CHRISTOPHER JAMES ARCH 2002: Final Portfolio LSU School of Architecture | Kelsch + Williams 51
CHRISTOPHER JAMES ARCH 2002: Final Portfolio LSU School of Architecture | Kelsch + Williams
Bachelor of Architecture Candidate 2018 e: cjame32@lsu.edu m: 727-366-3963
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Hot Wet | Vessel
Nodes - Rhythm - Channelization Horizons evoke a sense of awe. To resolve the discomfort of the unknown, human history has repeatedly ventured into that frontier, adding order to the ambiguity and inhabiting the uninhabited. The resulting patterns of settlement and intervention alter the landscape in such a way where nodes of ecologic and anthropogenic concentration emerge, and the rhythmic pulse of those emanations registers. Architecture inhabits the overlap, strengthening the node’s presence by altering or distilling the surrounding rhythm that results from a site’s story. Scarred with logging ditches that radiate from channels cut into marsh, Manchac is a site latent with narrative and history, especially in terms of its channelization. Once a dense cypress forest, the trees harvested during the early 1900’s left the landscape a barren expanse of what it once was. The unusual arrangement of the ditches inspired the further investigation of the channel as designer. Once dug into the land, vegetation evolves to accommodate the altered hydrology, sediment follows new deposition patterns, tides fluctuate, soil subsides, and the geomorphology transforms. This project seeks to embody the precipitous effects of channelization in Manchac both formally and programmatically. As a stationary vessel embedded within the bank of the Galva Canal, the design emphasizes the ideas of visual nodes and rhythm that are prevalent in this hot, wet landscape. Just as the logging ditches intersect the larger canals at certain moments, the geometric concrete structure of the vessel guides the viewer’s eyes towards its vertices, or nodes. Within the space is a wooden boardwalk that passes through the vessel, disappearing from the marsh side then reappearing on the canal side. The curves of the walkway and the varying densities of the louvers surrounding it embody the compositional ideas of pitch, noise, and silence, offering a formal contrast to the rest of the structure and alluding to the rhythm of water flow. At the structure’s lowest elevation, the channel exists in tactile proximity, redirected by two retaining walls that create an indentation to the existing bank. Visitors can then observe the “new channel” flowing through the structure underneath their feet. The path then ascends to an elevated view of the Manchac area, providing a holistic understanding of the channel’s role within the larger landscape.
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Definitions vessel [ves-uh l] n. 1a: a container (as a cask, bottle, kettle, cup, or bowl) for holding something b: a person into whom some quality is infused 2: a watercraft bigger than a rowboat; ship 3a: a tube or canal (as an artery) in which a body fluid is contained and conveyed or circulated b: a conducting tube in the xylem of a vascular plant formed by the fusion and loss of end walls of a series of cells node [nohd] n. 1a: a pathological swelling or enlargement b: a discrete mass of one kind of tissue enclosed in tissue of a different kind 2: an entangling complication; predicament 3: either of the two points where the orbit of a planet or comet intersects the ecliptic; either of the points at which the orbit of an earth satellite crosses the plane of the equator 4a: a point, line, or surface of a vibrating body or system that is free or relatively free from vibratory motion b: a point at which a wave has an amplitude of zero 5a: a point at which subsidiary parts or originate or center b: a point on a stem at which a leaf or leaves are inserted c: a point at which a curve intersects itself in such a manner that the branches have different tangents d: vertex
“Whirlwind for Turner” - Henrique Oliveira
rhythm [rith -uh m] n. 1a: an ordered recurrent alteration of strong and weak elements in the flow of sound and silence in speech b: a particular example or form of rhythm 2a: the aspect of music comprising all the elements (as accent, meter, and tempo) that relate to forward movement b: a characteristic rhythmic pattern; meter c: the group of instruments in a band supplying the rhythm; rhythmic section 3a: movement, fluctuation, or variation marked by the regular recurrence or natural flow or related elements b: the repetition in a literary work of phrase, incident, character type, or symbol 4: a regularly recurrent quantitative change in a variable biological process; biorhythm 5: the effect created by the elements in a play, movie, or novel that relate to the temporal development of the action channel1 [chan-l] n. 1a: the bed where a natural stream of water runs b: the deeper part of a river, harbor, or strait c: a strait or narrow sea between two close landmasses d: a means of communication or expression; a path along which information in the form of an electrical signal passes; a fixed or official course of communication e: a way, course, or direction of thought or action f: a band of frequencies of sufficient width for a single radio or television communication g: channeler 2a: a tubular enclosed passage; conduit b: a passage created in a selectively permeable cell membrane by a conformational change in membrane proteins 3: a long gutter, groove, or furrow 4: a metal bar of flattened U-shape section channel2 [chan-l] v. 1a: to form, cut, or wear a channel in b: to make a groove in 2: to convey or direct into or through a channel 3: to serve as a channeler or intermediary for
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“Arcadia 1” - Bridget Riley
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Pitch and Rhythm
Arcadia 1 - Bridget Riley Christopher James
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three-dimensional translation of rhythm (Arcadia 1) 6
two-dimensional translation of nodes (Whirlwind for Turner)
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combination of Node and Rhythm concepts
initial siting of concept 8
channelization diagram 9
site scale 10
site vegetation
site analysis sketches 11
revised vessel concept sketches 12
site section (second iteration)
site plan (second iteration) 13
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concrete panels
wooden louvers
boardwalk
piles
retaining walls
Exploded Axon NTS 15
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Approach The approach towards the vessel from the marsh draws visitors into the structure by progressively increasing the density of the louvers surrounding the boardwalk. The final destination, the canal, is hidden from view by the concrete structure, creating a sense of mystery and anticipation.
Intersection Circulation within the vessel is facilitated by the boardwalk that hovers just above the water. Inside, visitors can experience the canal at a distilled micro level - hearing the gentle flow of the water, observing the fluctuations of the tide, watching the sunlight change as it enters the space, and touching the water that truly defines this landscape. Vantage Point After entering the vessel, visitors can choose to ascend the observation path that is elevated above the landscape. From here, the channelization of the marsh can be clearly seen, an uncommon but necessary vantage point to fully understand the dynamic Louisiana coast. The louvers surrounding the walkway provide shade and a perceivable rhythm. Boardwalk A second boardwalk emerges from the structure, extending over the canal and enabling access by watercraft. The micro experience of the channel within the vessel is continued, this time in an outdoor environment. The sense of anticipation experienced when approaching the vessel from the marsh is replicated in the opposite direction. Channel Embedded within the bank of the Galva Canal, the vessel redirects water flow into the structure, altering the canal’s morphology and demarcating a portion of the indeterminate interface between land and water. The vessel rises from the flatness of the surrounding marsh as less of a building and more of an experience of the landscape at both the micro and macro levels.
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sequential section perspective model/diagram 19
Site Analysis | Marfa, Texas
The Draw The draw is effectual. It cuts, pulls, contests, chooses, moves, orients, and divides. The draw in all its forms reveals itself in various landscapes, from the hot wet marshes of southern Louisiana to the hot dry desert of west Texas. This project seeks to investigate the draw as a design lens, investigating its various manifestations in the charged site of Marfa, Texas, then responding with an informed and integrated design intervention. Marfa, Texas is a town of approximately 2,000 people situated on a plateau between the Davis, Chianti, and Chisos Mountains. The vastness of the landscape is impressive, with mountain peaks rising from the remarkable flatness of the surrounding ranchlands. The mountains’ presence is the first example of a draw, piercing the Texas sky and establishing a sense of boundary, isolating Marfa from the surrounding region geographically. From these mountains comes water, essential to the town’s survival, responsible for Marfa’s founding, and the second instance of a draw. Also known as arroyos, dry stream beds are cut into the ground as rainwater, although infrequent, flows from higher elevations through gullies in the topography. Alamito Creek is the arroyo that runs through Marfa, orienting the town’s location at the intersection of yet another draw in the landscape – infrastructure. The Southern Pacific Railroad and US Highway 90 are results of humans drawing on the land, running parallel through the desert and pulling resources long distances to the remote Marfa outpost. From the air, their presence is compelling, like an authoritative line marked on a blank sheet of paper. The town is drawn along that line, a dense cluster that creates refuge within the surrounding desert prospect. Within the town even more examples of drawing reveal themselves, from businesses drawing in tourists, artists drawing in the numerous art galleries and workshops, to ranchers drawing stories from personal experience. The draw defines Marfa and presents exciting opportunities to the designer.
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something that is moved by being drawn, as the movable part of a drawbridge
something that attracts customers, and audience, etc.
the bed where a natural stream of water runs to convey or direct into or through a channel
Draw
Coulee
A draw is a terrain feature formed by two parallel ridges or spurs with low ground in between them. The area of low ground itself is the draw, and it is defined by the spurs surrounding it. Draws are similar to valleys on a smaller scale, however while valleys are by nature parallel to a ridgeline, a draw is perpendicular to the ridge, and rises with the surrounding ground, disappearing up-slope. A draw is usually etched in a hillside by water flow, and often contains a stream or loose rocks from eroded rockfall.
Coulee (or coulĂŠe) is applied rather loosely to different landforms, all of which refer to a kind of valley or drainage zone. The word coulee comes from the Canadian French coulĂŠe, from French word couler meaning "to flow". In southern Louisiana the word coulĂŠe (also spelled coolie) originally meant a gully or ravine usually dry or intermittent but becoming sizable during rainy weather. As stream channels were dredged or canalized, the term was increasingly applied to perennial streams, generally smaller than bayous. The term is also used for small ditches or canals in the swamp.
an act of drawing
a small, natural drainageway with a shallow bed; gully
a contest that ends in a tie; an undecided contest
the dry bed of a stream ravine
something that is chosen or drawn at random, as a lot or chance
Arroyo
the deeper part of a river, harbor, or strait
a means of communication or expression; a path along which information in the form of an electrical signal passes
Channel
a way, course, or direction, or thought of action
A channel is a type of landform consisting of the outline of a path of relatively shallow and narrow body of fluid, most commonly the confine of a river, river delta or strait. Channels can be either natural or human-made. A channel is typically outlined in terms of its bed and banks.
a band of frequencies of sufficient width for a single radio or television communication
to serve as an intermediary for
An arroyo, also called a wash, is a dry creek, stream bed or gulch that temporarily or seasonally fills and flows after sufficient rain. Flash floods are common in arroyos following thunderstorms. Specifically, an arroyo can be defined as a watercourse that conducts an intermittent or ephemeral flow, providing primary drainage for an area of land of 40 acres or larger; or a watercourse which would be expected to flow in excess of one hundred cubic feet per second as the result of a 100 year storm event. Natural arroyos are made through the process known as arroyo-cutting. This occurs in arid regions where heavy rains can lead to enlargement of rivers cutting into surrounding rock creating ravines which are dry under normal weather conditions.
a long gutter, groove, or furrow a passage created in a selectively permeable cell membrane
a tubular enclosed passage; conduit to form, cut, or wear; to make a groove in
a metal bar of flattened U-shape section
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GIS data: USGS, Texas Natural Resource Information System
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Marfa - Alpine - Fort Davis - Valentine Region | 1:00pm GIS data: USGS, Texas Natural Resource Information System
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Culberson County Airport
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Plateau
Van Horn Ri
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pop: 2064
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Union Pacific Railroad
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pop: 8535
Fort Socton Pecos County Airport
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Davis Mountains
Jeff Davis County
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Sul Ross State University
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Marfa
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pop: 5905
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pop: 1819
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Presidio County
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Marfa Municipal Airport
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Limpia Creek
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90
Valentine
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Davis Mountains State Park
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Marfa Munincipal Airport
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site sketches 25
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Hot Dry | Archive + Observatory
The Well Water forms community. Throughout the history of human settlement, every town or village was founded in conjunction with the location of a reliable water source, found or fabricated. Here, people gathered to retrieve water for the day, but also to catch up on the local gossip, forming expansive relational networks with the well as a hub. This project seeks to create a new public space for the town of Marfa, Texas, a proverbial office water cooler that will reconnect this disconnected community. Entitled The Well, the structure’s program calls for simultaneous observation and archive, resulting in the formation of community. Situated in an alleyway between Highland Street and North Austin Street, The Well observes the physical properties of water while archiving the social implications of such observations. As a result, the design truly has people in mind, creating spaces for an engagement with water that facilitates encounters and interactions archived through the memories of its visitors. Formally, the structure was influenced by the draw, a landform common in the surrounding desert that is the result of water flows that carve into the landscape. The Well’s structure consists of stacked rectangular planes, similar to the layered bedrock of the surrounding mountains that are carved by the flow of water. On the roof there is a curvilinear skylight that runs the length of the entire structure, and also serves as a channel for the water that continuously flows throughout. The channels also meander near pedestrian pathways, enabling visitors to observe the draw at a micro level by seeing, hearing, and touching the water as it flows. These observations are then scaled upward as one ascends the interior stairs to the cantilevered observation deck. Here, windows are placed specifically to frame views of water at a macro scale, for example, the settlement pattern of Marfa as a water stop for the Southern Pacific Railroad, Alamito Creek, and the surrounding mountains in the distance. The overall circulation strategy is that of an “X”, creating intersections between visitors. Together, the observation of the physical and the communal archive celebrate water, creating a gathering place for the citizens of Marfa. Once disconnected and individualistic, The Well proposes an alternative Marfan experience, one of spending time with your neighbors.
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Archive/Observatory Concept Collages 32
initial formal sketches 33
initial volume studies 34
vessel plan, sections, perspective, and sketch model 35
Site panorama from Highland Street
Site panorama from N Austin Street
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West Linco
First Baptist Church
North Austin Street
gravel walkway
oculus
A
B
A
B
windmill
amphitheater
added vegetation
16 space gravel parking lot
West Texa
To Chinati Foundation
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To Marfa Courthouse
oln Street
To Marfa Water Tower
Palace Theater
Texas Theater
C
Highland Street
seating area
Hotel Paisano
C
as Street
N
Roof Plan
1/16” = 1’- 0”
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pre-cast concrete panels
window
exterior/interior windows
water circulation
from N. Austin St. from Highland St.
Micro-observatory pavillion
corridor
MEP (Mechanical, electrical, plumbing)
6” interior pool
6” exterior pool
embedded steel beams
amphitheater
water circulation by windmill
from Hotel Paisano
N
First Floor Plan
1/16” = 1’- 0”
from parking lot
rooftop water channel/skylight 1:12 ramp slope
water channel
from N. Austin St. from Highland St.
lobby
amphitheater
1’-0” apertures stairs: 6” rise 1’ tread
water collection from oculus
water channel
from Hotel Paisano
N
vegetation to block southern light
from parking lot
Second Floor Plan
1/16” = 1’- 0”
from N. Austin St. from Highland St.
Macro-observatory
windmill oculus
from Hotel Paisano
N
Third Floor Plan
1/16” = 1’- 0”
from parking lot
Section A
Section Perspective
1/16” = 1’- 0”
NTS
flow into rooftop water channel
skylight
Macro-observatory
Hotel Paisano Texas Theater
windmill as structural member
amphitheater
steel beam and truss cantilever with concrete cladding
1’-0” apertures lobby
pavillion
MEP
collection pool
collection pool
West Lincoln Street
West Texas Street water circulation
Longitudinal Section
1/16” = 1’- 0”
Section B
North Austin St. Elevation
1/16” = 1’- 0”
1/16” = 1’- 0”
Hotel Paisano Texas Theater
West Texas Street
Section C
West Lincoln Street
Highland St. Elevation
1/16” = 1’- 0”
1/16” = 1’- 0”
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Macro-observatory
windmill oculus
from Hotel Paisano
N
Third Floor Plan
1/16” = 1’- 0”
from parking lot
flow into rooftop water channel
skylight
Macro-observatory
windmill as structural member
1’-0” apertures
steel beam and truss cantilever with concrete cladding
amphitheater
lobby
pavillion
MEP
collection pool
collection pool
water circulation
Longitudinal Section
1/16” = 1’- 0”
skylight concrete panels Macro-observatory
skylight skylight concrete panels steel cantilever concrete panels
Macro-observatory Macro-observatory
steel cantilever amphitheater
steel cantilever
gravel parking lot
corridor
amphitheater corridor
amphitheater
gravel parking lot gravel parking lot
corridor
Transverse Section A
1/16” = 1’- 0”
Transverse Section A Transverse Section 1/16” = 1’- A 0” 1/16” = 1’- 0”
H Texas Theater
lobby
Texas Theater Texas Theater
lobby pavillion lobby
West Lincoln Street
pavillion
West Lincoln Street
pavillion
West Lincoln Street
Transverse Section B
1/16” = 1’- 0”
Transverse Section B Transverse 1/16” Section B = 1’- 0” 1/16” = 1’- 0”
Hotel Paisano Texas Theater
Hotel Paisano Hotel Paisano
Micro-observatory
Texas Theater Texas Theater
Micro-observatory
MEP
Micro-observatory
West Texas Street
MEP MEP
West Texas Street West Texas Street
Transverse Section C
1/16” = 1’- 0”
Transverse Section C Transverse Section C 1/16” = 1’- 0” 1/16” = 1’- 0”
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1/16� model details 42
section perspective
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1/16� interior section models 44
1/16� site model 45
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