;

lunch alongside their parked automobile on one of the roads

in fact they resulted from an extensive national policy of

under county jurisdiction. “In the days that followed, Mr.

development. Once considered to be the first place to stop

Williams saw this scene repeated with increasing frequency.

along any journey, roadside parks eventually evolved into

An outdoors man himself, he decided that people should

safety rest areas that are now on the verge of ‘extinction.’

have better facilities for resting and refreshing themselves

During the first part of the twentieth century, the construction of roads in the United States progressed at a rapid

The Michigan State Highway Department soon authorized

pace and became a passionate march of progress. As roads

the construction of roadside tables and the establish-

improved, motorists were granted a new liberty to travel

ment of additional picnic sites after the chief maintenance

greater distances. It then became more apparent that they

engineer received letters with compliments for the thought-

would need places to stop along the way. “The model of

fulness in providing “a clean and restful picnic spot and

place that led to the establishment of waysides and road-

table.” As a result, this suggested form of roadside park

side parks was initiated by the traveling public.” Stopping

development echoed across the country where the construc-

sites emerged in rural areas where commercial establish-

tion of roads presented similar travel experiences to other

ments were not available. In most cases, they were sited

American public realms. Eventually, the manifestation of

in areas of scenic interest or merely wherever automobiles

these parks became part of a greater movement in roadside

were able to pull off the roadway. The earliest “waysides

development and beautification.

materialized out of necessity.”

050 0 51

Despite a brief World War II interruption, a well-developed

So then where was the first roadside park established? Of-

system of roadside parks lined American highways by the

ficial documents indicate the state of Connecticut as the

mid-1950s. All of which were constructed and maintained

first to establish a roadside park in 1928. Although, more

by state highway departments. First conceived of in the

concrete evidence shows the state of Michigan built its

late 1930’s, the Interstate Highway System did not come to

first roadside park nearly a year later in 1929. So, for the

fruition until the mid-1950s when the Federal Aid Highway

sake of argument, consider Connecticut as the birthplace of

Act of 1956 was passed. The system became a symbol of

American roadside parks.

American growth, prosperity, and modernity. Besides its

An excerpt taken from an article printed in American Road Builder magazine in 1957 reveals some of the earliest B A R C H P O R T F O L I O 2 011—15

along the highways.”

obvious functionality, it was also a method to create a nation of interconnected towns, cities, and regions; therefore a nation of an interconnected population.

0 3 / 10 A M E R I C A N V S S C A N D I N A V I A N R E S T A R E A S

More importantly, the new system altered American life by

the car behind and the side mirror for the car or truck about

the introduction of faster and more feasible traveling meth-

to pass, and at the same time reading all the signs for the

ods. This would eventually amount to a drastic evolution

fear of missing some further instructions.” Therefore, they

in lifestyles. For example, suburban housing manifested at

were strongly encouraged to engage rest areas as a place to

a rapid pace due in large part to this new network. In ad-

stretch, rest, eat, and use a restroom.

dition, new building types devoted to the accommodation of an automobile-oriented society emerged along with it.

By which, drive-through restaurants, movie theaters, strip malls, etc. claimed a new presence.

Early constructed interchanges were without any commercial business as we see today. Thus, the early interstate traveler was confined to long stretches of roadway and few opportunities to find fundamental services. While rest areas

By the time the Interstate Highway System’s legislation

were originally designed to provide only basic amenities

passed, almost every state in the nation had a supplemen-

such as parking, bathroom, and picnic tables; developers

tary system of roadside parks in-place. Although minimal

discovered within them an opportunity to reconnect people

in facilities, these parks soon proved to be necessary by

with the places they were traveling through. This meant

their prolific numbers and extensive use. Furthermore, their

adding some ‘humanity’ back to interstate travel.

existence was validated given the sense of separation from local places as a by-product of system. Described by many, including John Steinbeck in his book Travels with Charley In Search of America, this detachment would eventually prompt highway developers to transform roadside parks so that they included areas of safety and rest.

TEXT

By the late 1960’s rest area development was common and made a priority across the United States. Rest areas were viewed as a public asset and places that each state had a responsibility to provide. As states maintained roadside parks for decades, the concept of a place to stop along the road was nothing revolutionary; however the detailed nature

These safety rest areas were initially designed to allow

of rest area development and the amenities they were to

02

motorists the opportunity to safely pull off the roadway in

provide was. They were no longer rustic roadside parks of

Oceanside Rest Area / California, U.S.

order to escape fatigue from the road. Although the roads

previous decades. They were now modern sites serving a

were efficient in moving goods, they did not allow for suffi-

modern transportation system and a modern way of life.

cient inspection of the countryside and for the understand-

Stopping at any interstate rest area meant travelers could

ing of place. Therefore, rest areas were meant as “…venues

now expect to find “flushing toilets, running water, travel

that supplemented the places that travelers would no longer

information, picnic tables often accompanied by barbecue

be able to access just off the roadway.”

grilles, shelters to protect them from the sun and wind

In most cases, highway users were “bound to the wheel and their eyes to the car ahead and to the rear-view mirror for

while enjoying a picnic lunch, walking paths, and in some places children’s play equipment.”

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Department of transportation developers began to see that

funding for safety rest area construction would be limited

rest areas were much more than the practical function they

to the purchase of land, construction of deceleration and

served, they were actually performing as ambassadors of

acceleration lanes and parking areas.

the state or cultural centers of some sorts. As a result, developers perceived their ability to provide notable roadside facilities as a means of creating a positive reflection on the quality of their state government and its citizenry. This was heightened by the reality that much of the Interstate System bypassed existing towns, therefore safety rest areas could become the primary local contact that travelers would have within all states.

The first safety rest areas opened in the late 1950’s as the first generation of development continued through the mid 1970’s. The development of these sites was a tenant of the Federal Aid Highway Act of 1956 which had initiated funding for the interstate highway system; rest areas were to be a part of its standardization.

052 053

tures and amenities were delayed or built exclusively with state funds. [Are privately funded rest areas that respect the original intent of such places in the near future?] Although this budgetary limitation “dampened the intended progress of rest area construction,” it did not halt it. Highway developers aimed to continuously establish rest areas as new highway segments opened.

The Highway Beautification Act of 1965 re-invigorated rest area development and construction. This legislation asked from each state to develop a master plan for their own rest area development. Also, the act reinstated funding for all components of rest area development in an effort to support the nationwide ‘drive’ to reform and beautify interstate

Initially they were to be funded on the same federal/

roadsides. The mandate on states to produce a master plan

state shared funding basis just like the rest of the high-

would also serve as an assessment of the current status and

way system. This meant the federal government would be

projected needs of the rest area program on both a national

responsible for the majority of the expenditure; meanwhile

and state level. With the reinstatement of federal funding

state governments were responsible for the planning and

aid, state governments once again gained an increased ca-

implementation of the system itself. However in 1959,

pacity to provide rest area facilities on a growing scale.

one year after the American Association of State Highway, officials issued the standardized guidelines for rest area development [A Policy on Safety Rest Areas for the National System of Interstate and Defense Highways], federal allocations for rest area development were drastically reduced.

B A R C H P O R T F O L I O 2 011—15

As a result, safety rest area buildings and all other struc-

From the late 1960’s through the mid 1970’s, rest area development took on a progressive and creative approach as a “means to serve the public good.” Creative developers designed shelters in forms that drew on regional imagery.

For example, teepees, oil rigs, and windmills. The buildings

The Bureau of Public Roads [later the Federal Highway

were designed to “reflect the architectural heritage of in-

Administration] notified state governments that hence forth

digenous people.” In response to the increasing volumes of

0 3 / 10 A M E R I C A N V S S C A N D I N A V I A N R E S T A R E A S

TEXT

traffic on the Interstate system, safety rest area buildings

flection of the consumerist culture in the United States and

to: anticipated operating procedures, ease of maintenance,

and sites also grew in scale. By the 1970’s, the buildings

marked a dramatic shift in values. According to Lady Bird

energy costs, and life expectancy.

began to take on nontraditional forms and sites engaged

Johnson, the Highway Beautification Act of 1965 aimed for

visitors by capitalizing on the assets of the local landscape.

“pleasing vistas and attractive roadside scenes to replace

American Approach As motoring became central to life in the United States for nearly a century, Roadside America was created; “a highly ephemeral world characterized by slow but constant change.” After the introduction of the

endless corridors walled in by neon, junk, and ruined landscape.” This act also served as a platform for the discussion competing visions of America’s roads as they collided in a dispute over regulation.

interstate highway system, there was a sudden urgency to

The current ‘American Approach’ towards rest areas arose

support the network with roadside amenities. One of which

by federal legislation. Therefore, ‘Rest Area Site Design’ is

was the roadside parks described earlier. Unlike the high-

somewhat prescriptive. In accordance with the Rest Area

ways, these parks were developed and maintained by state

Policy, “there will be one building constructed on the site to

jurisdictions. This resulted in a wide variety of so called

house all functional areas as detailed below. Site improve-

parks. Each of which strived to be highly contextual in their

ments shall consist of utilities for water, wastewater, elec-

formal language, materiality, and siting. However, these

tricity and telecommunications; planting, storm drainage,

landmarks are increasingly disappearing.

area lighting, fencing, on and off ramps, drives, separate

The current scarcity of rest areas in the US may be attributed to “…the acceleration of change in the nationwide economy and resultant erosion of the local sense of place throughout the nation from the late nineteenth century forward.” As a result, preservation has been deemed the best method to satisfy the yearning for memory and local identity. Out of personal interest, photographer Ryann Ford

parking areas for cars, trucks and buses, sidewalks, and when appropriate, commercial vehicle inspection areas.”

According to this policy, a successful and sustainable rest

more than anything else.

The design of rest area buildings themselves is of the most importance and is considered to be the key element of all rest areas according to federal regulations. Many factors are taken into consideration, but are limited by the guidelines provided for the architectural design of a rest area building. Although these built structures may serve several programmatic functions such as a welcome center or commercial vehicle inspection facility; they are intended and highly restricted to only provide a service to highway users.

Therefore, they are not to operate as a local park or other community facility.

the role of providing such services to the general public.

area with mobility, safety, maintainability, energy conserva-

By which, homogeneity has been accepted as the twenty

tion and economic design requirements.”

first century’s community facility or local park. This alone

and abilities access and use of both the natural and built

hoping to highlight these long-forgotten cultural icons.

elements of a rest area. In terms of materiality, the design

experience. This industry would soon serve as a direct re-

indicates a general sense of designs based on convenience

Consequently, commercial developments have inherited

book, Rest Stops: Vanishing Relics of the American Roadside,

of the largest contributors towards the American highway

highway users who exit into these safety rest areas. Which

tal and cultural features of the location and surrounding

Furthermore, the designs should ensure people of all ages

ever increasing billboard industry; eventually becoming one

that consequently results in a systematic environment for

area site will “balance preservation of scenic, environmen-

even began documenting several of these places in her

With the growth of the interstate system came along an

These descriptions depict an extreme pragmatic method

is contradictory to the original American ‘roadside culture’ that emerged as highways in the U.S. evolved into a highly complex and fascinating condition.

of the rest area building and grounds should include the

Yet, somehow rest areas became slightly detached from this

selection of materials and fixtures that maximizes energy

evolution. It almost seems as if the United States lost sight

efficiency and minimizes the operational and maintenance

of what these places were originally intended for as the

effort. Materials used shall take into consideration the sus-

shifts in culture arose.

tainability of the design choices including, but not limited

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Unfortunately, rest areas have suffered and experienced the

accepted to follow ‘protocol’ rather than seeking new oppor-

consequences of a consumerist culture like so many other

tunities based on contextual evidence as seen in Scandi-

aspects of American culture. Therefore, rest areas are prime

navian projects. For example, in the Solberg Tower & Rest

candidates for the initiation of yet another shift in Ameri-

Area “The flatness of the landscape meant that the beauty

can roadside culture. The current generic-ness of roadside

of the surrounding nature could only be enjoyed from a

parks is less of an issue and much more of an opportunity.

certain height, so the creation of a tower quickly became a

It is only by simplicity that the surrounding context may be

main part of the brief.” This goes to show how the Scandi-

introduced as the dominant factor in the visitor’s experience

navian approach towards rest area design provides a sense

Perhaps rest areas can be re-introduced as roadside parks

054 055

of liberation and not institutionalization.

that are no longer limited to generic programming. “Ameri-

Scandinavian Approach Unlike the American approach

cans in ever-increasing numbers answered the siren song of

towards public roadside amenities, the ‘Scandinavian

the open road…more as motorists making use of affluence

Approach’ is highly specific in their implementation of

and leisure time to explore the nation’s highways as a form

strategies used to ensure meaningful roadside develop-

of recreation.” It is important to note the shift that would

ments. There are several reasons for this. The most obvious

eventually plague highway use and perception. Now a days,

being who actually designs them. According to the National

few and fewer people would refer to these high-speed motor

Tourist Routes in Norway, the Tourist Route Department

ways as a source of recreation. Many would argue they are

of the Norwegian Public Roads Administration [NPRA] has

the furthest thing from that. Given our time and techno-

engaged more than 50 architects, landscape architects, de-

logical advancements, the amount of leisure time spent on

signers, and artists. Though most designers hail from Nor-

roads is not be what it once was.

way, there are contributions by others such as world-famous architect Peter Zumthor and artist Louise Bourgeois.

03

This does not suggest rest areas are becoming less rel-

Solberg Tower and Rest Area / Norway

evant; they are just engaged less given new social demands.

As an organization, they place an extreme emphasis on

In fact, in many places across the country they remain

innovation and creativity. This has led to many young archi-

crucial for traveling safely. The ones vanishing are primar-

tects earning wide acclaim for their innovative tourist route

ily those that can no longer compete with other surround-

projects. With the development and administration of 18

ing roadside amenities. The desire to experience the ‘open

road sections in Norway, the NPRA has developed a design

roads’ of America will forever exist, the only difference

program so that travelers can easily recognize these attrac-

being in how it is accommodated.

tions; including a strictly managed logo with guidelines for

Despite what has been claimed, a lost in pride and ownership appears in American safety rest areas. It is as if they B A R C H P O R T F O L I O 2 011—15

its proper use.

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The NPRA also developed a Quality Council to ensure high

Summary There are several key differences between the

tactics as a method of revitalization. The most outstanding

quality in the management of Tourist Routes. “It holds the

American and Scandinavian approach towards public

difference is in that the Scandinavian approach is driven by

superordinate responsibility and advises the Tourist Routes

roadside accommodation. The first being the terms used

experiential opportunities. Whereas, the United States is

Section on matters of professional guidelines for their ef-

to describe such elements. In the United States, they are

supposedly doing the same, but just not executed very well.

forts” according to their website. There is also an Architec-

now commonly identified as safety rest areas despite being

ture Council to ensure a high visual quality of scenic view-

originated as roadside parks. Whereas, in Scandinavian

points and picnic areas along the route system. Members

countries they are considered tourist route projects. The

of this council include an architect, landscape architect,

second difference being in how and who designs them.

visual artist, and an arts curator who, together, oversee that

Generally, rest areas in the United States result from much

internationally valuable works of art are part of the National

greater regulation than that overseas.

Tourist Route experience.

The tourist route projects in Norway, for example, are

In terms of organization and responsibilities, the NPRA

tailored or much more ‘customized’ since architects and

Regions Office and several country administrations serve

other designers are contracted for their manifestation. It

as the primary road owners. They are responsible for the

is important to recognize these approaches not only as

operation and maintenance of all traffic areas, facilities

architectural responses to the roadside, but also as a direct

such as toilets at picnic and scenic viewpoints, and road

reflection of cultural values.

improvement projects along the routes. Whereas the Tourist Routes Section is responsible for planning and building picnic areas and scenic viewpoints, managing ownership and operation of service facilities at major attractions, and repairing/renewing installations, furniture, information boards, etc. Other stakeholders are encouraged to support the NTR through marketing, developing businesses along routes, providing food, accommodation, hospitality, activities, and an overall high quality experience.

Personal experience of rest areas in the US evokes a clear sense of a ‘systematic’ environment that can be directly attributed to the lack of innovation and creativity in their approach to designing them. Given the vast scope of these projects, regulation was sought after has a way to ensure their adequate development for public service. Admirable in the intent, such approach is actually a disservice to the public. Rather than continuing to allow state authorities to empower the future of rest areas in each of their respective

It is important to note the whole marketing component

states, perhaps a ‘radical’ shift in methodology is the only

to the Scandinavian organization because that is not an

means left for a revitalization of these roadside elements.

integral component to the US approach. But, perhaps it is

The current approach is obviously inadequate given the

something to learn from.

unfortunate loss of so many of these cultural treasures.

Such approach has yet to be seen in the United States.

Therefore, American rest areas may begin to adapt these

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04/10 P[CUBED]

Project Description As the final studio before thesis, this project aimed to develop a holistic design for veteran housing at a site under active public scrutiny. The primary challenge was designing at two distinct scales simultaneously. First, the entire nine acre site had to be re-envisioned and secondly, a building proposal had to satisfy a set of programmatic, environmental, and contextual guidelines. A particular dialogue between the two was developed and constantly revisited to ensure cohesion. The final “product” includes an overall master planning of the site in addition to the building proposal that carefully considers the user, site, and constructability.

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Location

Client

San Francisco, California

U.S. Military Veterans

Typology

Size/Scale

Mixed-use

100,000 sq. ft.

Housing Master plan Urban design

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ARCHITECTURE

Course

Date

Studio 8: Housing and Comprehensive Design

Fall 2014

Instructor[s] Names Mallory Cusenberry & Mark Donahue Partner[s] Names Carlana Aguon

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01 Site aerial of Pier 70 San Francisco, CA

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02 Aerial perspective looking north-west

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ME T H O D [S]

Project Summary The site for this housing project is

The housing project sits within walking distance to most

located within an expansive 15-acre parcel of prime wa-

historic buildings that have been re-programmed [as part

terfront property in San Francisco, California. Once home

of the master plan] to satisfy the anticipated and crucial

to a major shipbuilding business, many of the remaining

future needs of veterans and other residents at this site.

structures have been deemed historic.

A proposed master plan recognizes these treasures and the

of Pier 70, this project was formally driven by strategies

housing project pays tribute to them by the use of material-

that encompass a sense of community; the true essence of

ity and overall formal language. As seen in the 3-D render-

multi-family housing. There are four types of units, each

ings, the waterfront is envisioned as a place for all to gather

with a very specific formal and programmatic identity, that

and celebrate. There is ample room for pedestrians to move

were combined to construct what could be a never ending

comfortably via foot or bike; meanwhile there are several

network of interconnected ‘pieces.’

areas to rest and engage the water itself.

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03 North elevation of housing project

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Formal explorations through

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physical modeling

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25 — 33 Formal explorations through physical modeling [continued] 34 Consultant workshop pin-up

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35 Project site plan

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36 East elevation of housing project

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37 Sectional studies of 3D Google Sketchup model

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38 N-S sectional perspective of 3D Revit model

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ME T H O D [S]

Housing Units The units themselves were derived from a

readily accessible. These spaces will maximize the scenic

basic square and cross grid. As each unit type required

views for veterans and their families to enjoy.

more square footage, we simply aggregated parts of the whole. A square, rectangle, and L–shape form resulted and became our building blocks.

were primarily designed with an intent to build a stronger sense of community for residents. In addition, they are

another, and adaptable to most site conditions. Our final

granted the liberty to roam the entire building complex

aggregation can be best described as a complex network

through a series of shared courtyards; hopefully increasing

of overlapping units that formally, programmatically, and

the number of spontaneous encounters between neighbors.

Users are strongly encouraged to engage their outdoor environment by the design and integration of open space in each unit. The great abundance of ‘green’ roofs becomes an opportunity for upper units to have large outdoor rooms

B A R C H P O R T F O L I O 2 011—15

by some, if not all users at any given time. These spaces

Their combinations are virtually endless, responsive to one

structurally forms a web.

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Generic Square Footage

Unit Manifestation

SRO

Studio

2 Bedroom

3 Bedroom

1300 SF 850 SF 400 SF 200 SF

Veterans Housing

Single Room [200 sf] + Sink & bedroom only

Studio [400 sf] + Dual purpose bedroom/living room + Kitchen + Bathroom

Market-rate Housing

Two Bedroom [850 sf] + Family unit + Living + Dining + Kitchen + Bath

Three Bedroom [1300 sf] + Living + Dining + Kitchen + Bath

39 South elevation of housing project

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40 Wall section physical modeling process

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41 West elevation of housing project

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42 Shared courtyard space in housing project

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05/10 HUB TOWER

Project Description As high-rise buildings continue to emerge across the globe at a rapid pace like never before, this studio explores the skyscraper typology to challenge preconceived ideas and to establish new interpretations that reflect contemporary times. Meanwhile, technology companies, in particular, are at the forefront of these latest architectural developments in San Francisco, California. The resulting proposal is the grand accumulation of programmatic, structural, and formal principles; all of which were developed in direct relation to one another.

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Location

Client

San Francisco, California

Github

Typology

Size/Scale

Mixed-use

400,000 sq. ft.

High-rise

B A R C H P O R T F O L I O 2 011—15

ARCHITECTURE

Course

Date

Studio 7: Tectonics and Structure

Spring 2014

Instructor[s] Names Karen Seong & Benjamin Damron

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01 Site aerial of Jessie Square San Francisco, CA

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ME T H O D [S]

Basic Footprint & Maximum Height

1 Start

2

3

-

02

Finish

Formal Sequence First, three major ZONES in response to site conditions are defined by extracting pieces from a generic volume. For example, Jessie Square is reinforced as an urban room with the lowest extraction. Further extractions are made to maximize VIEWS. Tiers are then created and have the capability of responding to PROGRAMMATIC needs. A new LCONFIGURED VOLUME emerges and inherently satisfies the code required setback along the eastern end. The ribbon-like form is then filled with transparent volumes for additional space and a contrasting effect.

Site The site is uniquely located at the juncture of San Francisco’s most prominent districts.

As a result, the site acts as a melting pot for business, cultural, and recreational activities and is dense with pedestrians traffic. The building site also consists of two key elements, the historic Aronson Building facade [1903] and Jessie Square, both of which were carefully considered throughout the design process.

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02 — 06 Formal explorations 07 Formal sequence diagram

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Mission

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Third Street

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08 Hub Tower site plan HOSPITALITY

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09 South-east aerial view / Google Sketchup 3D model

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30%

Urban Room

50%

Meld Arena

Github Hq

5%

20%

Philanthropic

Liquor Bar

5%

30%

Ampitheater

5%

Park+lobby

5%

Education Center

10%

Gym

5%

Local Businesses

10%

Hospitality

10%

30%

50%

Social Hubs

Musuem

10%

Headquarters

20%

Sky Zone

Convention

Ampitheater Arcade Caves Childrens Play Area Control Room Convention Space Dance Floor Design Rooms Dj Booth Dog Park Education Employee Lounge Github Merchandise Shop Gym [Dodgeball] Hacking Space Hospitality Kitchen Ladies’ Lounge Liquor Bar [Private & Social] Lobby Local Businesses Meditation Rooms Meeting/public Events Musuem No-tech Thinking Room Oval Office Reception Room Park Party Area Pool Table Radio/tv Studio Restrooms “Situation Room” Shipping Standard Workstations Storage Themed Rooms Utilities

ARCHITECTURE

Convention

Musuem Liquor Bar

Github Hq

Ampitheater

Education Center

Park+lobby

Circulation Private: Primary Occupants

Gym

Github Hubbernauts Friends & Family Pets Programmers Prospective Clients Recruits

Local Businesses

Public: Others Hospitality

All Access Convention Visitors General Public

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ROOF +400’

CONVENTION

LEVEL 28 +375’

LEVEL 27 +360’

LEVEL 26 +345’

LEVEL 25 +330’

LEVEL 24 +315’

LEVEL 23 +303’

LEVEL 22 +289’

LEVEL 21 +269’

LEVEL 20 +253’

LEVEL 19 +237’

LEVEL 18 +223’

LEVEL 17 +209’

LEVEL 16 +195’

LEVEL 15 +181’

LEVEL 14 +167’

LEVEL 13 +153’

LEVEL 12 +134’

LEVEL 11 +118’

YB MARKETPLACE

LEVEL 10 +108’

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LEVEL 9 +90’

Plans and sections

LEVEL 8 +80’

LEVEL 7 +70’

LEVEL 6 +60’

LEVEL 5 +50’

HOSPITALITY

LEVEL 4 +40’

LEVEL 3 +30’

LEVEL 2 +20’

LEVEL 1 +10’

P1 -18’

P2 -32’

P3 -44’

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Sky Zone [L-23] A

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Canteliver

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Structural System The structural system is one that can reflect the formal logic through the 4

exterior of the tower. The main truss system is meant to relieve portions of each building zone [urban room/meld area/sky zone] from major structural obligations to showcase programmatic

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conditions. As volumes wrap around the single core, large openings begin to reveal the structural system at work.

The main structural elements include a single core [shear walls] and diagonal bracing for lat-

Urban Room [L-0] B

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Truss to core connections

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IGU

Panel

Glazing

Frit

Monolithic

Inner-most: Fritted Glass + Translucency + Transparency + Views

Privacy

Thickness

Outer-most: Perforated metal + Acoustic + Sunlight + Privacy

***The pattern is meant to provide a gradient between the innermost and outermost layer.

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Level 18 +223’

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Curtain Wall One [CW-1]

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Partial Elevation

Section

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Embedded Steel Anchor

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Embedded Steel Anchor

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Floor Finish

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Extruded Steel Unit Frame

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Metal Spandrel with Insulation

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Floor Finish

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Monolithic Fritted Glass

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Perforated Metal Panel

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Plan

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Steel Deck

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Steel Outrigger

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Fritted IGU

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Metal Spandrel with Insulation

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Steel Deck Steel Pipe

Structural Floor Slab

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Suspended Ceiling

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06/10 PPR VISITOR CENTER

Project Description Unlike other projects, this studio requires the examination and thorough understanding of a remote site uniquely located on the Point Reyes Peninsula. This was achieved through several exercises that included a ‘Road-Cut Collage’ and the design of land art. Since not all buildings are directly integrated into a grid, the task of designing a visitor center revealed and elevated the significance of site comprehension in order to develop a conscious building proposal that performs properly and efficiently in several aspects.

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Location

Client

Point Reyes, California

Parks & Recreation

Typology

Size/Scale

Public

20,000 sq. ft.

Museum

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Course

Date

Studio 6: Sanctuary and Building Performance

Fall 2013

Instructor[s] Names Mark Donahue & Paul Haydu

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01 Site aerial of Pierce Point Ranch Point Reyes, CA

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ODYSSEY Pool: A symbol of reflection used to create a sense of calmness.

An intellectual or spiritual wandering or quest.

Pathway: This continuous ribbon-like element guides users in and out of a discrete void.

Land Art Narrative As users encounter the pathway, curiosity will lure them towards a hidden void. The one path may be accessed from two separate points on the natural landscape; each approach entails a different experience. However, both include an inclination and subLandscape: given the rich geography, the design elements and the natural conditions surrounding them are integrated together.

mergence below ground.

At first, the ground and sky are experienced in a typical manner. Through the progression of the trail, the sky becomes framed and the ground quickly engulfs the user. As a result, natural forces such as the wind no longer overwhelms the body which allows a new sense of solitude.

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By plunging twenty feet into a sacred land, an “empty� void is then filled with calmness and an opportunity for reflection presents itself. Given all the surrounding beauty, this can be a place to recognize and appreciate everything encountered [both past & present]. As the design elements remain constant, the natural conditions evolve the experience and the user as well.

11 Land art rendering 12 Land art diagram

Life revolves around moments of deep reflection, Odyssey facilitates just that.

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Tower?

Sky

Pavilion?

Water

Generic

Inverse

Pierce Point Ranch and the Point Reyes Peninsula as a whole exist in an environment by which the human body may re-discover a relationship with natural conditions.

Earth

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By juxtaposing spaces, elements of the site can be emphasized and experienced in new ways.

In reference to the main environmental conditions, a direct translation of spatial experience is avoided by re-organizing spaces to contradict expectations. As a result, the familiar elements are re-discovered through unusual methods.

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Bookstore/Electronic Media Center

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Display Area

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Electrical Room

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Entry Hall

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General Storage

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Information Desk

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Mechanical Room

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Offices

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Parking

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Public Restrooms

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Ranger Station

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Storage

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Trash Room

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Utility/Loading

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View Deck

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Water Treatment Facility

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13 — 15 Group site model building process 16 Building concept diagram

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Water-proof Membrane Loose Insulation Mahogany Wood Siding 6x8 Header

Single Glazing

Steel Mullions

2 x 8 Top Plate

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Mahogany Wood Siding

Wall section model @ 1’-0” = 1/4” 5” Loose Insulation

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Waterproof Membrane

Typical wall section

3 x 8 P.T. Sill Plate

Concrete Foundation & Footing

Steel Hangers

Hung Recylced Wood Ceiling Panels

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32 — 34 Structural balloon-framing model 35 — 39 Formal exploration model

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07/10 BOUNDLESS Introduction Architects opposed to postmodernism were in

That same agenda has also motivated Gehry to develop his

search for an abstract architecture. The famous Five Archi-

own individual analytical approach sharing conviction that

tects: Peter Eisenman, Michael Graves, Charles Gwathmey,

a critical practice is possible. It is a practice envisioned to

John Hejduk, and Richard Meir were only concerned with

express adverse judgment through analyzing the merits and

finding meaning in the expressions of their own language.

faults of previous architectural work.

As a result, they forgot about the link to reality.

Frank Gehry believes an architect has the ultimate respon-

“less on revolutionary new theories” and exhibits an effort

sibility over the work, which should be recognized as the

to develop new architecture by reasonable means. “Push-

expression of individual freedom. However, many do not

ing the limit of architecture by not following the logic of

agree. Movement can be seen throughout his projects and

normality and tradition, in order to instill it with a subjectiv-

claimed to be an alternative to ornament; a major concern

ity far from the dominant stereotypes, has been, since the

of the modern movement. There is a sense of instability

1960’s the ideal goal of Frank O. Gehry” [Celant 13].

that pervades built reality with Gehry. Since the twentieth century, Frank Gehry has exploited actual standards, techniques, and materials in various projects to expose and prove that architectural boundaries exist in virtuality.

B A R C H P O R T F O L I O 2 011—15

Unlike a reflexive act that concentrates on the core, Gehry challenges the edges of architecture. His projects should therefore be thought of as works of the limit that provide isolated episodes amidst the mainstream of commercial

The Architect Frank Gehry, among others, have “focused

production. As a result, he displaces the limits of architec-

their thinking on the discipline’s own aims, distinguishing

tural activity all together.

characteristics, and degree of autonomy” [Cohen, 450].

12 0 1 21

By simply taking what already exists, his practice is based

TEXT

Frank Gehry is all about American individualism, or “Ameri-

throughout history. All of which have very specific architec-

canism.” He is not unencumbered by the prejudgments that

tural connotations and have persisted despite the so called

convention imposes and instead believes the act of ‘doing’

“latest trend.” Consider these as basic examples of formal

prevails in architecture. After all, that is the true challenge

expectations or order in architecture. Furthermore, the

with anything. “He does not take surrounding circumstances

Vitruvian triad-venustas, firmitas, and utilitas-beauty, struc-

into account, nor does he work with types, images, or pre-

tural stability, and usefulness have been consistently re-

conceived ideas of how a building should be” [Moneo 257]

peated as well. Those three elements have been recognized

as seen in his own home. Although many fail to acknowl-

as the earliest terms and principles of architecture whose

edge his contributions to the world of architecture, others

persistence [to some] grants validity, which is a common

are faithful and celebrate his work.

attribute of typical architectural practice. This leads to the

Boundaries By literal definition, a boundary is no different than a frontier or expectation and a limit is nothing more than the edge of production according to Bernard Tschumi.

Either way, the opportunity to expand or exceed presents

interpretation that their role in architecture may also very well be permanent and restricting. Given their significance, it could be inferred that architecture would no longer exist if they were to vanish.

itself regardless of how a boundary may be presented. It

This is addressed and re-interpreted by Frank Gehry. Like

does not actually exist.

few twentieth century architects, his work disrupts the

Architectural limits vary similar to how fashion evolves over time. However, the notions of scale, proportion, symmetry, and composition can be found in architectural literature

Vitruvian trilogy therefore it behaves no different than the figural givens [later explained in reference to painting]. In some sense, all order in architecture is naturally related to tradition. While most continuously follow it, others rebel.

Course

Date

01

Architecture Theory

Fall 2013

Frank O. Gehry

Instructor[s] Names Braden Engel

>

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Although the absence of restriction is necessary to develop

the order of practice and ultimately its boundaries. Thus,

a new architecture that exceeds previous, generic demands

they become even more vulnerable to deeper manipula-

of society; such efforts of exploration may quickly evolve

tion. To a much greater extent, architecture as a distinct

into something irrelevant to architecture if not somehow

discipline is virtually [only thought of] as strict and highly

grounded. However, that is not the case with Gehry because

reliant on specific guidelines. Like different cultures who

he has kept in mind an agenda [to be discussed later] that

bound themselves and establish internal order, architectural

provokes his on-going work.

practice strives for a clear identification to limit any anxiety

Virtual vs Actual A common mistake made by most, not only in architecture, is to refer to a so called “reality.”

Standards, Techniques, and Materials Architecture and

There is no such thing and it should be noted as a false

its practice is commonly agreed upon standards, tech-

statement. There is solely virtual and actual. Virtual is es-

niques, and materials. As mentioned before, the architec-

sentially the order of something, meanwhile actual is that

ture industry has bounded itself with these elements to

something disturbed. Figural givens or formal expectations

establish internal order and limit misunderstandings. These

are a part of an order therefore they mostly experience such

acts also intend to emphasize a clear identification so that

acts of chaos. This may be better understood by an exami-

anxiety over uncertainty is avoided. In actuality, such order

nation of diagrams and painting.

behaves much like restrictions that have been overlooked by

Gilles Delueze describes a diagram, in reference to Francis Bacon’s paintings, as figural givens [order] combined with

12 2 123

some in effort to explore and develop new architecture that challenges previous understandings.

catastrophe that results in new possibilities or possibilities

“A change is evident in architecture’s status, in its rela-

of facts. In painting, the virtual is pre-determined thoughts

tionship to its language, its composing materials, and its

of a figure, an organization, an order. Once acts of chaos or

individuals or societies” [Tschumi 111]. With such change,

anything outside that particular order occurs, the painting

adaptation is an obvious solution. Yet, most architecture

results in catastrophe and new possibilities of facts become

continuously results in ordinary language and materials. It

evident. This would not be the case if order is adhered to

does not adequately reflect the ever present evolutions that

because they naturally entail certain expectations.

surround architecture. So how are these terms related to

This sort of scenario occurs in architecture as well. However, the order, as referred to by Delueze, only becomes evident when the formal expectations or figural givens are

B A R C H P O R T F O L I O 2 011—15

over uncertainty.

each other? This becomes clear by exploring their articulation within the field of contemporary practice and particularly with that of Frank Gehry.

actually disturbed. Frank Gehry, unlike anyone else, enjoys

Tschumi adds, “It is also evident that since architecture’s

rupturing the conditions of architecture to expose them as

mode of production has reached an advanced stage of

0 7/ 10 B O U N D L E S S

development, it no longer needs to adhere to linguistic, ma-

Gehry ignores traditional representation because he be-

terial, or functional norms but can distort them at will” [Ts-

lieves plan and sections are simply a formality to comply

chumi 112]. Such distortion is best exemplified by Gehry.

with. They are some of the earliest boundaries established

He intentionally displays his work as something that does

in architecture. Why pursue an academic final point any-

not belong to the conventional built realm and supports

how? He much rather be direct; tackling architecture, the

Tschumi’s statement. Therefore, this means his work should

ultimate reality, head on.

not be examined by conventional critical devices.

Fortunately, he was able to establish a familiarity with tech-

Misunderstanding “The complex cultural, social, and

niques of American construction early on in his career by

philosophical demands developed slowly over centuries have

which he discovered it to also be simple and restricted. The

made architecture a form of knowledge in and of itself” [Ts-

result, a genuine passion for manipulating the materials set

chumi 102]. Architecture is meant to define – to determine

forth by the building industry for his disposal.

the boundary or limit of. A building itself does not always contain architecture’s nature. According to Tschumi, drawings, events, and texts expand the boundaries of “socially justifiable constructions.” This brings up a far too common misunderstanding. Architects are often accredited with the act of building, but truthfully architects merely compose drawings, or rather representations of what is meant to be.

Architectural drawings should be considered a mode of working, or a method of thinking about architecture. “By their very nature they usually refer to something outside themselves” [Tschumi 106]. Although most architects consider drawing essential to their role because of Alberti, it is a virtual act prolonging actuality. He clearly stated architects draw, therefore they should not be credited for the actual act of building or construction. Drawing should be thought of as part of an architectural order that must experience something outside itself in order for it to be actualized. If one were to continue to rely on architectural drawings as a technique or tool, then real possibilities may be limited. Or at least achieved with greater difficulty.

TEXT

Approach and Projects The ‘Gehry’ approach was primarily developed in Los Angeles, California. A city whose image alone is often synonymous to a place without boundaries given its reputation and built environment. His approach is uniquely modeled by “no longer viewing the relationship between art and architecture in terms of ‘synthesis of the arts’ dominated by the architect” [Cohen 450].

Above all, Gehry believes architecture is always linked to materiality of construction. As a result, his process includes a quick transition from imprecise sketches to physical modeling. “Eager to have a presence in the construction, Gehry tries to eliminate any kind of mediation” [Moneo 258]. Projects then manifest fully in construction where the physical model becomes the primary vehicle of the work because it gives him the freedom to manipulate pre-defined shapes.

This is how he eliminates outside mediation or interference.

Gehry exposes models to be architecture in and that of themselves. They are not mere reductions of a future reality as typically perceived by others.

02 Gehry residence, 1991.

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

Gehry’s architecture escapes the monumental, ignores typo-

architecture due to its exhibited construction and material-

logical criteria, and bears the mark, the stigma, of the tem-

ity. “Like some artists of his generation, he explores the

porary. With that, it is safe to say there are few architects

potential that materials have when not used convention-

farther from the Platonic ideal than Gehry.

ally” [Moneo, 260]. His private residence is comprised of

Some of his earliest work, such as the Steeves and Danzinger House, is strictly referential architecture; in which there is clearly a force outside its own form. The Ron Davis House reveals Gehry’s thought of architecture as “not a

which have ever been considered ideal for architectural use or typically seen in the design of a home.

Gehry, on the other hand, expands the potential use of

that this is a reinterpretation of Le Corbusier’s old saying,

these condemned materials through a generative process

therefore it depicts Gehry as a revolutionary figure and

primarily based on physical modeling. He does so because

rightfully so. It was at this time when Gehry first began to

in conventional practice, architects do not directly engage

express a desire to be close to the art world. “Just as paint-

with the product or artifact of their work as seen in other

ers of the period injected their works with materials and

industries. His method thus exposes several boundaries. For

textures foreign to the canvas…Gehry set to discover and

example, his concern over material substance exceeds the

exploit materials that industry produced but construction

structural stability of Vitruvius and other architecture.

immediately spark a connection to the reference of Francis Bacon and his paintings mentioned earlier.

“The materiality of architecture is in its solids and voids, its spatial sequences, its articulation, its collisions” [Tschumi 110]. All of which, Gehry aims at and does so well.

In the Cabrillo Marine Museum, Gehry begins to explore

Rather than using material to produce a virtual experience,

the transformation of conventional elements. For example,

he allows actuality to dominate. His personal residence

windows are covered by screens using industrial materi-

ultimately expresses “a desire to show [us] how conven-

als. Their integration into architecture is unexpected and

tional architecture ultimately betrays the construction. It is

leads a typical building with familiar form towards a more

necessary to rescue the beauty of the construction and this

interesting architecture. Despite all of these early efforts,

is done by shedding aesthetic prejudices” [Moneo].

his investigations became truly evident in a series of private homes that included his own.

B A R C H P O R T F O L I O 2 011—15

corrugated metal, plywood, and chain-link fencing. None of

machine for living, but a place for life.” It should be noted

had yet to learn to assimilate” [Moneo 266]. This should

12 4 125

materials commonly neglected by most architects such as

Through this revelation, the misunderstanding of architects and their role in architecture is once again challenged.

As a fragile object in Los Angeles that can only survive if

Despite thinking the hand sketches by Gehry magically

considered a work of art given the nature of that city, the

manifest into buildings, his residence clearly indicates how

Gehry residence, is another early example expressing a new

architects not only draw, they can actually build too.

0 7/ 10 B O U N D L E S S

In addition, the building displays how Gehry’s architecture

In a way, Gehry has cracked the code similar to a biologist

is not restricted by any circumstances given a pre-existing

studying cells. Once the genetic code is fully understood;

architecture is de-constructed with “elements of subjec-

only then will gene manipulation become an everyday oc-

tive and material otherness” wedged into it. As expressive

currence. By acknowledging the expectations established by

as these actions may be, it promotes his constant attempt

previous practices and synthesizing contemporary work, one

to create intensity by composition of disorder “…so that

may conclude that the architectural discipline is no longer

the design might not be the result of a single logic reduc-

bounded. Its order is virtual and the work of Frank Gehry

ing everything to an often monotonous schema but rather

exploits any that happens to remain.

projected towards a polyphonic mode of discourse” [Celant 13]. This also hints to his overall approach towards program, another fundamental concern of his.

While many view projects as a whole, Gehry consistently ruptures the oneness because he believes one thing is actually ten things. This train of thought expands possibilities rather than reducing them.

Conclusion Like Corbusier who sought to expand the role of the architect, Gehry ruptures boundaries. He clearly identifies and re-defines them by which he becomes a revolution within architecture. Ever since his worked emerged, standards, techniques, and materials are no longer viewed as they once were. Instead of an autonomous architecture, Gehry produces something smooth that blurs boundaries in order to achieve broader relations and instigate responses.

Gehry architecture generally provokes reactions of surprise and admiration and like good art, his work liberates thought. However, its weakness is its very nature; singular, unique works of art. Perhaps it is his process or overall approach that is most interesting. His strategies have resulted into a re-definition of the architectural field and its objects, which wider professional circles have been permeated.

TEXT

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

08/10 ANTIOCH MUSIC HALL

Project Description The design principles, process, and thinking required for the design of an assembly building are studied in this course. There was a focus on architectural programming, diagramming and a critical analysis of site and context along with an exploration of society’s role, community, and culture. More importantly, this project served as an introduction to structural systems, architectural accessibility and life safety; all of which influenced the overall design and process.

12 6 127

Location

Client

Antioch, California

City of Antioch

Typology

Size/Scale

Public

50,000 sq. ft.

Mixed-Use Theater

B A R C H P O R T F O L I O 2 011—15

ARCHITECTURE

Course

Date

Studio 5: Assembly Buildings and Context

Spring 2013

Instructor[s] Names Carol Buhrnham

>

M I C H A E L A G U S T I N AT T W E L L

12 8 129

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

0 8 / 10 A N T I O C H M U S I C H A L L

ARCHITECTURE

01 Site aerial of Antioch Antioch, CA

M I C H A E L A G U S T I N AT T W E L L

130 131

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

0 8 / 10 A N T I O C H M U S I C H A L L

ARCHITECTURE

02 Analytical pencil drawing

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

03

04

05

06

132 13 3

B A R C H P O R T F O L I O 2 011—15

0 8 / 10 A N T I O C H M U S I C H A L L

07

08

10

11

ARCHITECTURE

09

03 — 06 Analytical concept model 07 — 11 Building model

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

12 W-E section

134 13 5

B A R C H P O R T F O L I O 2 011—15

0 8 / 10 A N T I O C H M U S I C H A L L

ARCHITECTURE

M I C H A E L A G U S T I N AT T W E L L

136 13 7

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

0 8 / 10 A N T I O C H M U S I C H A L L

ARCHITECTURE

13 West elevation

M I C H A E L A G U S T I N AT T W E L L

138 13 9

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

0 8 / 10 A N T I O C H M U S I C H A L L

15

16

18

19

14

ARCHITECTURE

17

14 — 19 Folding physical model

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

09/10 SUNSET SPORTS SUPPLY

Project Description Architecture as a key component of the urban fabric is addressed and developed by a thorough process that includes site analysis, program justification, and the formulation of a stance for the very first time. Retail as the general program prescribed, precedent studies and other research led to a concept that addresses consumerism as the primary subject at hand. The design aimed to re-establish this social issue in a way that challenges typical retail design.

14 0 141

Location

Client

San Francisco, California

N/A

Typology

Size/Scale

Public

10,000 sq. ft.

Retail

B A R C H P O R T F O L I O 2 011—15

ARCHITECTURE

Course

Date

Studio 4: Site, Culture, and Integral Urbanism

Fall 2012

Instructor[s] Names Kevin Hackett & Peter Strzebniok

>

M I C H A E L A G U S T I N AT T W E L L

14 2 14 3

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

0 9 / 10 S U N S E T S P O R T S S U P P LY

ARCHITECTURE

01 Site aerial of Sunset district San Francisco, CA

M I C H A E L A G U S T I N AT T W E L L

02

ME T H O D [S]

03

04

Program and Site The general approach towards program-

Since many sports already exist, it was important to first

ming began with the idea of an athletics retail shop and the

identify which of these activities are most popular in the

active lifestyle in San Francisco, California. More so, this

city and especially in the area surrounding Judah and 45th.

idea became much more appropriate due to the surrounding

Large scale sports events have become very popular in San

site conditions. For example, like most suburbs, the area

Francisco; some even take place in nearby Golden Gate

consists of a high percentage of families with young chil-

Park. These activities all contribute to establishing commu-

dren. Currently, the Sunset Youth Sports Organization and

nity; an evident attribute of the Sunset district.

another youth services center are both located near the site along Judah Street.

14 4 14 5

The building’s program revolves around the ever-changing relevancy of sports throughout the year. The attention given

Finally, there is no retail establishment dedicated to sports

to certain sports varies due in large part to events [shown

anywhere in this neighborhood, therefore the project would

in the charts]. As a result, the retail shop will adjust ac-

provide a new convenience for residents. Especially, for

cordingly. Meaning, some of the merchandise will merge

parents who utilize different sports to encourage youth de-

with a relevant and unique experience during a particular

velopment and good health.

season. Merchandise for all other sports “not in season” will still be available.

The diagrams on the right depict the size of programs as well as their potential use throughout the year. The merchandise always exists, however the focal points would shift as new events/experiences plug into different spaces.

B A R C H P O R T F O L I O 2 011—15

0 9 / 10 S U N S E T S P O R T S S U P P LY

ARCHITECTURE

01

02

03

04

05

06

07

08

Programmatic Elements Baseball 09 Basketball Football 10

Running Soccer

11

Focal Point

12

05

02 — 04 3D modeling exploration YOUTH SOCCER YOUTH BASEBALL YOUTH BASKETBALL US HALF-MARATHON SF MARATHON SF GIANT RACE SF CUP NIKE WOMEN’S MARATHON GOLDEN GATE 10K CITY RUNNING TOURS AIDS WALK SF BAY TO BREAKERS

05 Program diagram

LOCAL

01

02

03

04

05

06

07

08

NBA COLLEGE BASKETBALL COLLEGE FOOTBALL MLB NFL

09

10

11

12

NATIONAL SPORTS CALENDAR

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

06

95’0”

14 6 147

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0 9 / 10 S U N S E T S P O R T S S U P P LY

ARCHITECTURE

07

50’0”

06 North elevation 07 West elevation

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

1

Basketball

2

Court

3

Delivery

4

Entrance

5

Field

6

Football

7

Hydration

8

Restrooms

9

Soccer

10

Swipeout

08

14 8 14 9

Ground floor

B A R C H P O R T F O L I O 2 011—15

0 9 / 10 S U N S E T S P O R T S S U P P LY

ARCHITECTURE

A

UP

4

7 UP

3

6 8

B

B 10

UP

C

C 5 9

1

UP

UP

A

2

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

11

Baseball

12

Cage

13

Running

14

Track

09

15 0 151

Top level

B A R C H P O R T F O L I O 2 011—15

0 9 / 10 S U N S E T S P O R T S S U P P LY

ARCHITECTURE

A

12

UP

DN

11

B

B

C

C

13

UP

DN

A

UP

14

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

13’5”

24’6”

10

10

15 2 15 3

Section A 11 Section B 12 Section C

B A R C H P O R T F O L I O 2 011—15

0 9 / 10 S U N S E T S P O R T S S U P P LY

ARCHITECTURE

25’6”

11’8”

11

33’6”

20’5”

12 12’3”

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

10/10 FRAMED

Project Description A case study, Church on the Water by Tadao Ando, was studied and used to develop 3D modeling skills using the programs Rhinocerus and 3DS Max. This included drafting plans, elevations, and sections. All of which was to establish a familiarity with the precedent in effort to extract and manipulate the original design concept.

Furthermore, the digital work was then translated into a real, physical model inspired and derived from the original case study itself.

15 4 15 5

B A R C H P O R T F O L I O 2 011—15

MISCELL ANEOUS

Course

Date

3D Digital Modeling

Spring 2013

Instructor[s] Names Doron Serban

>

M I C H A E L A G U S T I N AT T W E L L

15 6 15 7

01

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

10 / 10 F R A M E D

MISCELL ANEOUS

02

03

04

05

06

07

01 — 07 Final physical model in lighting study

M I C H A E L A G U S T I N AT T W E L L

15 8 15 9

B A R C H P O R T F O L I O 2 011—15

ME T H O D [S]

ENDLESS THANKS!

Family Juan Attwell / Andrea Attwell / Louie Cueva / Maria Cueva / Virginia Mancini / Maria Sanchez Friends Elyas Andkhoy / Staci Blahut / Eissa Harasis / Ibrahim Harasis / James-Daniel Moran / Amer Mudallal / Ryan Ramirez / Jesse Sanchez Colleagues Carlana Aguon / Dimitri Bartholomew / Benny Flores / Niloufar Golkarihagh / Andre Kristiano / Patty Lai / Carlo Sturken / Cheng Sun / Jeffrey Arthur Veloso / Christopher Yi / Yuan ‘Paris’ Yuan / Deema Zahra Instructors Alberto Bertoli / David Kesler / Michael Walsh / Mitch Gibson / Mark Reynolds / Katherine Williams / Michael Malione / Beverly Choe / Geoffrey Gibson / Daniel Osborne / Nicole Lambrou / Karlene Gullone / Alexandra Neyman / Monica Tiulescu / Jieheerah Yun / Hans Sagan / Robert Goldie / Kevin Hackett / Peter Strzebniok / Huey Ying Hsu / Edward Pertcheck / Carol Buhrmann / Doron Serban / Jordan Brown / Vahid Sattary / Mark Donahue / Paul Haydu / Braden Engel / Karen Seong / Benjamin Damron / Jennifer Asselstine / Peter Gang / Michael Heacock / Amy Leedham / Lee Toney / Mallory Cusenbery / Kyle Adams / Stephen Cia / Shane Myrbeck / Sara Nonaka / Luis Rivera / Christoper Werring / Archibald Woo / Janek Bielski / Paul Adamson / Elizabeth Tippin / John Onken / Rico Peng / Darrell Hayden / Marni Barnes / Billy Cash / Mary Scott

M I C H A E L A G U S T I N AT T W E L L

16 0 161

ME T H O D [S]

Title of Book

Book Bindery

METHOD[S]

Blurb Cover Stock Hard Cover / Image Wrap Fonts Trade Gothic LT / Univers LT Text Stock Proline Uncoated, 100 lb.

Photography Michael Agustin Attwell Software Adobe Creative Suite

B A R C H P O R T F O L I O 2 011—15

Student

School

Michael Agustin Attwell

Academy of Art University

Telephone

Course

310 562 6510

Senior Portfolio

Address

Instructor

555 Jones Street Unit 603

Mary Scott

San Francisco, CA 94102 E-mail

Š 2016 All rights reserved. No part of this book may be reproduced

m.attwell125@gmail.com

or transmitted in any form by any electronic or mechanical [including

Website

photocopying, recording, or information storage and retrieval] without

m-aa.myportfolio.com

written permission from the author, except for the inclusion of brief quotations in a review.

M I C H A E L A G U S T I N AT T W E L L

ME T H O D [S]

This booklet contains selected works from my undergraduate studies at the Academy of Art University’s School of Architecture from Spring 2011 to Fall 2015.

It is a grand accumulation of learning and exploration that transpired during that time.

The university itself is uniquely dispersed throughout San Francisco, California; a dense 7X7 mile urban fabric. By which, the School of Architecture at AAU introduced me to in-depth investigations of the built environment via direct engagement.

The work represented here is meant to depict my thought process and the key skills developed, both architectural and non-architectural, as the result of dedication to a strenuous academic career.

B A R C H P O R T F O L I O 2 011—15