Donna Marion - Undergraduate Architecture Portfolio

Donna Marion [Bachelor of Science] University of Michigan, Taubman College of Architecture and Urban Planning

PORTFOLIO

4

CULINARY BLUE [STUDIO UG1]

8

TOWER LIBRARY [STUDIO UG1]

12

TOWER LIBRARY - CONSTRUCTION [CONSTRUCTION UG1]

14

DETROIT TRAIN STATION [STUDIO UG2]

18

HARD-LINE DRAWINGS [PRE-ARCHITECTURE]

22

SEEING SWITZERLAND [STUDY ABROAD UG2.5]

26

TRAVELS [SELF-DIRECTED]

30

SHADOW CANOPY [POST-GRADUATION]

34

LAYERING LIGHT [WALLENBERG STUDIO UG4]

38

METIS GARDENS AND COMMUNITY CENTER [STUDIO UG3]

42

METIS GARDENS AND COMMUNITY CENTER - CONSTRUCTION [CONSTRUCTION UG4]

TABLE OF CONTENTS

% digital

% hand-made

3

CULINARY BLUE Studio, Fall 2006 Melissa Harris UG1 Cooking is an art, and deserves a space to perform. This is the design premise behind Culinary Blue, a hypothetical University of Michigan-run culinary arts school that also runs a restaurant on the side. The restaurant serves as an opportunity for blossoming chefs to practice their art, and generates revenue to provide the school with the proper equipment and ingredients.

Most importantly, the building provides spaces for cooking as a performance, the chefs publicly exhibiting their skills and informing their customers of the process behind their delicious meals.

smaller scale forms

larger scale forms

transparent, high visibility

opaque, low visibility

public programs

private programs

shifts and gradients

CULINARY BLUE 5

auditorium private dining

seating

herb garden

open to below

private dining library

study space student kitchen

bathrooms

+1 cooking performance

food preparation

auditorium

seating

desserts main entrance

seafood

vegetables

meat and poultry

food storage

fruits and nuts bathrooms

to-go bar

0 CULINARY BLUE

alley

The spatial language is a series of gradients: small to large, transparent to opaque, public to private. The entrance begins as the former component of each of these. Diners enter into the most public of spaces, where chefs are easily visible during their cooking performances, with each table dedicated to a specific genre of food. The exception to this organization is the to-go bar, located directly beneath the practice kitchens, which acts as a means of selling surplus food.

+1

Programmatically, the building houses two diner-oriented experiences: a public dining area, where chefs cook meals as a performance in front of the diners, and a private dining area, available for reservation. Mainly, however, the building provides the necessary spaces for students to develop their skills. These include an auditorium, a small library and study area, food storage and food preparation areas, a student-cultivated semi-indoor herb garden, classroom space and practice kitchens.

Lastly, the alleyway alongside the building was formerly a dark, narrow space. With the designed architecture, the windows which line the corridor generously spill light onto the walkway, which is also widened; this combination makes the formerly foreboding space quite comfortable and inviting to the public.

0 CULINARY BLUE 7

TOWER LIBRARY Studio, Fall 2006 Melissa Harris UG1 The first semester of undergraduate design studio focused on understanding space, and further developing skills introduced in the pre-architecture courses.

These included hand drawing, model building, and verbal presentation, among others.

sectional model and light study

The semester began with this premise: analyze a Morandi still-life painting using spatial concepts, and represent those ideas with study models. Each subsequent phase of design was developed from the original painting.

Phase one: spatial models. I focused on Morandi’s unique approach to layering and perspective, where each object is deliberately flattened to conceal what lies in front and what lies behind.

Phase two: museum board sectional models, built entirely of sectional slices, of a more sophisticated spatial interpretation based on the initial analysis. Here I further developed the concept of concealment, building three objects within a rectangular prism, but only allowing selected viewing windows. At no point is the entire ensemble revealed in a single view.

Phase three: a cast rockite model, inverting a chosen portion of the previous model. I simplified the geometry while maintaining the same complexity of ideas; portions are hidden and enclosed, with only a small glimpse of the interior in order to induce curiosity from the viewer.

Phase four: apply a sense of scale, transforming the previous model to an inhabitable space. I designed a personal library, surrounded by perforated reading enclosures and a sloped courtyard.

abstraction to a sectional model

inverting solid and void

developing inhabitable spaces

TOWER LIBRARY 9

programmatic diagram

outdoor courtyards

indoor courtyards, sculpture

book shelving tower

library tower assembly

TOWER LIBRARY

The final space contains the following elements: an interior library tower, two semi-enclosed reading spaces, and sloped courtyards. The tower walls are entirely bookshelves, making complete use of the tower’s interior space. A staircase spirals down the length of the tower, allowing access to all of the shelving. At the base of the tower is a small, nested space for use as a study area. At the tower’s roof is a skylight to allow a column of light to enter the building and illuminate the space below. Semi-enclosed reading spaces surround the tower, providing basic shelter from the elements. Large vertical slats act as the walls, and are wide enough to walk between. They create a unique visual effect: approaching from the walkway, they block view to the interior because of their angle, but leaving the building the slats are open and act as a mild screen. Sloped courtyards lie on the most exterior portions of the building, with their edges slightly shaped by the building’s sculptural wings. One wing lifts off the ground, while the other sinks into the ground, becoming a handrail along the walking path.

TOWER LIBRARY 11

TOWER LIBRARY CONSTRUCTION Construction I, Fall 2006 James Basset UG1 My first semester of construction focused on developing the building design from the first part of my UG1 design studio and modeling the means to construct it. I studied building materials and structural methods, communicating them through detailed technical drawings. I learned how to use Adobe Illustrator and Rhinoceros for drawing and modeling.

The tower library would be primarily constructed using glulam beams, insetting the staircase into the walls for structural support, and reinforcing the roofs to make them safely inhabitable.

Glulam Column, 1’6” x 1’6” Glulam Support Columns

Glulam Landing Glass Window, 1/2” x 4’0” x 4’0” Glulam Column, 1’0” x 1’0”

Glulam Landing, 5’0” x 5’0” x 1’0”

Glass Wall, 1 1/2” Raftors, 2” x 6” Glulam Fins Gravel Wooden Steps, 5’0” x 1’0” x 6” Glulam Cantilever, 1’0” x 1’0” x 5’0”

Glulam Bookshelves, 20’0” x 1’0” x 1 1/2”

Drainage Mat Waterproofing

Foundation Wall

Slab on Grade Continuous Footing

Gravel Draiange Pipe

1 34’0”

Skylight

Glass

Glulam Column, 1’6” x 1’6”

Interior Finish

Glulam Beam

Treated Wood Curb

2

1 Skylight Detail, 1 1/2” = 1’0”

Glulam Platform

A

Glass Wall B 3

Glulam Bookshelves Glulam Column

Overall: Plan View, 1/16” = 1’0”

2

4

12’0”

Cross Section of Column, 1/2” = 1’0” Glulam Column, 1’6” x 1’6” Glulam Support Columns

-12’0” Foundation Wall

Glulam Landing

Waterproofing

Glass Window, 1/2” x 4’0” x 4’0”

Glulam Beam

Drainage Mat

Glulam Column, 1’0” x 1’0”

Wooden Steps

Glulam Beam Glulam Landing

Glulam Landing, 5’0” x 5’0” x 1’0”

3

Glass Wall, 1 1/2”

Section and Cross Section of Bookshelves, 1/2” = 1’0”

5

Raftors, 2” x 6” Glulam Fins Gravel Wooden Steps, 5’0” x 1’0” x 6” Glulam Cantilever, 1’0” x 1’0” x 5’0” Slab on Grade Glulam Beam

Glulam Bookshelves, 20’0” x 1’0” x 1 1/2” B

Drainage Mat

Overall: Elevation, 1/16” = 1’0”

Foundation Wall

Glulam Beam

4 Glass Wall Detail, 1/2” = 1’0”

Continuous Footing

-20’6”

Waterproofing Face Putty Wood Blocking

Drainage Pipe Gravel

A

A

Library Section, 1/4” = 1’0”

Slab on Grade Continuous Footing Roof Sheathing Raftor, 2 x 6 Rim Joist

Gravel Draiange Pipe

Glulam Beam

Glulam Beam

Glulam Beam

Glulam Columns Glulam Bookshelves

5 Joint: Bookshelf Meeting Column, 1/2” = 1’0”

Support Column

Rim Joist

Raftor

Half Axonometric View, 1/4” = 1’0”

Anchor Bolt Glulam Fin Foundation Wall

Gravel Slab on Grade

Continuous Footing

Continuous Footing

Glulam Beam 6

Gravel Anchor Bolt Concrete

6

Wood Fin Meeting Ground, 1/2” = 1’0”

Overall: Axonometric View,1/16” = 1’0” (Post-and-Beam Structure highlighted)

B Wing Section, 1/4” = 1’0”

TOWER LIBRARY - CONSTRUCTION 13

DETROIT TRAIN STATION Studio, Winter 2007 Julie Larsen UG2 The premise of this project was the integration of a primary and secondary program: a train station and a farmer’s market on a specific site in Detroit, MI. Combining these two programs also meant merging two different kinds of motion: direct and linear (train station) with meandering (farmer’s market.) The building’s form reflects this, being derived from a zig-zag formation overlaid onto two parallel lines, the lines being the train tracks supported above.

At several points one can access the platform on the second level, which has the much simpler circulation of a linear path. This means travelers in a rush need not meander through the station, but can take a more direct route. station model and light study

fusing programs: train station and farmer’s market

+ train circulation

= farmer’s market circulation

form inspiration

environmental impact: rain collection, natural lighting

slanted roof collects would-be runoff

alternating skylights let sunlight into building

rainwater drains into building in double-height spaces, light from canopy above shines into station

light runs counter to tracks on platform level

water runs down wall as “fountain display”

water collected and reused as greywater

incorproating elements into station design

DETROIT TRAIN STATION 15

canopy

N

platform

concept rendering: water walls The two programs are spatially flexible. Short lines of sight with isolated programs for the train station become open, more versatile spaces as one meanders into the farmer’s market. The space is also adaptive; walls can remain as barriers, or lift up to provide space to unload a truckful of goods or for a vendor to set up a table. Changing the perforation of the building’s skin allows the farmer’s market to expand and contract based on the season.

train circulation light pattern from canopy openings

station

closed station circulation (winter) meandering market circulation (summer)

DETROIT TRAIN STATION

Being environmentally conscientious, the building has a special feature: slanted roofs to collect rainwater, which is then used as greywater throughout the station. More than just eco-friendly, it also provides a unique spatial experience. Collected water runs down through transparent funnels into the building, some cascading down sloped walls into drains on the floor. This creates a pleasing aesthetic while also bringing awareness to the importance of re-using water.

canopy

winter - contained market

platform

transition - expanding/contracting market

station

summer - expanded farmer’s market

DETROIT TRAIN STATION 17

HARD-LINE DRAWINGS ARCH 202, Fall 2005 Dawn Gilpin Pre-Architecture ARCH 202 was an introductory course on hard-line technical drawing. I learned to convey ideas through basic graphic representation; specifically, I only used lines, implementing different line weights, line types, and occasionally color. I learned for the first time how to draw and understand different types of technical drawings, including plans, sections, diagrams, one and two-point perspectives, isometric and axonometric drawings.

I learned a variety of drawing techniques to explore objects, space, and ideas. These include using construction lines to construct complex shapes in a calculated and well-measured manner, and orthographic projection to transfer spatial information between relevant drawings.

These techniques not only accurately convey an object or space, but can convey ideas as well.

One project was to draw an orange peel as it shriveled and decayed over time. I conveyed not only the dimensions of the orange peel, but also its transformation, showing the passage of time through composition.

Another project was to dissect a complex object and explain the purpose of its components.

Through construction lines and exploded axonometric drawings of a GameCube controller, I drew electronic signals traveling through a wire, a controller button jumping off the page, and a joystick rotating and controlling the direction of a path.

Lastly, I explored LeCorbusier’s Convent of La Tourette. I used perspective drawings to understand the experience of the inner courtyard, I used colors to indicate connections between diagrams, ideas, and built spaces, and I used photographs to reveal interior spaces, materials, and textures.

HARD-LINE DRAWING 19

GAMECUBE CONTROLLER

HARD-LINE DRAWING

CONVENT OF LA TORRETTE

HARD-LINE DRAWING 21

SEEING SWITZERLAND Traveling Studio, Summer 2007 Julie Larsen, Roger Hubeli UG2.5 “Seeing Switzerland” was both a study abroad and a traveling studio located primarily in Switzerland, with additional traveling through Amsterdam.

The summer semester class had two main projects. The first was to hand draw a 36” x 48” map that explained a particular architectural aspect of Zürich, Switzerland.

The second project was understanding architecture through hand drawing. This was a traveling studio led by professors Julie Larsen and Robert Hubeli; we traveled to various sites with unique architectural elements, and learned how to understand these works of architecture through different methods of drawing.

BRIDGE OVER THE TRAVERSINERTOBEL

Zürich was my first experience living in a city, and I was intrigued by how the city itself seemed to pull me on a route of its own accord.

Hence I titled my map “The Guide to Guiding the Newcomer.” I rode every tramline that ran out of Zürich’s main train station, organizing the city via the tram lines. I used the tram stops as information hubs to explore outward from. Along each route, I sketched a diagrammatic section which indicated the types of areas the line ran through: residential, commercial, urban, or mixed.

At each stop I detailed what architectural cues indicated the newcomer should explore, or opposed exploration by creating physical or social barriers. Cues encouraging exploration included visual accessibility, and direction via signage.

Cues deterring exploration included blocked lines of sight, and accessibility denied via sectional shifts.

Overall, the map serves as a tool for understanding how to effectively create public and private spaces within a city through architectural means.

SEEING SWITZERLAND 23

CASA DEL FASCIO

SEEING SWITZERLAND

VERSAZCA VALLEY

THERMAL BATHS, VALS The second portion of the study abroad focused entirely on hand drawing works of architecture from first-hand experience. These experiences were captured using a combination of renderings and more architectural drawings such as plans, sections, elevations, and diagrams. Through practice we came to understand our sense of scale and how to sketch these technical drawings with reasonable accuracy. We also learned how to use the composition of these elements to communicate ideas and experiences with greater depth than through each isolated drawing alone.

I developed the skill of sketching quickly, mentally isolating the most important spatial lines, and including a few key elements to allow me to complete the drawing at a later time – a skill I maintain as I sketch during my travels around the world.

SEEING SWITZERLAND 25

TRAVELS

SKETCH OF THE TREASURY IN PETRA, JORDAN

Summer 2009 - Summer 2010 Self-Directed Post-Graduation As we become more globally connected, global awareness becomes more important than ever. We can not obtain the same level of understanding and empathy for different cultures without experiencing them firsthand.

I have had the good fortune to travel to a number of countries through architectural study abroad programs, travel scholarships, and on my own initiative post-graduation. These countries include: the Netherlands, Switzerland, France, Germany, Austria, Italy, England, Jordan, Vietnam, Cambodia, Taiwan, and Turkey.

Nedarland

die Schweiz

République Deutschland française

Österreich

Italia

England

Việt Nam

Türkiye

Jerash, Jordan - the present

Jerash, Jordan - the past

TRAVELS 27

Sometimes the most important travel experiences come in the form of tiny Cambodian rice cakes, given as a gift to a curious traveler. Making real connections with real people and reaching across the cultural divide - these are the kinds of experiences which can only exist by truly and fully immersing oneself in a new culture.

It’s about gaining an appreciation for other lifestyles, other perspectives, and other needs and desires that drives people to act the ways they do. This requires actively engaging in a new environment, and not being a complacent traveler.

One way I’ve learned to reach out is through drawing. By taking the time to sit and sketch, I not only grow to more fully appreciate the surrounding landscape and architecture, but I also invite others to engage in conversation. Social barriers exist everywhere, but can be broken by curiosity; I use drawing, which is in many ways universal to all cultures. How else would I have met and spoken with a young boy in Angkor Thom, Cambodia, learned that he grew up in a family with seven siblings, and proudly aspires to one day become a taxi driver like his oldest sister?

TRAVELS

At the end of the day, architecture is about people. At its most basic implementation, architecture is about providing a physical shelter from the elements. Through its more complex forms, architecture is about providing homes, shaping identities, and impacting the social context in which it takes root.

These are not trivial responsibilities; they require a thorough understanding of people, and the care and attentiveness to people’s needs and responses to space.

These actions do not come without controversy, but they are also not options.

They are obligations.

Architecture can and will profoundly affect its inhabitants, whether we are aware of it or not, therefore it is the architect’s responsibility to understand how and to design accordingly.

It is with this responsibility in mind that I design, and plan to continue my education – because above all else, architecture is about people.

TRAVELS 29

SHADOW CANOPY Borrowing Light, Winter 2010 Tsz Yan Ng, Cynthia Pachikara Post-Graduation After graduation, I took and helped teach a class titled “Borrowing Light.” I completed the homework assignments and projects, gave a lecture on the physics of light and met with students outside of class.

The class studied light in art and architecture, and was organized into five sections: focusing on light, the physics of light, exploring different light sources, material interaction, and a final installation.

My final installation was a canopy designed to “capture” the shadows from surrounding trees and effectively project them onto an overhead screen. This was preceded by my source and material projects, shown below.

fishing line

glass “compact fluorescent� bulb rubber stopper leaking glow liquid

perforated screen

different light textures

bowl as source, floor as screen

syringe

A hollow light bulb is filled with glow liquid; over time the bulb drains, rippling the water below and splashing onto a museum board screen. This challenges the way we view light- it starts as a familiar form (the light bulb) and over time the bulb is drained, and the light only exists in splatters on the floor. It also embodies the energy we use, oddly quantifying the light by its escape over time.

glow liquid water

disk

perforated surface that filters the light - bent, like a web smooth, white floor (acts as screen for water/glow liquid light)

SHADOW CANOPY 31

N sunset

sunrise

This pathway is located between two parking lots behind the Space Research Building. The path is rough concrete and it weaves through the woods. On a sunny day, the light passes through the foliage in a speckled pattern on the path; in the winter, the sun casts long shadows from the bare branches. I chose this site because it’s an often used path with a unique quality of light, but removed from any sculptural works found in the more central and populated region of campus.

50 ft 20 m

Space Research Building

SHADOW CANOPY

the structure

the canopy

acrylic leaves and net

tree shadows

leaf shadows

PROJECT COMPONENTS

ELEVATION DIAGRAM

I placed a canopy above the path to catch the shadows of the trees and branches, creating a “shadow screen� overhead. I wanted to draw attention to these shadows, which are otherwise generally ignored or unnoticed. To create greater depth, I wove a series of lasercut acrylic leaves into a thin net and suspended the net a few inches above the cloth.

Light passing through these leaves created familiar and yet surreal leaf-shaped shadows spaced among the natural branch shadows. Additionally, the canopy was supported by a branch-like metal structure sewed into the fabric, which then in turn was fastened to the surrounding tree trunks. In this way the structure was a continuation of the trees reaching out over the path.

shadows on the path

canopy inspiration

light conditions: cloudy sky

light conditions: semi-cloudy

light conditions: sunny

SHADOW CANOPY 33

LAYERING LIGHT Studio, Winter 2008 Dawn Gilpin UG4, Wallenberg Competition UG4 Wallenberg studio was theory-based, meant to be akin to the process of developing a Master’s thesis. We were encouraged to discover and then pursue a specific facet of architecture that strongly appealed to us. This did not culminate in one final design, but instead a series of explorations.

I focused on light, building many studies, including an 8’ x 8’ x 8’ cube with the Northern corner removed. The interior materials were white and reflective, such that the quality of light was the dominant feature of the space. I documented the change in light quality within the space as the sun moved throughout the day in order to understand light as a crucial design element, and emphasize its impact on a space.

LIGHT INVESTIGATION STRUCTURE: FORM, MATERIALS, HIERARCHY, AND CONTRAST form ...controlling and directing light

the form of light’s entrance

materials ...and their interaction with light

als

hierarchy

contrast

...subduing other design elements

...creating deliberate emphasis heavy walls, light light

simple material palette

As a form of energy, nergy, y light has no actual weight; we can n feel hen it this lightness when is contrasted against gainst lls, as thick, heavy walls, in Le Corbusier’s usier’s Notre Dame du Hautt rance e. in Ronchamp, France.

ect direction di direc ectio ion and polarization of light.

Thes se can be translucent or These opaq que e, and result in a mirror or opaque, glare e. glare.

Light’s presence has everything to do with how it enters a space. p Whether through a thin slit in the ceiling or a large bayy window, the form light takes is dictated by its entrance.

materials translucent mater rialss As we tend to take light for granted, it becomes secondary to other elements unless we carefully simplify them. Keeping to a few materials is one way to accomplish this.

Translucent Tran nslu ucent materials allow light to unaltered; these passs through t allow ow for fo or both natural day lighting direct and dir an rect visibility.

light’s canvas/background

o Another way to ht is emphasize light c uses of color.

Colorful lorful light in an otherwise rwise monochrome space is even more striking. iking.

We can’t see light’s form because of its incredible speed, d, so the only ontact with a way we understand its path is when it comes into contact

absorptive materials Absorptive materials prevent the transmission of light and absorb a much greater percentage of light than they re ect, and are therefore opaque.

simple forms

dark materials, bright light light interacting with form, creating shadow w.

Architecture must strive to balance both of these elements. nts.

refractive materials Refractive materials bend the path of light within the material; each wavelength of light refracts at a prisms refract white light into all of its colorful components.

FORMULAS FOR LIGHT DESIGN

omple ex fo fforms orms ccan an n be equa q llyy Complex equally istracctin ng g,, sso o by b kkeepin eepin i g them the h m distracting, keeping mplee- th houg ough o ugh h no le lless ss th ss hought gh out outsimplethough thought he forms ms can showcase showcase sh howcase light light g the nstead of detracting attention. instead

The brightnesss off e light is never more understood than n es an n when it pierces otherwise darkk nts off space. Amounts ative,, light can feel relative, laced d so it’s when placed against a darkk backdrop that we e e understand the brightest brightss and d ks. the darkest darks.

sunrise

sunrise

sunset

sunset

sunrise

sunset

TIME-LAPSE PHOTOGRAPHS OVER 24 HOURS

LAYERING LIGHT 35

sinθi -R λ = ν λ = b i 1 2 = λmax= b θr= θi = ƒ = v = n max ƒ sinθ 2 sinθr T T 2 1 r -R =λ = ν λ = b θ = θ sinθi = v1 = n2 ƒ = -R λ = ν i r ƒ= 2 max ƒ v2 n1 2 sinθr ƒ T v1 n2 v1 n2 sinθi sinθi -R λ = ν b θr= = = ƒ= 2 λ = θr= θi sinθv = n v = n ƒ max 1 T sinθr v2 n1 = vr = n 2 b v1 n2 sinθi ν ν -R b = = λ = = θr θi λ ƒ λmax= = v = n ƒ= 2 λ ƒ max sinθ T T 2 1 r = v1 n v1 n2 sinθi sinθi b -R ν ƒ = θr θi = θi ƒ = = v = n = v = n λ = ƒ λmax= sinθ 2 sinθr T 2 2 1 r v1 -R n2 v1 n2 ν sinθi sinθi -R b = = θr θi λ ƒ = ƒ = ƒv= 2= n λmax= = v = n 2 sinθr sinθr T 2 1 2 1 -R = ν sinθi = v1 = n2 ƒ = -R λ = ν λ = b θ = θ = θi ƒ = r i max ƒ 2 T 2= bλ ƒ sinθr v2 n1 -R λ = ν λ = b sinθi = v1 = n b θ = θ T sinθi v1 n2 ƒ= 2 = v = n i r max ƒ sinθ T sinθr v2 n T LAYERING LIGHT 2 1 r CURVED MIRRORS

FLAT MIRRORS

UNDERSTANDING REFLECTIONS

ANGLE OF REFLECTION

mirror

mirror

mirror

INDEX OF REFRACTION

1

2

2

1

viewer

object

UNDERSTANDING LIGHT SOURCES

viewer

UNDERSTANDING LENSES

incoming light

object

UNDERSTANDING CAMERAS

WAVELENGTH-FREQUENCY CONVERSION

convex lens

point source

light rays

lens

sensor

large source

LENS FOCAL LENGTH

subject

concave lens

COLOR TEMPERATURE

Light behaves spatially within the tight confines of physics, which are well understood and succinctly defined through a language of diagrams and mathematics. This mode of understanding light, combined with the architect’s comprehension of light’s interaction with space, helps to provide a more complete picture of light and it’s behavior.

New technological and material advances allow us to manipulate and harness light in new and unexplored ways, and for this, a solid understanding of physics is crucial. We can redefine light’s role in architecture by giving it scale and by controlling its motion through technology and material. New advancements in architectural design can be achieved by establishing a well-rounded foundation of knowledge in both the sciences and the arts.

There are many compelling reasons to better understand light as an architectural design element.

Psychologically, light is profoundly impactful, elevating a person’s moods and attracting people without fail.

Natural lighting is a key component of sustainable design, where making use of available resources is one of the most basic principles, saving money and creating less waste.

Aesthetically, lighting completely visually transforms a space. Form often dominates the design process, but it is the behavior of light within and outside of a space that truly dictates how the space appears.

layered photographs

On this page are three different theory explorations.

The background is a layered, lasercut acrylic cube containing a fiber optic cable. It challenges our current treatment of light, proposing a new paradigm where light is understood as a controllable material. To the right are two photo sequences showing the passage of time, and construction of 3D space, as a series of 2D images. layered outlines

37 LAYERING LIGHT

METÍS GARDENS AND COMMUNITY CENTER Studio, Fall 2007 Tsz Yan Ng UG3 UG3’s studio project premise was to choose a site in Sault Ste Marie, MI, and re-imagine the site with architecture that combines Metís Gardens and another program of choice. Metís Gardens are a yearly garden competition currently held in Quebec, Canada, now with a hypothetical satellite location in Sault Ste Marie.

Many locals lamented that there were hardly any fun activities in the area – my question of “What is there to do around here?” was invariably met with “Go to the bar. That’s it.” In an effort to increase the livelihood of the community, I chose a community and recreational center as my second program.

N

stage one: diagramming isolated programs

= isolating program by speed: fast meandering rest

initial programmatic diagram (nesting programs)

+

+

community center (at rest)

Metis Gardens (meandering)

athletic/recreational (fast motion)

stage two: integrating programs spatially garden as plane

programs as volumes

+

= garden as buffer, determining visibility exposed/open semi-public hidden/nested

folding planes to scaled volumes

spatial diagram

volume of programs

+ garden plane

ribbon of program

formal relationships to inhabitable space

METIS GARDENS AND COMMUNITY CENTER 39

track

hotel rooms

hotel rooms color garden storage

track

+2

track

archives reading

rock garden

Metis garden

garden median

offices

conference room

track

+1

elevated viewing dock

Metis garden

meandering garden/ outdoor park

shallow pool (water garden)

docking

herb garden

rock garden

locker room

work bays

work bays

Metis garden

w.c.

w.c.

hotel/spa reception

spa docking

workout room vine wall

basketball court

storage

indoor park

exhibition space

kitchen

w.c. docking

exhibition space w.c. deep pool (aquatic garden)

gift shop

reception

Metis garden

N METĂ?S GARDENS AND COMMUNITY CENTER

0

restaurant

Integrating the two programs determined formal design decisions; primarily, the garden functioned as a spatial and programmatic buffer.

The programs within the community and recreational center require some sort of separation; for example, a reading and meditation room must be isolated from basketball courts and running tracks to be at all effective. The garden achieved this by not only acting as a buffer zone between highly contrasting programmatic areas, but by simultaneously enhancing the atmosphere and ambience of each space in turn. Having multiple facets to the Metis Gardens provided a unique garden type and spatial design for each buffer.

Every area has a line of sight to at least one Metis Gardens area, if not multiple areas. These gardens in turn determine the line of sight between programs, isolating quieter areas from more active ones, but maintaining a low profile and open lines of sight for more social areas.

Sault Ste Marie experiences all four seasons, with an especially cold, snowy winter. While the cold climate limits the available plants that can grow, it is also an intrinsic property of the site itself. For this reason, there are both indoor and outdoor gardens, which greatly increase the options for the Metis Gardens competition while remaining true to the area.

One last element is the running track that surrounds the Metis Gardens and Community Center. The track exists on two levels, and on each level the track is oriented to face the picturesque views available on the site while running. To allow for some flexibility, and the ability to train on sloped terrain, the tracks also connect via two slanted paths, creating two circulation options: smaller, flat tracks, or a multilevel figure-eight.

METIS GARDENS AND COMMUNITY CENTER 41

METĂ?S GARDENS AND COMMUNITY CENTER CONSTRUCTION

OCCUPANCY DIAGRAMS elevated viewing dock

Metis garden

Construction II, Winter 2008 Neal Robinson UG4

meandering garden/ outdoor park

shallow pool (water garden)

docking

Second semester construction class focused on documenting the construction and structural elements of my UG3 studio design. I further developed the skills introduced in my previous construction class, while introducing a more advanced understanding of construction methods.

locker room

work bays

U

B

w.c.

work bays

w.c.

S-1 archives

S-2 storage

docking

Metis garden

track

track

A-2

S-1

storage herb garden

rock garden

A-3

A-3

A-3

workout room

spa

hotel/spa reception

A-3 reading

R-1 rock garden

R-1

hotel rooms

A-2

R-1

vine wall

R-1 kitchen

A-3

A-3

A-3

basketball court

indoor park

exhibition space

A-3 garden median

hotel rooms

Metis garden

R-1 R-1

B

color garden

R-1 S-1 storage

w.c.

R-1

R-1

B

A-3 exhibition space

docking

A-3

R-1

A-3

M gift shop

B

w.c.

offices

deep pool (aquatic garden)

B A-3

A-2

reception

restaurant

B conference room B

track

track

Metis garden

+1

+2

N

01.01

01.02

02.01

03.01

03.02

04.01

04.02

04.03

04.04

04.05

05.01

06.01

06.02

07.01

07.02

Occupation 1

Occupation 2

Egress

Cost 1

Cost 2

Structure 1

Structure 2

Structure 3

Structure 4

Structure 5

Plumbing

HVAC 1

HVAC 2

Enclosure 1

Enclosure 2

Occupancy and Zoning Egress Cost Structure Plumbing HVAC Skin and Enclosure

EGRESS LEGEND - DIAGRAM

required number of exits in area #

vertical egress (stairs)

exits, fire doors

vertical egress (ramp)

enclosed vertical egress path to egress, length

Donna Marion Unique Name: dcmarion Original Date: 1/17/08 LAB Instructor: Neal Robinson

• • • • • • •

EGRESS LEGEND - PLANS

#’

These drawings were formatted into a book, meant to act as a complete structural synopsis of the project. Here is an example of a page showing egress and plotting fire escape routes.

192’

2

144’

1

Excerpted drawings from various sections are shown on the next page.

1

1

vertical egress on second floor 1

1 2

54’

108’ 1

1 1

80’

1

90’ 2

stairs to first floor

1

118’

120’

2

1

2

1

2

1 1

2

1

1

1

1

1

2

1 1

2

1

2

vertical egress on second floor

1

N

168’ 156’

0

+1

Egress Plans 1/64” = 1’0”, Axonometric Diagram

Investigations were thorough; I studied and created technical drawings addressing each of the following structural elements:

184’

+2

02.01

METIS GARDENS AND COMMUNITY CENTER - CONSTRUCTION 43

1

N

thermal protection

plan with section location -metal paneling on NE and SW facades -concrete thermal mass on NW and SE facades

solar protection

moisture protection

-thick concrete walls act as thermal masses -gaps between metal panels allow for thermal expansion -insulation helps maintain constant temperature on the building’s interior

-capping, sealant and parapet on roof help drainage and prevent leaks -weep hole in mullion prevents water buildup -grooves in metal panels and concrete walls encourage proper drainage -waterproofing, drainage mat, and drainage pipe protect the foundation

glazing detail

-thick concrete walls limit direct sun exposure to the interior, but allow sufficient reflected and ambient light to enter, and act as thermal masses -metal panels act as overhangs, lessening direct sunlight

-windows between metal panels -glass held with pressure bar -weep hole for water drainage

CONSTRUCTION DETAILS 2

METIS GARDENS AND COMMUNITY CENTER - CONSTRUCTION METĂ?S

girder

sub-girt

bolt

gap for thermal expansion

inner sheet metal

column

metal panel

high density insulation

sub-girt

bolt

metal decking

metal cap sealant

thermal insulation

parapet

GENERAL FLOOR PLANS

roof cap

3

Constant Air Volume (CAV) Multizone [Intake] Constant Air Volume (CAV) Multizone [Exhaust]

minimize first cost minimize operating cost maximize control of air velocity and quality maximize individual control over temperature minimize system noise minimize visual obtrusiveness maximize flexibility of rental space minimize floor space used minimize floor-to-floor height minimize system maintenance

variable air volume (VAV)

single duct, constant air volume (CAV)

X X

X X X

HEATING/COOLING SYSTEMS Variable Air Volume (VAV) [intake]

Variable Air Volume (VAV) [Exhaust]

X

X X X

X X X

fan-coil

VAV induction hydronic convectors

closed-loop heat pumps

packaged terminal/ through-the-wall units

secondary structure

tertiary structure

[main source of the building’s stability, carries loads from the building into the ground]

[spans the primary structural components, helps carry loading horizontally]

[supports building skin and connects it to the primary and secondary structures]

foundation continuous footing beams girders

metal decking concrete slabs concrete finish

vertical mullions horizontal mullions N

STRUCTURAL PLAN

X X

X

--

X

X

--

--

X

----

---

X X X

multizone terminals

primary structure

---

X

PRIMARY, SECONDARY, TERTIARY STRUCTURES

X X X X X X X

X X X

24” min

KEY

+2

X X

36” 12” min

+1

0

60” 30” min

30” min

12” min

24” min

36”

drainage pipe

foundation

drainage mat

anchor bolt

steel angle

30” min

column

outer sheet metal

inner sheet metal

outer sheet metal

insulation

high density insulation

60”

PLUMBING/BATHROOM DETAIL

METIS GARDENS AND COMMUNITY CENTER - CONSTRUCTION 45

Donna Marion ---.---.--dcmarion@umich.edu

thank you!