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The manipulation of time and space and the ability to create temporal spatial scenarios has defined the digital age. THE CONSTANT IMAGINING AND RE-IMAGINING OF SPATIAL RELATIONSHIPS THROUGH DIGITAL TOOLS HAS LED TO A COGNITIVE SHIFT WHERE INDIVIDUALS NO LONGER PLAY A PASSIVE ROLE WITHIN TIME AND SPACE BUT MANIPULATE IT AT THEIR OWN DISCRETION. While the significance for such digital tools can be seen through success of the companies that make them architecture has yet to realize the virtue in these temporal spatial conditions. AND AS THE RELATIONSHIP BETWEEN DIGITAL TECHNOLOGIES AND CULTURE HAS MATURED, WE HAVE BEGUN TO SEE THE “STATIC RELATIONSHIP” AS IRRELEVANT AND DATED. Brings into question the cultural significance architecture has within digital culture. In order to assert its relevance back into contemporary culture, architecture needs to offer up possible strategies for dealing with temporal and spatial relationships. If it fails to do so it will slowly become irrelevant to the point of its eventual self induced extinction.
2
RESEARCH
TIME & SPACE
AB ST RA CT 3
(y = 3x + 1) (4) 4y = 12x + 4 4 (3x + 1) = 12x + 4 12x + 4 = 12x + 4 I
Time & Space Phenomenon Time and space involve four dis nct components, length, width, height and the temporal dimension of me. The presence of these proper es allows for quan fied three dimensional movement through space. Proof of its existence is experienced in every aspect of life yet it is the most elusive concept to understand. It’s analyzed mathema cally through physics, conceptually with philosophy and historically within cultures and with good reason. Without it none of the three fields of study would be necessary. Noth4
ing would come to pass and the concept of the future would have never been invented. Measurable quali es of life would unfold in a state of melessness and infinite space with no dis ncon between what is and what is not. Reason, order and logic become irrelevant and life would act like a film projector spinning out of control. Each image rota ng at various speeds displaying images in a sequence which tells no story. Most see the rela onship between
me and
space through the lens of rela vity. Where space and me are inherently bound together like threads in a blanket. No single thread can bend without affec ng another. This fabric blankets the universe like a bed sheet cover the body, bending and wrapping un l it engulfs all forms of ma er. In fact, ma er distorts me and space similarly to the way our body distorts the bed sheet. These distor ons are what we define as space and me. The absence of absence shapes space that is understood through a sequen-
N
F
I
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Understanding me and space in terms of numbers, calcula ons and concept is not important to most non-physicists or mathema cians. The ability to map me and space as it moves through the cosmos is best described through a series of complex calcula ons. With each variable ac ng as place holders for abstract and some mes incomprehensible components. Example, most people not ac ve within the scien fic community
I
T
E
-
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E
do not need to understand that is the undefined primi ve of electromagnesm. So the complex components of space and me become irrelevant within culture. Culturally speaking, space- me fabric itself is a historical and cultural phenomenon. When E=mc2 was introduce into culture it changed the way people saw themselves rela ve the universe. It was the first successful a empt to
A
L
I
T
Y
scien fically explain the origins of life. And later giving birth the “big bang Theory”. Proving that mass and energy are interchangeable, all the ma er we touch, see and feel could have come from something we can’t physically connect with. While current culture view this breakthrough as scien fically and historically significant it’s pop cultural statues has long dissipated. Leaving behind a complex, but comprehensive understanding of me and space. 5
DATA
In collusion with human sensory, deduc ve reasoning creates the illusion of reality or the ability to perceive a sense of reality. But actually, this reality is a single thread in the blanket. Revealing a snapshot of our current ability to perceive the concept of infinite me and space. Culture is founded on its ability to perceive. At any given me a social structure has a certain body of knowledge and is limited to its ability to comprehend It. So percep on becomes a driving force in how we see and move around me and space. Paradoxi-
6
PROCESS
cally limi ng our understanding of it to a par cular set of rules while at the same moment evolving me and space into a new understanding. knowing that percep on consequently shapes culture, it’s important to know where human percepon comes from. How does it evolve from one state to another? Historians are given this task of mapping human percep on over long periods of me. Wri en records expose cultural percep on as something that is directly dependent on technological advancement. the shi from hunter gatherer to
PERCEPTION
an agrarian society drama cally changed culture almost instantly. A constant supply of food created two major changes related to me and space. First, It freed up me allowing a few to do the work of many. During these early stages of agrarian society the idea of specializa on was introduced. Allo ng me for individuals to pursue their interest and desires, resul ng in people becoming highly skilled in par cular fields. Secondly, it brought on the demand for a standardized system for recoding me based on the cycle of seasons. Crops
The no on of me, space and percep on leads to one crucial aspect within social structures, expectaons. Se ng the bar in terms of what is culturally acceptable. In the a ermath of full on agricultural produc on people not only relied on a foreign source of food but they expected it. This concept of “expec ng” flows with cultures and adapts to the interjec on of evolved percep ons. Historically, percep on and expecta on revolved around the freeing of me due to agriculture. Current expecta ons related to me and space have exceeded
that of the agrarian. A new digital era has broken all the rules when it comes to percep on of space and me. Space can be physical, digital or a combina on of both while me is a completely abstract idea that fluctuates depending on which digital device you are or not using. Current understanding of me and space closely resembling Einstein’s theory of rela vity or me-space fabric. It has the ability to speed up or slow down me, bend and warp space . With the expecta on that the individual shapes a specific me and space that fits a need or desire.
An accurate mapping of the rela onship between me/space, percep on/expecta on can be understood through the comparison of three important cultural life styles. First, prior to a uniform system of measuring me the “event” situated space in a dominate fashion. Secondly, A er a unified system was constructed me became an “abstract” idea separa ng me from space. Society began living on a linear path of me and interjected themselves into space based on it. Thirdly, Space and me lose any connec on with the physical world. They “both
7
T HE E VE NT ABST R A CT I ON OF TIME A BST R ACT I ON / BO TH T I ME & SPA CE THREE ERAS
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TIME & SPACE
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T HE E VE NT
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11
Time, Space & the Event Prior to a uniform standardiza on of me, space and me were bound together in a system of events. Blocks of events were markers in me and space, situa ng daily lives. Because the clock had not yet been invented a system for keeping track of me relied on a physical event or a process of events. This process needed to reflect spa al change over me or the ability to compare current orienta on with prior orienta on. Celes al change met all the prerequisites, it is consistent, predictable and experienced daily, monthly, and annually. It was a way for large por ons of a popula on to sync with each other. Sleeping, ea ng and socializing could be marked in me based on a celes al event. Sunrise marked the beginning of the day while sunset let popula ons know the day had ended. Even more long term shi s in culture followed the celes al rules. Change in seasons could be understood in terms of solar orienta on with respect to the earth. Thought not relevant today because of the calendar, previous socie es relied on this for survival. Nomadic cultures relied on temporality for survival, mapping celes al change over me allowed preemp ve movement from one loca on to the next.
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=
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Time/Space based on event Time/Space Event 1
Time/Space Event 3
Time/Space Event 5
Time/Space Event 2
Time/Space Event 4
Time/Space Event 6
Beyond the direct connec on culture had with celes al bodies we see an apparent side eect with the percep on of space. It was inherently bound to celes al change because life was organized by it. Culture associated the physical act of the sun’s orienta on to a daily ac vity or block of me. Hun ng, socializing, sleeping, ea ng etc. each owned a block of me and space. This ritualis c mindset dominated enre cultures and gave birth to the concept of spa al typologies. It assigned a specific ac v14
Time/Space Event 7
Time/Space Event 8
ity within culture to be played out in a specific block of me and space. For example, churches, bedrooms, dining rooms etc. were designed to act in a par cular way that coincided with a ritual, church for worship, bedroom for sleeping and dining room for ea ng. During this early period in human history, me and space were not perceived as abstract ideas detached from all things physical. Quite the opposite, it was culturally connected to a specific celes al marker in me and produced a specific space. 15
AB S TRA CT I ON OF TIME 16
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The event as a marker of space and me has one major flaw, it doesn’t deal with increased complexity. What happens when cultural need exceeds that of a singular me and space? The ex nc on of a singular existence brought about change in the percep on of me. An argument can be made that the clock was the first step in this evolu onary process. The first a empt by man to abstract me in order to deal with increased complexity. “The inven on of the mechanical clock and it’s diffusion to virtually all members of the popula on (a phenomenon which dates at it’ earliest from the late eighteenth
20
century) were of key significance in the separa on of me and space. The clock expressed a uniform dimension of “empty” me, quan fied in such a way as to permit the precise designa on of ‘zones’ of the day. Time was s ll connected with space (and place) un l the uniformity of me measurement by the mechanical clock was matched by uniformity in the social organiza on of me “( Giddens 17-18). The clock was a necessary shi for me; it had to compete with technological advancement. This era, not to be confused with “ me” was the renaissance equivalent to mobility freeing space and
me. Cars, planes and trains divided me, shortening the me it took to travel from one loca on to the next. Movement from one cultural district to the next in a rela vely short period of me blurred the boundaries between them. “In condi ons of modernity, place becomes increasingly phantasmagoric: that is to say, locales are thoroughly penetrated by and shaped in terms of social influences quite distant from them” (Giddens 19). Modernity created the beginning stages of globaliza on
It condensed me and space to the point of making the “local” obsolete. Along with technological advancement this promoted an expedien al blending of cultures, diversifying everyday life The new construct of me and space understood itself as something detached from anything physical. It had nothing to rely on except its numerical sequence that could be understood in an abstract way. In a sense people lived on a me line that offered up a sense of direc on without any physical quali es. Quali es only appeared when individuals moved perpendicular to the me line to
+
take part in an ac vity. But they always returned to a sequence of me once the ac vity was completed. This linear lifestyle resonated within most cultural circles because it aligned itself with cultures new expecta on of me and space. They became abstract concepts, allowing enough flexibility to permit temporary diversions. As coined by Giddens, “empty me” or universal me was a culturally accepted concept. It influenced the way culture saw itself in rela on space. The way space was constructed shi ed from something specific to something generic, becoming a less
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prescribed way of living. Space no longer dictated the way people lived within a built environment. In other words the generic volume of architecture acted as a vessel to house a desired ac vity. Program such as the living room, bed room and dining room could all be one in the same, wai ng for the occupant’s ac vi es to define its purpose. This architectural interpreta on of space and me a empted to convert an abstract cultural belief of mul plicity into physical form. Trying to live up to the expecta on that “empty” me interjected into culture.
21
Time as an abstract idea SPACE
SPACE
Time:
22
SPACE
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The generic volume is best illustrated through the work of early modern architects like Ludwig Mies Van Der Rohe and Le Corbusier. The masters of the modernist movement reduced space to its simplest and most abstract form. Stripping away everything that dictated how a culture interacted with space. It abandoned the characteris cs of the local or specific culture. And was a fusion of various cultures that were directly and indirectly connected. The “generic� solu on addressed the inherent proper es of each culture simultaneously by being vague and undefined. This open ended treatment of space acted as a blank canvas. Le ng individuals define how and when space should be used making it universally relevant within any cultural.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42
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ABSTRACTION / BOTH TIME & SPACE
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Time & Space Disolve Cyber space has once again brought into queson the relevance of me and space within culture. Unlike tradi onal modes of thinking me and space have both become abstract concepts. Current thinking suggests that they are both infinite and minuscule structured around an increasingly complex system of integrated connecon. Crea ng a system of ordered complexity rendering space fluid like in nature. “A consistent pa ern of arrangement of the elements of a 28
system in rela on to each other that is infinitely variable and that accrues from or dissolves to the disordered phase of those elements� (Kaup,). The historic no on of linear movement through me has been distorted by the realiza on of our ability to manipulate it. Frequency and rate, at which we communicate, travel and interact with our environment and each other can be accelerated or decelerated by changing the medium within which we are doing it. Prime example of
a medium that facilitates and encourages these fluid percep ons is digital technology. It adds a layer of complexity within culture that further pushes the globalized agenda, freeing me and space to the point of a liquid existence. This freeing allows individuals to navigate the world via electronic devices with li le to no restric ons at any desired speed. This has led to an en re cogni ve shi in cultural expecta ons of me and space. We no longer expect to deviate from
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SPACE 29
T HE E VE NT ABST R A CT I ON OF TIME A BST R A CT I ON / BO TH T I ME & SPA CE CONCEPT
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NUMERICAL & SPATIAL CONSTRUCTS
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Single Unit
Cyber space has once again brought into question the relevance of time and space within culture. Unlike traditional modes of thinking, time and space have both become abstract concepts. Current thinking suggests that they are both infinite and minuscule, structured around and increasingly complex system of integrated connections. Creating a system of ordered complexity rendering space fluid like in nature. “A consistent pattern of arrangement of the elements of a system in relation to each other that is infinitely variable and that accrues from or dissolves to the disordered phase of those elements� (Kaup). The historic notion of linear movement through time has been distorted by the realization of our ability to manipulate it. Frequency and rate, at which we communicate, travel and interact with our environment and each other can be accelerated or decelerated by changing the medium from which we are doing it. The guiltiest suspect in creating these fluid perceptions is digital technology, adding a new layer of complexity within culture that further pushing the globalized agenda. This completely frees time and space to the point of a liquid existence. This gives individuals the ability to freely navigate the world through electronic devices with little to no restrictions. This has led to an entire cognitive shift in cultural expectations of time and space. We no longer expect to deviate from a specific time (which was the case in previous generations) but expect to manipulate its very existence.
1
2
3
4
Instant and temporal are quickly becoming the accepted notion of existence. Current cultural behavior depend on the instant blurring and refocusing of social and spatial interactions.
Potential Components for Living Selected Combination for Living
42
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SECTION& DETAILS CATALOGED ITEAM SPATIAL IDEAS PL ANS & SITE SOLUTION
44
BODY OF WORK
45
THESIS STATEMENT The manipulation of time and space and the ability to create temporal spatial scenarios has defined the digital age. The
constant imagining and re-imagining of spatial relationships through digital tools has led to a cognitive shift where individuals no longer play a passive role within time and space but manipulate it at their own discretion. While the significance for such digital tools can be seen through success of the companies that make them architecture has yet to realize the virtue in these temporal spatial conditions. And as the relationship between digital technologies and culture has matured, we have begun to see the “static relationship� as irrelevant and dated. Brings into question the cultural significance architecture has within digital culture.
In order to assert its relevance back into contemporary culture, architecture needs to offer up possible strategies for dealing with temporal and spatial relationships. If it fails to do so it will slowly become
46 46
irrelevant to the point of its eventual self induced extinction.
47
SECTION& DETAILS
48
49
Fixed Struc tural System Steel trusses are hung from column to column free spanning w-beams. H.V.A.C. units and duct work are packed in and ran through the open web truss system. This fixed structure is the frame work from which all moveable parts are a ached.
Edge Con dition Horizantaly moving edge condi on allowing interior pods to be pushed to edge crea ng highly specific customized space. When specific space is created exterior facade reflects changes both in content [pods] and posi on reala ve to adjacent facade. This change reflects the occupants desires, needs and interests onto the site changing it’s meaning depending on a undetermind set of circumastances. [see pages 60-61]
I nterior Pod Horizantaly moving interior pods are designed with a singular specific purpose. This allows for combina ons of living components to be arranged in logical and ill-logical varia ons allowing the occupants to focus and blur aspects of living upon request. Addi onaly, interior volume, func on and quality of space are highly tunable based on user descre on. Pods are the key pieces in abstrac ng space in a culturaly significant way. [see pages 54-59]
Circ ulation Spine/Struc ture Providing the interior horizantal circula on for the en re building this circula on spine also doubles as a full level hieght structural spine that allows for an eighty foot free span from piller to piller. Freeing the building from the ground le ng the housing “bar� to be read as a single in ty on the sight.
50
51
Gear & Track System [interior wall @ ceiling]
I nter i o r Wa l l
Conduction Rail
Gear & Track System @ Ceiling Structural Track
Power Source
Drive Shaft & Gears
Wall Skin
LeŌ/Right Control Interior Wall
Area of Inserted funcƟon
Gear & Track System @ Ceiling
52
53
I nte r i o r Wa l l Fra m e Gear & Track System @ Ceiling
Electric Motor & Drive Train
Conduction Rail
Wall Skin
Non-Powered
Support Shaft
Area of Inserted funcĆ&#x;on
Guide Track
Gear & Track System [interior wall @ floor] Gear & Track System @ Ceiling
54
55
Saw Tooth Track
Edge Condition
Drive ShaŌ Electric Motor & Gear
Electric Motor & Gear @ Ceiling
Saw Tooth System [edge @ ceiling]
Folding Perimeter Door
Open Into Interior Finished Floor
Moving System
C-SecƟon Gear & Track System @ Ceiling
Saw Tooth System [edge @ floor] 56
57
CATALOGED ITEAM 58
59
INTERIOR WALL UNITS
H-124 - Fishing Pod
Q-154 - Art
60
H-79 - Ping Pong
R-112 - Bed
B-101 - Micro Brew
DG-154 - Kitchen Add-On
Q-173 - Fish Tank
E-143 - Projection
D-105 - Dinning Table
Q-158 - Quilting
B-27 - Book
H-143a - Fishing 2
E-127 - Seating
P-115 - Play Wall
C-83 - Computer
R-112a - Bunk Bed
61
Adjustable Easel
Ceiling Mounted LighƟng
Adjustable Spot lighƟng Free Wall Space Supply Storage
AddiƟonal Easels
LeŌ/Right Control
LeŌ/Right Control
Track System @ Floor and Ceiling
Q-154 - Art 62
Raised Plaƞorm For Bed
R-112 - Bed 63
Ceiling Mounted LighƟng
Books Storage Free Wall Space
Side LighƟng
LeŌ/Right Control
LeŌ/Right Control Open Storage
Rod & Real Holder
B-27 - Book 64
H-143a - Fishing 65
Ceiling Mounted LighƟng
Surface LighƟng Pot & Pan Rack
inserted aquarium LeŌ/Right Control
Range & Grill LeŌ/Right Control
Cabinet & Drawers
Q-173 - Fish 66
DG-154 - Kitchen Add-On 67
Ceiling Mounted LighƟng
Ceiling Mounted LighƟng
Wine Glass Storage
Wine Rack
Padddle & Ball Storage
LeŌ/Right Control Kegerator W/Tap Micro-Brew StaƟon
B-101 - Micro Brew 68
Foldable Ping Pong Table & Net
H-79 - Ping Pong 69 6
Projector
Climbing Wall Roll Out ProjecƟon Screen Swings
AddiƟonal Easels LeŌ/Right Control LeŌ/Right Control
Foldable Padded MaƩs
Audio System
P-115 - Play Wall 70
E-143 - Projection 71
Ceiling Mounted LighƟng
Ceiling Mounted LighƟng
Open Space Cuƫng Mat & Scissors
LeŌ/Right Control
LeŌ/Right Control
QuilƟng Machine Fabric Storage & Cuƫng StaƟon
Folding Couch
Folding Chair
Q-158 - Quilting 72
E-127 - Seating 73
Ceiling Mounted LighƟng Ceiling Mounted LighƟng
Computer Monitor, Tower, Keyboard etc. Locking Mechanism Receiver
LeŌ/Right Control
LeŌ/Right Control RotaƟng Table
Locking Mechanism Folding Chair
D-105 - Dinning Table 74
C-83 - Computer 75
Ceiling Mounted LighĆ&#x;ng
Bed #2
LeĹŒ/Right Control Bed Ladder Bed #1
R-112a - Bunk Bed
76
ETC 77
SPATIAL IDEAS 78
79
SINGLE VANTAGE POINT
80
Top LeŌ : 6:00am, BoƩom LeŌ : 12:00pm, Top Center : 5:00pm BoƩom Center : 8:00pm, Top Right : 10:00pm, BoƩom Right : 1:00am
The manipulation of time and space and the ability to create temporal spatial scenarios has defined the digital age. The constant imagining and re-imagin-
ing of spatial relationships through digital tools has led to a cognitive shift where individuals no longer play a passive role within time and space but manipulate it at their own discretion. While the significance for such digital tools can be seen through success of the companies that make them architecture has yet to realize the virtue in these temporal spatial conditions. And as the relationship between digital technologies and culture has matured, we have begun to see the “static relationship” as irrelevant and dated. Brings into question the cultural significance architecture has within digital culture. In order to assert its relevance back into contemporary culture, architecture needs to offer up possible strategies for dealing with temporal and spatial relationships. If it fails to do so it will slowly
become irrelevant to the point of its eventual self induced extinction.
81
82 82
83 3
84
85
86
87
88
PL ANS & SITE
89
Single Unit Plan [solution 2 of 1000]
Single Unit Plan [solution 1 of 1000] LEDGEND 1. 2. 3. 4. 5.
Perimter Limits
Kitchen Zone Bathroom tĞƐƚ ĚŐĞ ŽŶĚŝƟŽŶ ĂƐƚ ĚŐĞ ŽŶĚŝƟŽŶ Malleable Space
INTERIOR LEDGEND
1. 2. 3. 4. 5.
Perimter Limits
Kitchen Zone Bathroom tĞƐƚ ĚŐĞ ŽŶĚŝƟŽŶ ĂƐƚ ĚŐĞ ŽŶĚŝƟŽŶ Malleable Space
INTERIOR LEDGEND
3
D-105 . Dinning Table R-107 . Storage R-105 . Digital Wall R-112 . Bed & Chair E - 114 . Folding wall E-109 . TV. Entertainment ͲϭϮϳ ͘ ^ĞĂƟŶŐ Q-154 . Art / Study
LEDGEND
D-105
E-114
R-107
D-105 . Dinning Table R-107 . Storage R-105 . Digital Wall R-112 . Bed & Chair Ͳ ϭϰϯ ͘ WƌŽũĞĐƟŽŶ ^ƚĂƟŽŶ E-109 . TV. Entertainment ͲϭϮϳ ͘ ^ĞĂƟŶŐ Q-173 .Fish Tank
3
Q-173
D-105
E-109
1 5
1 E-143 E-109 R-107
5
E-127
2
2 R-105
R-105
R-112
R-112
Q-154 E-127
4
4
Perimter Limits
90
Perimter Limits
91
Single Unit Plan [solution 3 of 1000]
Single Unit Plan [solution 4 of 1000]
LEDGEND
LEDGEND
1. 2. 3. 4. 5.
Perimter Limits
Kitchen Zone Bathroom tĞƐƚ ĚŐĞ ŽŶĚŝƟŽŶ ĂƐƚ ĚŐĞ ŽŶĚŝƟŽŶ Malleable Space
1. 2. 3. 4. 5.
Perimter Limits
Kitchen Zone Bathroom tĞƐƚ ĚŐĞ ŽŶĚŝƟŽŶ ĂƐƚ ĚŐĞ ŽŶĚŝƟŽŶ Malleable Space
INTERIOR LEDGEND
INTERIOR LEDGEND
3
D-105 . Dinning Table DG-154 . Kitchen Add-On R-107 . Storage R-105 . Digital Wall R-112 . Bed & Chair P-117 . Play Wall W/edge TV. ͲϭϮϳ ͘ ^ĞĂƟŶŐ Q-110 . Book Shelf Q-173 .Fish Tank
Q-173
DG-154
D-105 . Dinning Table DG-195 . Deluxe Grill D-195 . Kitchen Add-On + R-105 . Digital Wall R-112 . Bed & Chair P-149 . Custom Childrens play ͲϭϮϳ ͘ ^ĞĂƟŶŐ Ͳ ϭϰϯ ͘ WƌŽũĞĐƟŽŶ ^ƚĂƟŽ ͲϭϬϵ ͘ ŽŵƉƵƚĞƌ ^ƚĂƟŽŶ
3 D-105 D-195
E-143 E-109
1 1 P-117
P-149
5 D-105
5
R-107
DG-195
R-105 R-112
R-105
2
2
R-112
E-127 Q-110 E-127
4
4
Perimter Limits Perimter Limits
92
93
Single Unit Plan [solution 5 of 1000]
Single Unit Plan [solution 6 of 1000]
LEDGEND 1. 2. 3. 4. 5.
Perimter Limits
Kitchen Zone
LEDGEND 1. 2. 3. 4. 5.
Bathroom tĞƐƚ ĚŐĞ ŽŶĚŝƟŽŶ ĂƐƚ ĚŐĞ ŽŶĚŝƟŽŶ Malleable Space
INTERIOR LEDGEND
3
D-105 . Dinning Table R-107 . Storage R-105 . Digital Wall R-112 . Bed & Chair Ͳ ϭϰϯ ͘ WƌŽũĞĐƟŽŶ ^ƚĂƟŽŶ E-109 . TV. Entertainment ͲϭϮϳ ͘ ^ĞĂƟŶŐ Q-183 .Fire Place
Bathroom tĞƐƚ ĚŐĞ ŽŶĚŝƟŽŶ ĂƐƚ ĚŐĞ ŽŶĚŝƟŽŶ Malleable Space
INTERIOR LEDGEND
3
D-105 . Dinning Table R-107 . Storage R-105 . Digital Wall R-112 . Bed & Chair Ͳ ϭϰϯ ͘ WƌŽũĞĐƟŽŶ ^ƚĂƟŽŶ E-109 . TV. Entertainment Q-123 .Bar P-105 . Pullout Couch & Table
D-105
1
Perimter Limits
Kitchen Zone
D-105
1
R-107
R-105
Q-123 E-143
R-112
5
E-109 R-107
Q-183
5
2
2 R-105
P-105
R-112
E-143 E-109 E-127
4
4
Perimter Limits
94
Perimter Limits
95
96
97
98
99
100
101
102
103
capital hill
down town cultural district
Site Location
104
105
Radial Distance City Circulation Interstate 5
Highway 520
Residential Residential South Lake Union Cultural District
Downtown Capital Hill
Event Center
Highway 90
106
107
Zones & Boundaries
Public Green Space
Pedestrian & Vehicular Circulation RESIDENTIAL
RESIDENTIAL
site
site
MIXED-USE
CULTURAL
MIXED-USE
CULTURAL
N
N
Interior Park
Cultural District
ped path
Water Front Park
Water Recreation
Mixed-Use Old Industrial Downtown
RESIDENTIAL
New Industrial Residential
site
MIXED-USE
CULTURAL
N
Water front
108
arterial roads
Located in Sea le’s south lake Union District the site is a two minute bus ride from down town and University of Washington. Situated between Union Lake and Sea le’s busy down town the site gets the benefits of an urban atmosphere and the tranquility of a natural se ng. It is located at the intersec on of two major transporta on links and connected to a variety of pedestrian and bicycle friendly trails. The neutral loca on give residents the opportunity live close to work in the business district. Visit cultural loca on like the Sea le Sculpture Park .the Space Needle or the Experience the Music Project. Easy access to outdoor ac vates ranging from sailing to Scenic walks with views of mount Rainier promo ng an ac ve healthy lifestyle. Local building typologies and context makes for a good loca on with a mix of residen al, shopping, restaurants and parks. Following Sea le’s proposed ideas for the new development of South lake Union New construcon should be no more than 8 stories and should provide the city with green space. This proposal has resulted in Low surrounding building with a range of two to five stories allowing for maximum solar exposure and open skies.
boat docks
109