Portfolio DANIEL LUTZE
DANIEL3LUTZE@GMAIL.COM
A portfolio of selected undergraduate works by Daniel Lutze. All work, including images and concepts, is original material created by Daniel Lutze.
Contents 01
Bismuth
03
D E S I G N I N G F O R T H E C I T Y 04 T H E A T R I U M 06 T H E B I S M U T H 08
02
Gallery
11
T H E B O H E M I A N C O N T E X T 12 T H E F O L D 14 A N E N G A G I N G F A C A D E 16 T H E “ F I R E S T A I R ” 17
03
Stairwave
19
A N A L Y Z I N G T H E H U M A N B O D Y 20 T H E S T A I R W A V E 23 P H Y S I C A L M O D E L 24
04
The 901
27
L E T ’ S T A L K A B O U T C O N T E X T 28 F I L L I N G T H E S P A C E 29 A D Y N A M I C F A C A D E 30 W A L L C O M P O S I T I O N 32 P H Y S I C A L M O D E L 34
Before You Begin I n p u t t i ng t oge ther this portfolio, I wa nted to fi nd a way t o c o mmuni cat e my propensity towa rd expl a na ti o n a nd c o n v ers at i on, t wo things that have i nfo rmed much o f h o w I de s i gn and think about archit ecture. I fi nd my sel f u sin g di al ogue both as a way to arti cul a te a nd refi ne my idea s and as a way to learn about ho w peo pl e beha ve a n d t he n us e t hat information to substi a nti a te my d esig n de ci s i ons. Whe n l ook i ng back through my pro j ects fro m u n i v ers i t y, I found that the common th rea d runni ng t h r o u gh e ach design is my approac h : i denti f y a so ci a l “ r u le” or ke y aspect of how people i ntera ct wi th th ei r en v i r onme nt , and then use that to justi f y pro gra ma ti c, f u n c t i onal , and aesthetic choices. A pe r for mi ng arts center that resp re sp ect s t h e u ds a urr b a n landsc ape ape,, a row home that d em an and u n i que un q ue inter ventio ven tio n, a staircase tha t’s d aun auntt i ng , yet be resents an exci t i ng b e a utiful, an artist residency that p presents o p p or tunit y to pro blem -so lve. In ea ch i nsta nce I h a ve op tr t r ied to do w hat’s important to me: expl a i n a nd ha h a ve a co c o n v er erss at i on. LUTZE
01
01
Bismuth PERFORMING ARTS CENTER DESIGN VI | SPRING 2019 P R O F. C . M C A D A M S
The Bismuth Performing Arts Center breaks down the walls between traditionally public and private spaces by injecting publicly accessible programs into a theater and performing arts center. Located on a large plot of land along Philadelphia’s Benjamin Franklin Parkway, the project’s driving philosophy stems from a desire to respect the urban environment in which the building sits.
EASTERN S TAT E PENITENTIARY
OCF COFFEE HOUSE
“BISHOP’S COLLAR” BAR
NODES A PA R T M E N TS PHILADELPHIA MUSEUM OF ART
UMAI UMAI R E S TA U R A N T WHOLE FOODS
“ T H E O VA L”
SITE
WAWA RODIN MUSEUM BARNES FO U N D AT I O N
SCHUYLKILL RIVER A PA R T M E N TS
PATHWAYS
LOGAN SQUARE
SCHUYLKILL RIVER
FRANKLIN INSTITUTE
N PHILADELPHIA, PA DESIGNING FOR THE CITY Bui l d i ng o n a s i te a s l ar g e a s thi s c ome s w it h a l o t o f c o ns i d er a ti o ns . A s w it h o t h e r p r o j ec ts, m y a p p r o ac h her e w a s t o s t a r t b y a s k i ng ques ti o ns : Is the c ur re n t pr o g r a m ( a f ew s of tb a l l f i el d s) m akin g t he b e s t us e o f the s p ac e? If not, h ow w il l th e new cons tr uc ti o n us e the s p ac e in a b e tter way ? A d d i ti o na l l y, how d o w e d ef i ne wha t’s c ons i d er ed the “ b e st u s e .” To s ta r t, i t’s w o r th c o ns i d e rin g w h e r e , o n a l a r g er sc a l e, w e’r e b ui l din g . T h e Benj a m i n Fr ank l i n Par k w ay l e ad s dir ec tl y f r o m Phi l ad el p hi a’s C e n t e r Cit y to i t’ s i c o ni c ar t m us eum ( ye s, t he “ Ro c k y ” s tai r s). Li tter ed a l o ng t h is r o a d a r e s tand o ut m us eum s l i ke t h e B a r ne s Fo un d ati o n, Rod i n Mus e u m, a n d Fr a nk l i n I nsti tute, a l o ng w i th m ore c a s ua l p r o g r a m s l i ke “The O v a l ” w h e re 04
BISMUTH
FIGURE-GROUND t h e an n u al “ Mad e in A me ric a” c oncert is h e ld , an d a W h ole Food s w it h a da ily h ap p y h ou r. T h e t ake aw ay h e re is t h at if w e ’ re go ing t o b e t akin g u p a massiv e amou n t o f sp ac e in t h is d e n se u rb an c on t e x t , it ’s imp ort an t t o c on sid e r h ow w e c an b lend se amle ssly w it h t h is c on t e x t . MAKING A PHILOSOPHY Sin c e it ’ s t h e n at u re of t h e t h ea t er t o fe e l e x c lu siv e , I kn e w I n e e d e d t o mit ig at e t h at fe e lin g as mu c h as p oss ible in ord e r t o ju st if y t h e massiv e amount of sp ac e it w as t akin g u p in t h e cit y. T h u s, t h e p h ilosop h y b e h in d t h e d es ign b e c ame : “ W h e n you d e sig n in t h e u rba n lan d sc ap e , you c an n ot simp ly t ake , y o u mu st also g iv e . T h e d e sig n mu st in vo lve t h e c it y as w e ll as t h e b u ild in g .”
When you design in the urban landscape, you cannot simply take, you must also give. The design must involve the city as well as the building.
SITE PLAN
Site Plan
LUTZE
05
PUBLIC PLAZA VIEW
PROGRAM LAYOUT
SPACIAL RELATIONSHIPS
PROGRAM PHILOSOPHY
TYPICAL
SPLIT
T H E AT R I U M “T h ea te r of the Pub l i c S p ac e : Ar c h i tec tur a l Exp er i m entati o n i n t h e T h ea te r o f S pac e, Pa r i s 1937,” a p ap e r by a r c h i tec t G r ay Rea d , w as the d r i v in g fo r c e b eh i nd the or g a ni z ati o n o f t h e Bis m uth ’ s p r og r am . The p ap er exp l ore s t he w o r k o f a r c hi tec t Ed o ua r d A u t an t a n d a c tr e s s Lo ui se La r a , a team w h o in v es ti g a ted a r c hi tec tur e as the art o f “ s i tua ti o n,” or, of p l ac i ng p eo p le in m ea ni ng f ul sp a c i a l r el a ti o ns hi p s w it h o n e a no th e r. B y v i e w i ng the i nter na l p r o g r a m of t h e pe r f o r m i ng a rts c enter as an op p or tu n it y t o p l a c e p e op l e i n m eani ng f ul sp a c ial r e l a ti o ns h i p s , the t yp ical p osi ti o n of t he th e a te r exi s ti ng a s i s ol a ted f r om it s c o nte x t c a n b e r ec ons i d er ed . I f i r s t s pl i t t he a tr i um ap ar t, inje ct e d the p u b lic 06
BISMUTH
INJECT
UNIFY
p rog ram at st re e t le v e l d ire c t ly b e t ween t w o t rad it ion ally p riv at e p rog rams, a nd u se d t h e id e a of sp ac ial re lat ion s h ips t o un i f y t h e e n t ire p rog ram. C offee sh op s an d ot h e r st ore s are san d w ich ed b e t w e e n t h e main e n t ran c e , t i cket b oot h , an d t h e at e r e n t ran c e s on t h e low e r le v e l, an d t h e b ar are a on t h e u p p e r le v e l. T h is arran g e me n t o f p rog rams an d p e op le b e c ome s it s o wn t h e at e r: a p e rforman c e lit t e re d wit h sc e n e r y an d c ost u me s all p rod u c e d by t h e p at ron s of t h e t h e at e r. T h is ap p roac h p arad ox ic ally ma kes e v e r y le v e l b ot h le ss an d more p riva t e. W h ile t h e p u b lic c an look d ow n on t h e t h e at e r-g oe rs b e low in t h e ir ow n s o rt of p e rforman c e , t h e at e r-g oe rs abo ve fe e l e v e n more g ran d lookin g d ow n o n e v e r yon e e lse .
REFRESHMENTS AREA REHEARSAL ROOMS R E TA I L S PAC E CAFE CHAMBER AUDITORIUM PROSCENIUM T H E AT E R C O AT C H E C K TICKET BOOTH ENTRANCE PICKUP / DROP-OFF
1
SECTION THROUGH PROSCENIUM THEATER
THE BISMUTH For a s m uc h a s the p er f or m i ng art s c enter a s a whol e i s ab out r ed ef in in g n o ti o ns a b o ut p ub l i c a nd p r i v ate sp a c e s, it w a s i m p o r tant to m e tha t the p r i v at e s p a c es , na m e l y the tw o thea ter s, w e re de s i g ne d w i th a ttenti o n to d eta i l an d m a d e tr ul y sp ec i al f o r p atr o ns o f t h e t he a te r. Metap hy si c al l y, the b i sm u t h c r y s ta l i s o ne o f tr a ns f o r m ati o n an d c h a ng e , h el p ing to ad ap t to c ha ng e w it h c a l m a s s ur a nc e; b i sm uth enc o ur ag e s c o h es i v e nes s , a nd tha t’s a p r op e rt y I w a nted to hav e tr ans l a te i nto t h e t he a te r. W h i le the c a sc a d i ng “w a v e s” s e e n a l o ng the w a l l s o f the thea ter op e n t o r e v e a l b o x seati ng , and thes e wav e fe a tur es c a n b e s een thr o ug hout t h e s e c ti o n o f th e b ui l d i ng , env el o p i ng t h e vie w er a nd c rea ti ng a sens e o f c a l m . 08
BISMUTH
2
SECTION THROUGH CHAMBER AUDITORIUM
2
1
LUTZE
09
02
Gallery ROW HOMES
D E S I G N I I I | FA L L 2 0 1 7 P R O F. J . V O O R H E E S
The Gallery is a pair of row homes situated on South Street, one of Philadelphia’s most iconic landmarks. The project tackles the challenge of situating two private residences along an otherwise public street face filled with bars, restaurants, retail spaces, and all number of other programs. The proposed solution is to introduce a public art gallery into one of the homes, complimented by a private art studio in the opposite home. Driven by the idea of a “fold” carving out interior space, The Gallery is able to create unique and exciting interior spaces both for the public and for the residents. The “fold” also adds visual interest through its striking blue color and its incorporation into both the facade the interior spaces of the houses.
RODMAN STREET
RESIDENTIAL
RODMAN STREET
RESIDENTIAL
RESIDENTIAL
RESIDENTIAL
BARBERSHOP DENIM SOUTH STREET SOUNDS RECORD STORE
TESORO CLOTHING
JETT WINE BAR
ART GALLERY
ANJALI YOGA
QUICK FIXX R E S TA U R A N T
INDEGO BIKESHARE SOUTH STREET
SOUTH STREET
N
PHILADELPHIA, PA THE BOHEMIAN CONTEXT
Philadelphia’s South Street is an iconic landmark stretching almost t h e e n t i r e t y o f t h e c i t y, a n d f o r m s t h e border between Center City and South Philadelphia. South Street is known for its bohemian, punk, and generally alternative atmosphere, and is home to countless restaurants, beer gardens, tattoo shops, record stores, and other retailers. When tasked with designing two new private residences for two families of artists, the challenge of integrating these private programs into this otherwise public cultural hub immediately became present. Along almost every other public program, s u c h a s t h e Q u i c k Fi x x r e s t a u r a n t o r Je t t W i n e B a r, p r i v a t e r e s i d e n c e s a r e l o c a t e d 12
GALLERY
above public programs, allowing for the space to be maximized for the public program while ensure ample separation f o r t h e r e s i d e n c e . G i v e n t h i s t y p o l o g y, it became clear that the best solution to the aforementioned problem would be to create a publicly accessible space along the public face of the buildings.
A PLACE FOR ART In this project, the client was not assigned, so liberties could be taken when tailoring the buildings to a specific type of resident. Looking at the surrounding buildings, the majority of programs were either restaurants/bars, retail spaces, private residences, or p e r s o n a l c a r e s p a c e s l i ke a y o g a s t u d i o, b a r b e r s h o p, a n d n a i l s a l o n . T h e a r e a lacks programs that provide an activity
that encourages social interaction, and so the opportunity presented itself to n o t o n l y f i l l t h a t g a p, b u t a l s o t o p r o v i d e a program that could synergize with the ones around it. This analysis lead me to choosing a public art gallery to face South Street at street level, and provide the residents with a private art gallery at the opposite end of the house. The public art gallery not only offers a new program type to diversify the area, but also adds visual interest for people on the street simply p a s s i n g b y t h e h o u s e . A d d i t i o n a l l y, t h e potential is opened up for collaborations w i t h t h e a d j a c e n t w i n e b a r, r e c o r d store, or any of the countless other restaurants and activities found along South Street.
Situating a new private residence along a row of public programs demanded a unique intervention. P R I VAT E A R T S T U D I O
RESIDENCE
PUBLIC ART GALLERY
VIEW FROM SOUTH STREET
LUTZE
13
CARVING OUT ART GALLERY SPACE
SECTION OF ART GALLERY HOUSE ART GALLERY
“THE FOLD” Init ia lly int ended a s a way t o crea t e a n enga ging ga ller y s pa ce t h a t pulls pa t ro ns in s ea m les s ly fro m t h e s t reet , t h e fo ld fo und it s way t h ro ugh o ut bo t h h o us es a s a m ea ns o f ca r ving o ut s pa ce a nd a llo wing in S o ut h ern s unligh t . Th e flo o r o f t h e a rt ga ller y is dro pped belo w s t reet level t o a llo w fo r a 10’ ceiling wit h o ut a dding a ddit io na l h eigh t t o t h e building, a nd t h e fo ld is int ro duced a s a ra m p t o a cco m m o da t e t h is . Th e fo ld t h en t urns ba ck o n it s elf t o wra p t h e ceiling a nd t h e level a bo ve, crea t ing dia go na ls t h ro ugh wh ich s unligh t ca n ent er s ea m les s ly int o t h e ga ller y. O n t h e t h ird flo o r, t h e fo ld cut s dia go na lly t h ro ugh t o t h e s eco nd flo o r, crea t ing a ligh t well wh ich flo o ds s unligh t int o t h e furt h es t co rners o f t h e h o us e. 14
GALLERY
CARVING OUT ART STUDIO SPACE
SECTION OF ART STUDIO HOUSE ART STUDIO
T h e h o us e o pp o si ng the a r t g a l l er y h ost s t h e p r i v a te a r t s tud i o, a s p ac e w here t h e r e s i d e nts c a n w or k a nd c r eate. The id e a o f th e f o l d i s r ea l i z ed i n thi s hous e as w al l , c utti ng thr oug h the thi r d f l o or in a s im i l a r way to the o p p osi te ho us e, b u t in t h i s c a s e i t al l o w s the c ei l i ng of th e art s tud i o to b e p ul l ed b ac k and r ep lac e d w i th g l a z i ng , al l ow i ng am p l e nat u ral lig h t i n. Fo l l ow i ng the f o l d ac r o ss t h e t h i r d f l o o r, i t then c uts d ow n to le t t h e s tud i o c a nti l ev er ov er the yard , cr ea ti ng a uni que s p ac i a l exp er i en c e in t h a t s p a c e. Fi na l l y, the f o l d m i m i cs it s m o v em ent i n the a r t g a l l er y b y c a r v in g o ut th e k i tc hen and d i ni ng s p ac e an d fo l d i ng o ut i n to a d r i v ew ay. I n s ect ion , t h i s c r ea te the no ti o n o f s ea m l es sn e ss a nd m a ke s th e f ol d so m ethi ng tha t c an be f e l t w i th i n the s p ac e. LUTZE
15
SOUTH FACADE
NORTH FACADE A N E N G A G I N G FA C A D E
The Gallery’s facades are dynamic, pulling inspiration from their surrounding context while also allowing the two row homes to stand out with eye-catching features. On the South Street face, the exterior realization of “the fold” mirrors the vertical lines seen on some adjacent buildings, helping to elongate its height to viewers on the street. On the right, the blue facade strips act as a privacy shield, limiting visibility into the street-facing living room, as well as into the bedrooms on the upper floors. O v e r t h e a r t g a l l e r y, t h e b l u e b a n d h e l p s to draw attention to the main entrance, and can be seen from the interior of the gallery painted on the brick wall 16
GALLERY
and creating the accessible entry r a m p. A d d i t i o n a l l y, t h e b l u e c l a d d i n g maintains the regular shape of the row home block as the second and third floors pull back, creating visual interest while also allowing for additional privacy and sun shading. The blue color was chosen specifically to work with the warm tones of the brick buildings on either side of it, drawing attention while working in harmony with the context. The blue also makes i t s w ay o n t o t h e f o l d s o n t h e i n t e r i o r of the house, through the entry ramp and interior wall of the art gallery and t h r o u g h a n a c c e n t w a l l i n t h e a r t s t u d i o, helping to create a sense of cohesion b e t w e e n i n t e r i o r a n d e x t e r i o r.
I N T E R I O R L AYO U TS
The residential parts of the Gallery work not only around their designated p r o g r a m s , i .e . t h e a r t g a l l e r y a n d a r t s t u d i o, b u t a l s o w o r k i n t a n d e m w i t h o n e another in order to maximize comfort a n d e f f i c i e n c y. S p a c e s f l o w e a s i l y i n t o o n e a n o t h e r, s u p p o r t e d b y p o c k e t o r barn doors where necessary in order to offer additional privacy for spaces like the office and a secure separation between the art gallery and residence. A d d i t i o n a l l y, l ay o u t s a r e o p t i m i z e d t o work with the narrow width of the row home style, meaning that bedrooms are placed at either end while circulation and restrooms are focused in the core in order to maximize square footage for the programs that require it.
1ST FLOOR
2ND FLOOR
3RD FLOOR “FIRE STAIR”
T H E “ F I R E S TA I R ”
The idea of the fire stair came about from the need to create a connection between the art studio and the house w i t h t h e a r t g a l l e r y, s o m e t h i n g t h a t wouldn’t force the residents of the house on the left to circulate through the house on the right. Pulling inspiration from the fire escapes found on many other buildings, a simple staircase was creating connecting the left house’s second floor living room to the third f l o o r a r t g a l l e r y o n t h e r i g h t . Up o n creating this staircase, the opportunity arose for the “fold” to make yet another appearance, wrapping the staircase to not only provide visual interest on the souther facade, but also to add a small amount of privacy of the living room d o o r. LUTZE
17
03
Stairwave S TA I R C A S E
FO U N D AT I O N S I I | S P R I N G 2 0 1 7 P R O F. F. D E S A N T I S
The Stairwave is a staircase designed to replace an existing staircase in the Tyler School of Art at Temple University. After completing a series of studies of movement and the human body on the staircase, a dance was choreographed for a subject to perform while moving down the staircase. By recording the dance from different angles, a rough digital model of the shape of the dance was made and used to gained a better understand the way the movement of the dancer filled the space of the staircase. Finally, the shape of the dance was adapted into an armature that wraps around the staircase like a cage, offering a visual spectacle that juxtaposes its menacing scale and form with delicate light and shadows.
1. 1.DRAFT DRAFT OF OF EXISTING EXISTING STAIR STAIR
2. 2.HANDS HANDS AND AND FEET FEET ON ON THE THE STAIR STAIR
3. 3.MOVEMENT MOVEMENT TRIALS TRIALS AAN NAALLYYZZIIN NGG TTH HEE H HU UM MAAN N BBO OD DYY
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STAIRWAVE STAIRWAVE
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Project 2.1 Collage
4. CHOREOGRAPHED DANCE
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Creating a menacing visual spectacle was at the center of this design. Something daunting, yet beautiful.
T H E S TA I R W AV E
The final design of the staircase is defined most notably by the swirling black armature which wraps the staircase. Inspired by the winding, chaotic lines seen in the previous studies, the armature acts as an intimidating yet beautiful visual spectacle. While the original staircase was stacked over itself, the Stairwave was designed as one continuous length, maintaining the position of original landing and adding a second landing to allow for traversal forward in addition to upward. Along this path, the black armature races upward, acting as a railing. The armature is also split into frames
to mimic the study done of the dancer on the staircase, leaving each piece as a moment frozen in time. Viewed all at once, these pieces create the illusion of a fluid, moving system as seen in the sketch of the dancer’s movement. The western wall of the stairwave is cut with gaps of varying sizes, allowing for different amounts of light to pour through in each area. The effect is yet a n o t h e r i n s t a n c e o f t h e s e f r a m e s : r ay s of light littering the floors in parallel , diagonal patterns. The lights also cause the armature to cast shadows on the eastern wall, doubling this effect y e t a g a i n . Wo r k i n g t o g e t h e r, t h e l i g h t and shadows create an elegant and surreal visual experience which helps to counter the large scale of the armature. LUTZE
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CONSTRUCTING THE MODEL
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STAIRWAVE
04
901
The 901 ARTIST RESIDENCY PROGRAM D E S I G N I V | FA L L 2 0 1 8 P R O F. B . S Z Y M A N I K
Located on the isosceles-shaped site of an old Reading Railroad station, The 901 Artist Residency Program attempts to establish itself as the catalyst for reinvigorating Philadelphia’s former hub of arts and culture. This project aims to find simple solutions
to complex problems surrounding site constraints and massive program requirements as an artist residency program.
EXISTING BUILDING
PROPOSED MASSING DIVIDING
Splitting the existing mass, pulling the facade back on an angle to create a less imposing face on the narrow sidewalk
ABANDONED RAILROAD
ALLOWING
The newly created void becomes a publicly accessible space, separate from t h e p r i v a t e i n t e r i o r.
UTILITY YA R D VERTICALITY A PA R T M E N TS
The mass is expanded upward to accommodate required program. The pulled back facade and public volume allow the added height to appear grand without feeling overbearing
ART STUDIOS
GUN RANGE BREWERY JEWELER
PA I N T STORE
EXTENDING
SPRING GARDEN CONCERT VENUE
R E S TA U R A N T COURT HOUSE COMMUNITY CENTER
RED CROSS
ABANDONED RAILROAD
N L E T ’ S TA L K A B O U T C O N T E X T
The building occupies the site of a former terminal for the now-defunct Re a d i n g Railroad. The building has succumbed to overgrowth and vandalism, as have the railroad tracks which run beside it. This condition raises the question: is restoration worth it? I’m all for historical preservation, but given the lack of effort on behalf of the city to restore the existing building beyond simply repainting it, as well as the exclusion of this building in any public community-driven plans to revitalize the area, it seems as though the history of the existing building is simply no longer significant to the context. 28
THE 901
EXISTING CONDITIONS
The mass is expanded backward to accommodate required program. Without anything to hide behind, the opportunity for an engaging facade design emerges.
LONGITUDINAL SECTION
EXIT
EXIT
EXIT
EXIT
EXIT
EXIT
EXIT
PROPOSED PLANS
GROUND FLOOR
Art Gallery Administration C o n f e r e n c e Ro o m Monumental Stair
FIRST FLOOR
Be d r o o m s Communal Kitchen
F I L L I N G T H E S PAC E
The 901 is a mixed-used artist residency program which includes 16 bedrooms and private studios and 4 shared studios of different disciplines, with additional program for the supporting staff and administrators, as well as certain publicly accessible spaces for lectures and art shows. The massive amount of program required serious increases in square footage, both through a larger footprint and additional floors. T h e m o s t c h a l l e n g i n g p a r t o f t h i s l ay o u t came with the shape of the footprint: a t r i a n g l e . To w a r d t h e N o r t h e n d o f building, the space became narrow virtually unusable, forcing the need for program to either be rearranged or to be
SECOND FLOOR
Be d r o o m s Communal Kitchen
THIRD FLOOR
Be d r o o m s Communal Kitchen Literary Studio
m o v e d t o a d i f f e r e n t f l o o r. A d d i t i o n a l l y, while certain spaces like the shared studios allowed for odd footprints given their open nature, spaces like the private studios and bedrooms needed to remain regular in order to distribute their required square footage fairly and p r a c t i c a l l y.
T H E S TA I R C A S E A S A S C U L P T U R E With no room left within the mass of the building to fit circulation, the only remaining space was in the void created when the facade was cut back. This posed an exciting opportunity: w a s t h e r e a w ay t h a t t h e c i r c u l a t i o n , s o m e t h i n g n o r m a l l y t u c k e d a w ay i n a building, could become something
FOURTH FLOOR
C l ay / Po t t e r y S t u d i o Wo o d w o r k i n g S t u d i o
FIFTH FLOOR
Private Studios Lounge Area Balcony
monumental and engaging? Thus, the staircase became a sculpture With diagonals that follow the path of the staircase in opposing directions to form a series of triangles, the staircase mimics the metal soffit framing surrounding the existing building. The staircase helps to ground The 901’s massive, eye-catching staircase helps to cement The 901 within the fabric of the city by creating a jumping-off point for the revitalization o f t h i s f o r m e r c u l t u r a l h u b.
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“A GOOD IDEA IS SOMETHING THAT DOES NOT SOLVE JUST ONE SINGLE PROBLEM, BUT RATHER CAN SOLVE MULTIPLE PROBLEMS AT ONCE� - Private Program
FIFTH FLOOR
Private Studio x 16 Lounge Area Balcony Access
FOURTH FLOOR
C l ay / Po t t e r y S t u d i o Wo o d w o r k i n g S t u d i o
THIRD FLOOR
Be d r o o m x 4 Literary Studio
SECOND FLOOR
Be d r o o m x 6 Communal Kitchen
FIRST FLOOR
Be d r o o m x 6 Communal Kitchen
GROUND FLOOR
Art Gallery Administration C o n f e r e n c e Ro o m Monumental Stair
A D Y N A M I C FA C A D E
Without the freedom to cantilever over t h e s i t e b o r d e r a t a l l , t h e s i x s t a c ke d floors created a imposing vertical plane as the facade on each side of the building, making it feel overpowering and out of place given how flat the i m m e d i a t e a r e a w a s . H o w e v e r, t h e n e e d to design a massive facade presented an exciting opportunity to problemsolve and create something powerful b o t h a e s t h e t i c a l l y a n d f u n c t i o n a l l y. The double skin facade of The 901 serves two major purposes: providing privacy for the interior programs that require it, and bringing the visual weight of the building down toward the ground to help alleviate its 30
THE 901
imposing height. I n o r d e r t o r e g u l a t e p r i v a c y, the grid laid over the facade becomes more regular and more opaque over programs such as bedrooms, private studios, and administrative offices, but opens up to longer vertical panels over the public programs like the shared studio spaces. Not only does this s y s t e m p r o v i d e p r i v a c y i n t e r n a l l y, b u t i t also gives a hint to viewers as to what c o u l d b e h a p p e n i n g o n e a c h f l o o r. The private programs are located on the lower floors, meaning that the denser grid and opaque panels are also located closer to the ground. C o n v e n i e n t l y, t h i s h e l p s t o d r a w t h e e y e downward when viewing from street.
-Shigeru Miyamoto
The need to design a massive facade presented an exciting opportunity to problem-solve and create something powerful, both aesthetically and functionally.
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WALL COMPOSITION
Although the composition of the existing facade is unknown, a rough estimate of the masonry composition was made in order to create a wall system that w o u l d f u n c t i o n p r o p e r l y. T h e e x t e r i o r walls of The 901 are composed of a 3 5/8� metal stud filled with mineral wool insulation, and covered on the interior side by gypsum sheathing and on the exterior side by densglass sheathing. A d d i t i o n a l l y, t h e e x t e r i o r f a c e i s c o v e r e d with a fluid-applied weather barrier and 1 � o f R 7 . 5 r i g i d i n s u l a t i o n . S t r u c t u r a l l y, t h e w a l l s a r e b r a c e d i n t e r n a l l y, a n d each concrete floor is supported by steel W flanges and steel deck and truss system. 32
THE 901
LITERARY STUDIO
STOREFRONT AS SCHEDULED
DOUBLE-SKIN FA C A D E S E E D E TA I L S HSS RE: STRUCTURAL P T D . M E TA L PA N E L W FLANGE RE: STRUCTURAL
CEILING AS SCHEDULED 5/8” DENSGLASS EXISTING B R I C K FA C A D E 1” R7.5 RIGID I N S U L AT I O N G R O U T- F I L L E D LINTEL RE: STRUCTURAL 3 5 / 8 ” M E TA L STUD WINDOW AS SCHEDULED
5 / 8 ” G Y P. S H E AT H I N G P R I VAT E R E S I D E N C E
SILL BLOCK 3 1/2” MINERAL WOOL FLUID-APPLIED W E AT H E R B A R R I E R T Y P. FLOOR FINISH AS SCHEDULED CONC. SLAB T Y P. R E : STRUCTURAL W FLANGE RE: STRUCTURAL TRUSS SYSTEM T Y P. R E : STRUCTURAL
3 5 / 8 ” M E TA L STUD CEILING AS SCHEDULED LUTZE
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PHYSICAL MODEL
T h i s p h y s i c a l m o d e l w a s l a s e r- c u t a n d assembled by hand. It is comprised of black matte board, white matte board, t r a n s l u c e n t m y l a r, a n d c a r d b o a r d . Bu i l d i n g a p h y s i c a l m o d e l h a s a l w ay s been one of my favorite aspects of the d e s i g n p r o c e s s , a n d I a l w ay s t a k e g r e a t care when building models. The axon above details the composition of each floor plate, the interior wall placements, as well as the composition of the skin and, existing facade, and rail park addition. Notable moments of ingenuity i n c l u d e t h e d o u b l e l ay e r o f t h e i n t e r i o r storefronts being used to create the floor plate coverings, and the cardboard cut to reveal its corrugation. 34
THE 901
“ZERO: PO
DANIEL
2017
ORTFOLIO”
L LUTZE
-2019