LAYING TRACKS
ARCHITECTURAL DESIGN TWO / ANY PLACE / CATHY YARWOOD / s0904930
SITE
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PARTI
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DESIGN DEVELOPMENT
9.
READING SEMINAR
12.
LAYING OF TRACKS
22.
CORTEN DRAINAGE ROOF
CONTENTS
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1.
EL CLOT, BARCELONA CITY PLAN 1:100000
LOCATION PLAN 1:20000
RAILWAY COVER, CARRER DE VALENCIA LONG RECTANGULAR SITE BISECTED BY ROAD. STRONG FEELING OF DIRECTIONALITY ALONG THE SITE’S LENGTH, WITH MOUNTAINS AND CALATRAVA BRIDGE LYING TO THE NORTH AND JEAN NOUVEL’S TORRE AGBAR TO THE SOUTH. RAIL LINES RUN DIRECTLY BELOW THE SITE AND BECOME OPEN AIR AT THE NORTH END OF THE SITE.
SITE
FURTHER ABSTRACT FORMS RUN ALONG THIS TRAJECTORY THROUGHOUT BARCELONA AS THE LAYING OF THE RAIL LINES AND OTHER DIAGONALS CAUSED A CUTTING OF THE REGULAR CERDA GRID. ABSTRACTLY SHAPED PLOTS OF LAND AND PARKS LIE ON THIS ROUTE.
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N
JAGNEFAITMILTON. A ROLLING MASTERPLAN. DONALD JUDD. MARFA TEXAS CONCRETE WORKS. HIGHLINE PARK. NEW YORK.
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EXPLORING RAIL LINES
TRACING THE RAIL LINES THAT RUN DIRECTLY BELOW THE SITE. A CROSSING RAIL ON THE NORTERN HALF OF THE SITE CONNECTS THE TWO SETS OF TRACKS. THE LAYING OF TRAIN LINES HAS FORCED AN ABSTRACTION UPON THE GRID SYSTEM OF BARCELONA. SIMILARLY, THE SITE EXPERIENCES AN ABSTRACTION TO THE REGULAR PARALLEL TRACKS THAT RUN UNDER THE SITE BY THE CROSSING TRACK.
DESIGN RAIL LINES THAT RUN BELOW THE SITE ARE PROJECTED UPWARDS. THESE LINES TAKE ON THE FORM OF CONCRETE WALLS IN LANDSCAPING THAT THEN ADAPT AND BECOME WHAT SHAPE THE ENTRANCE SEQUENCE AND SPACES.
PARTI
CONCRETE WALLS FOLLOW RAILS DIRECTIONALITY, BUT BRICK MASSES PUSH IN AND OUT OF THESE TO PROVIDE STATIONARY PROGRAMMATIC SPACES. SOCIAL SPACE AND STUDIO SPACE ARRANGED AS TWO LONG STRIPS EMPHASISING THE DIRECTIONALITY OF THE SITE. INTEREST LIES IN THE CROSSING RAIL CREATING AN ABSTRACTION FROM THE PERFECTLY PARALLEL SITE LINEARITY.
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DESIGN DEVELOPMENT
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7.
CROSSING RAIL LINE FORMS THE MAIN CIRCULATION ROUTE AND DRAWS PEOPLE ACROSS. SLIGHT INCLINE ON THIS ROUTE ACCENTUATES ENTRANCE SEQUENCE AND CROSSING PATH. ABSTRACT MOVEMENT CREATED BY STAIRCASES CAN CONTINUE TO STUDIO ONE. JUXTAPOSITION BETWEEN THE RAIL LINES RELATING TO THE SITE AND THE ANGLING OF STUDIO ONE MAKES AN EVENT SPACE.
8.
9.
READING SEMINAR
HOLL & ACCONCI, STOREFRONT FOR ART & ARCHITECTURE
SITE PLAN 1:500 IN 1992 STEVEN HOLL AND ARTIST VITO ACCONCI WERE COMMISIONED TO RENOVATE THE AGEING FACADE OF THE STOREFRONT FOR ART & ARCHITECTURE. SITUATED ON THE CORNER OF A BLOCK THAT MARKS THE INTERSECTION OF THREE DISTINCT NEW YORK CITY NEIGHBOURHOODS: CHINATOWN, LITTLE ITALY AND SOHO, THE EXTENT OF THE GALLERY IS A LIMITED NARROW WEDGE WITH A TRIANGULATED EXHIBITION INTERIOR. ITS DOMINANT FEATURE IS THE BUILDINGS LONG FACADE: A SERIES OF WALL PANELS THAT PIVOT VERTICALLY OR HORIZONTALLY, SO THAT THE ENTIRE LENGTH OF THE BUILDING CAN OPEN UP ONTO THE STREET. WHEN THE PANELS ARE LOCKED IN THEIR OPEN POSITION THE FACADE DISSOLVES AND THE INTERIOR SPACE OF THE GALLERY EXPANDS OUT ONTO THE PAVEMENT. THE MOST DRAMATIC EFFECT OF THE DESIGN IS ITS RELATIONSHIP BETWEEN THE INTERIOR SPACE AND THE EXTERIOR NEW YORK CITY STREET. IT BLURS THE CONVENTIONAL INSIDE/ OUTSIDE BOUNDARY. IT BECOMES AN EXTENSION OF THE ROAD INTO THE INTERIOR AND A SPILL OUT OF THE INTERIOR ONTO THE STREET. AN ATTEMPT TO PHYSICALLY INTEGRATE AN OFTEN CLOSED WORLD OF ART, OFTEN ONLY WELCOMING THOSE WHO EXIST WITHIN THAT WORLD, OUT ONTO THE STREET FOR ALL THE PUBLIC. THE FACADE CONVEYS A MESSAGE OF APPROACHABLE ART.
THE SAME SENSE OF BLURING OF BOUNDARY BETWEEN INSIDE AND OUTSIDE IS PRESENT IN THE DANCE CENTRE. THE ENTRANCE IS A LINEAR PROCESSION RATHER THAN AN ABRUPT POINT. THE LONGEST WALL GUIDES VISITORS OVER THE SITE TOWARDS TWO PATHS, ONE TO PASS THE RECEPTION, THE OTHER AS A QUICK ROUTE FOR REGULAR VISITORS AND STAFF. IN PLAN THE DOORS SEPARATING THESE ROUTES INSIDE FROM THE EXTERIOR ARE STAGGERED. THERE IS NOT A BLUNT CLEAR DIVIDE BETWEEN INTERIOR AND EXTERIOR. 10.
PARTI DIAGRAMS 1:500 RAIL LINES TAKE A NUMBER OF DIFFERENT FORMS 11.
FOLDING WALLS
WALLS/ RAISED FINS
WALLS COMBINE
WALLS SUBTLY FOLDING, DERAILING TO GUIDE CIRCULATION.
WALLS CUT INTO AND PUNCTURED BY BRICK MASSES SO THAT THEIR FORM BECOMES EXPRESSED AS RAISED FINS.
COMBINATION OF WALLS THAT JOIN AND ARE PUSHED OUT OFF THEIR RAIL LINES TO CREATE SPACE.
GROUND FLOOR PLAN 1:200
1. KITCHEN. PREPARED FOOD SENT DIRECTLY UP TO CAFE ABOVE VIA FOOD HATCH. SERVICE ACCESS TO KITCHEN THROUGH DOOR ON LEFT. 2. FEMALE CHANGING ROOM. 3. OFFICE SPACE. 4. LIFT. PROVIDES ACCESS TO CAFE ABOVE. 5. WARM UP/INFORMAL SPACE FOR DANCERS. 6. MALE CHANGING ROOMS. 7. TOILETS. 8. STUDIO TWO. 9. STORAGE SPACE. 10. RECEPTION. 1
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LAYING OF TRACKS
10
12.
FIRST FLOOR PLAN 1:200
1. CAFE. 2. STUDIO ONE. 3. STORAGE SPACE.
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3
13.
ROOF PLAN 1:200
1. CORTEN ROOF. 2. ROOFLIGHTS. 3. CONCRETE CANOPY. CURVES OVER FROM VERTICAL CONCRETE WALL. 4. ROOFLIGHT FOLLOWS CIRCULATION ROUTE.
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2
3
4
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A
B
B
A
CRANKED LONG SECTION A-A 1:100 16.
SECTION B-B THROUGH STUDIO ONE 1:50
18.
CORTEN STEEL DRAINAGE GULLEYS
ENCLOSING ROOF AND CONCRETE FINS
BRICK PARTS STUDIOS RECEPTION
CIRCULATION DANCER ROUTE IN RED PUBLIC IN CONCRETE
CONCRETE PARTS ENTRANCE AND CIRCULATION WALLS CHANGING ROOMS AND STORAGE
EXPLOSION
TEXTURE APPLIES TO ALL SURFACES WITHIN A PART.
19.
PERSPECTIVE SECTION THROUGH STUDIO TWO
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21.
CORTEN DRAINAGE ROOF
EXPRESSION OF DIRECTIONALITY, LINKS STUDIO SPACES
ROOF DETAIL DRAINAGE SYSTEM CORTEN STEEL, STRUCTURAL CONCRETE FINS & INSULATION 1:20
THE CONCRETE FINS OF STUDIO ONE SUPPORT A CORTEN STEEL ROOF THAT FALLS DOWN THE FACADE OVER STUDIO TWO TO SHAPE THE ROOF. IT ACTS AS A CONTINUOUS GUTTER FROM BACK OF DANCE CENTRE TO FRONT, WATER COLLECTS IN A SMALL POOL ON GROUND LEVEL AT FRONT. ARTICULATES THE STUDIOS AS SOMETHING SPECIAL AND WORKS TO ENCLOSE THEM AS ONE FORM.
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