Anarchy - Nina Hayutin

anarchy The building designed by circulation

Nina Hayutin INTD 5002 — Capstone

Why do we design buildings with standard front doors?

These three projects are all wonderful examples of architecture in their own right, each with its own style. However, these projects have something in common — a standard, rectangular front door. This is okay, most buildings have standard doors.

It’s how we design.

But what if these projects didn’t have standard front doors? The visitor would be immersed into the project from the beginning, and it would likely change how we, as architects and designers, study these projects.

Larkin Administration Building ­- Frank Lloyd Wright

Disney Concert Hall - Frank Ghery

MAXXI - Zaha Hadid

What if circulation elements were thoughtfully designed and

enhanced

a project’s

design concept?

The traditional architectural design process inv a building, designing spaces to fill them, and la make the building functional. By designing like th experience getting to a

We tend to simply “copy and paste” standard s project, turning these iconic building

The goal of this project is to encourage designer can enhance the overall design concept of a

volves determining the programmatic needs of astly adding doors, stairs, and elevators only to his, however, we neglect to consider the visitor’s and from these spaces.

sized doors and identical stair blocks into every g elements into banal afterthoughts.

rs to think about how celebrating these elements a project, and improve the user experience.

...What if circulation WAS the design concept?

International Building Code

Why do we rely on standards?

2000 The modern building codes we are required to follow in the United States were only developed in the early 2000s.

After 20 years, we’ve figured out the most efficient way to design within the codes, but it’s time to think more creatively.

ADA Compliance

Manufacturing Cost

7”

11”

It’s critical that we design spaces that can be accessed by everyone.

But the actual ADA guidelines aren’t as rigid as we assume.

It’s quick and cost-effective to bulk manufacture standard door sizes for every project.

However, every project has a design focal point where the budget goes. Why shouldn’t it be a front door?

Do any projects have thoughtfully designed circulation elements?

Le Corbusier merges doors with art in Pavillion Le Corbusier. He also plays with scale, and utilizes a central pivot method of operation.

Vieira explores scale in the Santa Maria Church in Portugual. This creates a dramatic entrance as visitors prepare to enter the house of God. Wright designed The Guggenheim around a central ramp system. In addition to being a beautiful circulation move, the ramp also allows all visitors to experience the space equally, not just those who are able to walk.

Pavillion Le Corbusier - Le Corbusier

Santa Maria Church - Alvaro Siza Vieira

The Guggenheim - Frank Lloyd Wright

Circulation moments will take up roughly 50%

• Entry Sequence • Feature Stairs • Gallery Corridors

50%

Rotating Exhibition Art Mu

Pause moments will take up roughly 50%

• Gallery Pause Points • Lecture Atrium

50%

useum ­— Spatial Utilization

• Cafe • Gift Shop • Restrooms • Back of House

1308 Republic Street Over-the-Rhine area in downtown Cincinnati, OH • Stand Out: Choosing a building in the traditional

style of Over-the-Rhine allows for a bold move on the exterior that breaks up the monotony of the street.

• Verticality: Allows for creation of atrium spaces and requires use of vertical circulation elements, such as stairs and elevators.

• Adjacent Lot: Directly adjacent to the site is a

parking lot that would be incorporated as part of the site. Beyond that is a small green area. Although the site is situated in the middle of the block, it has the visibility of a corner lot.

Surrounded

Vertical Circulation Design Concept

• Level 1-2 — ­ Seating Stair • The seating stair begins the journey through the museum and creates an atrium light well from the first level up through the roof

Semi-Exposed

Fully Exposed

• Level 2-3 — L-Shaped Stair

• Level 3-4 — Open Stair

• The single wall of the L-shaped stair creates a dramatic backdrop allowing the viewer to be seen while ascending the staircase

• The bright and open stair concludes the journey up the museum. Placing this stair on the exterior increases the open feeling

Semi-Exposed

Surrounded

Fully Exposed — Surrounded

Fully Exposed

The Circulation Cafe Space

The journey begins with the visitor being squeezed through an awkward entryway between two different staircases. This condition is the pinnacle of allowing the circulation to determine the resulting space. The visitor then travels up the seating stair and through the three galleries. After a stop at the gift shop, the visitor ends their journey by descending the large, exterior “direct egress” stair and experiences the journey in reverse, ending back in a surrounded enclosure before leaving the building. As the visitor descends this stair, they become the art themself as they are seen by others passing by.

Galle

Lecture Atrium

Level 1

Traditionally, art museums are comprised of multiple large, square rooms that visitors meander between. This project utilizes primarily “gallery corridors” that create a more direct circulation path and encourage the visitor to see everything.

Level 2

At the beginning or end of the journey, visitors may also visit the cafe and/or walk through the exterior sculpture gallery.

ery

Gift Shop

Gallery

Level 4

Level 3

Gallery

Materiality The material palette for this project is simple. The circulation elements (doors, stairs, and wayfinding graphics) are highlighted in bright pink, while the rest of the museum utilizes a neutral palette to serve as a backdrop for both the circulation elements and the art being displayed.

The bright pink color is derived from the pink-orange color of the local bricks used in Over-the-Rhine. Using the pink in this way pays homage to old design of the building, while bringing a modern and fun pop to the project.

For the staircases, resin was chosen to add depth and excitement. White terrazzo is used as the sole flooring for the project to add texture without drawing too much attention. Wood is used on the seating stair and the gallery ceilings to bring warmth and help with accoustics. Glass is used to encase the exterior stairs and promote visibility into the atrium.

This view depicts the exterior of the project, highlighting the exterior sculpture gallery, the dramatic “direct egress” staircase, and the front door.

The building is painted white to draw focus to the bold circulation elements, and allow the museum to place signage and murals on the exterior facades.

Closed Door

The Exterior

Open Door

The front door is designed to mimic the journey of the stairs; most surrounded to most open.

The Seating Stair The seating stair is the beginning of the vertical circulation journey and the most surrounded stair. In addition to being the beginning of the journey, the central oval shape of the seating stair moves up through the floors creating an atrium space that terminates as a skylight in the roof above.

This stair is the best example of a space designed by circulation. While being a stair, this is also a gathering space for visitors to rest or talk with a friend, or a space for a guest lecturer to come and speak (as shown).

In this view, notice the use of dark pink on the primary, surrounding stair path, as well as the large “WELCOME” wayfinding graphic on the back wall guiding visitors from the main entrance through to the center of the building. The wood on the rest of the seating stair is meant to bring warmth to the space and help with accoustics.

The Galleries This view taken from the third floor gallery and depicts the typical material palette throughout, as well as the atrium condition.

Aside from the vibrant, pink circulation elements, the rest of the materiality in the space is reminiscent of the traditional “White Box Museum” design. White terrazzo floors, white walls, and a light wood ceiling are used to maintain a neutral backdrop to the art and circulation elements that are meant to be highlighted.

The wood ceiling also brings the additional warmth and accoustical benefit.

Thank You!

Nina Hayutin INTD 5002 — Capstone ninabh@mac.com 513.560.8515