Paths of Circulation

paths of circulation christopher osterhoudt

Applicant: Master of Architecture

portfolio l p. 4

B.S. Arch. present

l 2012

2009-2013 2010

dissolving circulation into structure unprogrammed space

vortex: a society of rooms

dissolving circulation into adaptable space

part of a collaborative project known as “The Living Wall�

the hoover

a study of circulation through constructed space

constructed circulation

a stance on architecture

paths of circulation

p. 5-7

p. 8-15 p. 16-19

2011

christopher osterhoudt

p. 20-23

2011

10 jane court, stafford, va 22554 2012

l 2012

cwosterh@buffalo.edu

designing sudden changes in a space based on a book

utopian differences

promoting circulation through materiality and modularizing the form

apartments + urban gardening

dissolving circulation into exhibition space embracing acoustical design with architecture

in collaboration with Buffalo and Erie County Botanical Gardens

botanical gardens expansion

dissolving circulation into structure programmed space

islamic center

p. 24-27 p. 28-37 p. 38-40

2012

l (540)604-8094

Paths of circulation throughout a building, whether vertical or horizontal, are created by establishing an unobstructed and maneuverable space to move from one point to another. Most often, this is done by devoting a considerable amount

a stance on architecture

paths of circulation

of a floor’s area strictly to circulation. These areas are usually surrounded by uniform vertical walls, isolating them from the rest of the building as almost utilitarian spaces.

Hallways and stairwells serve as unprogrammable spaces that infest much of a building’s floor plan, yet simply eliminating them altogether doesn’t seem to do much justice for ordered circulation.

Contemporary designs in architecture should take into consideration the often parasitic nature of hallways and stairwells. The formal design of a building mass can respond by combining circulation with other elements, such as structure or programmable space. Where circulation cannot be faded from view in plan and section, or where it is an absolute necessity to be isolated by code, the paths should be designed just as thoughtfully as the programmable spaces themselves. If a designated path of circulation cutting through a space is justified, then it is significant enough to be fully designed to strengthen, rather than be a hindrance to, the overlying concept of the building itself.

columns are spaced variably throughout the space, close together at the entrance to the exhibition, constricting movement, and then spread out more and more as the viewer walks through the space.

Instructor_ Heather Brand ART313_ Photography: Image, Text, and Sound

1’ x 1’ x 8’ “T” shape

constructed circulation

30 cardboard columns

a study of circulation through constructed space

constructed circulation

ART313_ Photography: Image, Text, and Sound

Instructor_ Heather Brand

a study of circulation through constructed space

constructed circulation

free

constricted

A feeling of constriction at the beginning resembles a hallway; the architecture strictly guides the viewer and can be used for nothing more than a decorative table with a flowerpot.

Moving through the installation, the columns become more spread out, allowing for a more free flowing course of circulation. This space also begins to have the potential to be programmed for uses other than circulation.

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Instructor_ James Ransom ARC102_ Design Studio 2

the hoover

dissolving circulation into adaptable space

THE HOOVER part of a collaborative project known as “The Living Wall” semester 2 design studio team leader and original design proposal by CHRISTOPHER OSTERHOUDT supporting team members PHIL GUSMANO NICOLE NGUYEN ASHLEY RUBINO RACHEL HEFTI KANE LEE OWEN CORRENTI faculty CHRISTOPHER ROMANO SHADI NAZARIAN NICHOLAS BRUSCIA JAMES WILLEMS RANSOM (TA) internet link <http://thelivingwall.blogspot.com>

THE LIVING WALL Installation Exhibit at Griffis Sculpture Park Cattaraugus County, New York Spring 2010 - Fall 2010 photo by christopher osterhoudt

THE HOOVER A basic and minimum dwelling unit, derived by two geometrical shifts in a rectangular prism (6’ tall x 6’ wide x 8’ long), which accomodates sleeping areas for a minimum of three people, with a way to enter and circulate.

The shifts made to create “The Hoover” were cut and shifted at angles that reflected various ergonomic positions of the human body. These angles allowed for comfortable entry, lounging, and sleeping positions. Every space was adaptable for use; no space was strictly devoted to circulation.

Preliminary

Final 10

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modular assembly series final assembly of four elements to form the final product 12

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ARC202_ Design Studio 4

Instructor_ Sergio Lopez-Pineiro

dissolving circulation into structure

vortex: a society of rooms

o

The following designs propose the use of the wall itself as a form of circulation. Rather than acting as a blank barrier between programmable and unprogrammable areas, the wall becomes an occupiable space that allows one to continuously circulate between floors.

Having been rotated a uniform number of degrees, each 6 inch tall square serves as a step in a series of stairs that form the overall structure.

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VORTEX; a society of rooms that uses rotated squares

to not only form walls that enclose a space, but also serve as a way to circulate throughout the space. The four rooms are placed with respect to a single axis of rotation. The vertical axis serves as the point of rotation for every square, creating a sense of continuity and establishing a physical relationship between all the rooms. By sharing a common axis of rotation and being placed atop each other, the circulation formed by the squares of one room can build upon the squares of another room, thereby resulting in a longer path of circulation that guides the user to different spaces.

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19

20 load bearing glass forms occupiable surfaces while also letting light into the mosque

horizontal windows

exploded axonometric

axis of rotation multifunction room

square slabs rotate, mimicking wall rotation

terraced floors

prayer hall

outdoor courtyard

ARC202_ Design Studio 4

Instructor_ Sergio Lopez-Pineiro

dissolving circulation into structure

islamic center

ablution/shoe rooms

reading room

Just as in Vortex, a series of rotating squares creates the form for the Islamic Center, establishing a continuous path of circulation throughout the mosque without taking over any of the floor area. A single axis, represented by the elevator, serves as the point around which all the squares rotate.

1

standard order of circulation in a mosque: 1 2 3 4

3

parking lot shoe rooms (gender separated) ablution (wash) rooms (gender separated) prayer hall

2 a

other spaces: a multipurpose room b reading room b courtyard

5 4

6

proposal for Islamic center 1 2 3 4 5 6 a

parking lot to bottom of site bottom of site up to reading room reading room down to ablution/shoe rooms ablution/shoe rooms up to multipurpose room multipurpose room up to prayer hall bottom of site and parking lot up to courtyard handicapped access to ablution/shoe rooms

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Instructor_ Curt Gambetta ARC302_ Design Studio 6

dissolving circulation into exhibition space embracing acoustical design with architecture

botanical gardens expansion

working in collaboration with the Buffalo and Erie County Botanical Gardens to design an expansion to the existing structure for use as an Orangery and Demonstration Gardens

Upon visiting the Botanical Gardens, the visitor should feel completely immersed in the environment being represented. Vegetation, whether temporary or not, should be planted in the ground, with integrated paths of circulation that weave throughout the exhibits, like a path winding through a forest. Information signs should be dispersed throughout the gardens, constantly keeping the visitor informed about and engaged with the exhibits. Visitors are able to walk right up to the vegetation, able to touch it if safe.

There are no limitations to this sort of museum; no glass panes or walls separating exhibits; the new proposal should be a single enclosure that encompasses a forest of unlimited information.

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th nd pa

ct sou

indire

direct sound path speaker

reflec

concave form reflects and echoes sound waves ideal for loud spaces such as rainforests

ted so

und p

ath

convex form absorbs and evenly distributes sound waves ideal for classrooms and quieter spaces

acoustic behavior

Developing an atmosphere that closely resembles the natural environment revolves around designing for more than just one or two senses.

Sight and touch have already been addressed simply by the paths of circulation and integration of exhibits. Going one step further is the manipulation of sounds to mimick the environments being represented and further develop the placement of programs to make the experience more educational and visually striking.

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One very important aspect of the proposal is the integration of classrooms with the plant exhibitions. A hands on experience is often the most effective way of teaching; therefore a secluded classroom off to the side of the gardens is unrealistic for this proposal. Establishing a classroom (with desks, signs, etc) in the heart of the gardens is in itself easy, the problem comes when trying to control the louder noises of the gardens with the quiet required for a learning environment. A single wall separating the classroom from the gardens solves the noise issue, but also visually separates the two. The solution comes about by establishing one massive undulating enclosure for both the gardens and the classrooms that changes in its curves based on formal requirements.

Sound waves behave in the very same way as light waves; when it hits a surface, it is reflected at the same angle it hits the surface. A concave form, such as a dome, causes sound waves to bounce back and forth multiple times before it reaches the listener. The difference between the direct sound wave reaching the listener and the indirect sound waves that bounce around before reaching the listener is known as an echo.

Because of this bouncing around, concave forms are more appropriate for programs with generally loud noises.

On the other hand, when a sound wave hits a convex form, it hits it only once, bouncing in many directions but never hitting the same surface twice. The sound dissipates in energy quickly and echoes never occur. The result is a space that is comparitively quieter, and is appropriate for those programs where loud noises are unacceptable, such as classrooms or a library.

waffle structure

Strong (Loud)

Weak (Quiet) Sound Wave Strength (Dissipation of energy due to air and reverebration)

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ORANGERY

FU_COLD FU_HOT FU_WASTE FU_TOTAL FIXT_CODE

CLASSROOMS SEED LIBRARY

GROW HOUSE

TICKET DESK COAT ROOM

The majority of the proposed design is located below the existing main floor, taking up the area that is currently mechanical space in the basement. This allows for a direct entrance from the parking lot through the existing service tunnel to the north.

The Growing House and Orangery are largely separated from the proposed addition by deep structure, yet paths of circulation connect all the spaces so that one does not have to go outside to travel from one space to another.

Circulation between the proposed addition and the existing structure is established by a 20â&#x20AC;&#x2122; ramp sloping up from west to east, going over the main entrance. From there it is connected to the main floor of the northern most existing house.

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below grade level 5'

10' 15' 20' 25'

50'

100'

ORANGERY

HANDS ON LEARNING

OFFICES

GROWING HOUSE

DEMONSTRATION GARDENS

CAFE

GIFT SHOP, COAT ROOM

at grade level

ARC403_ Comprehensive Design Studio

Instructor_ Brad Wales

promoting circulation through materiality and modularizing the form

apartments + urban gardening

Southern Exposure

Urban Presence 1

Urban Presence

Terraced Form 3

2

Public Entries 4

5 Individual â&#x20AC;&#x153;tweakingâ&#x20AC;?

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Establish cross ventilation + additional natural lighting

6 Established after analysis of vertical penetrations standard in housing

Cisterns

Egress

Structure 8

7 ANALYSIS: Vertical penetrations in a standard apartment building -Egress Towers (2 min.)

-Elevator shaft -Fire separation between units - S t r u c t u r e ( c o l u m n s o r

shear walls) -Air ducts (supply + return) - W a s t e p i p e s ( t o i l e t s +

kitchen sink) -Water pipes (sinks, tubs,

t o i l e t s , s p r i n k l e r s , fridge) -Electric cables -Exhaust vents (kitchen + bathroom) -Chimney for boiler

Wet Walls

All ground based, load-bearing tubes

Services 9

Circulation 10

Utilitarian aspects located between tubes

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Mechanical room for freight elevator Vertical circulation and egress are provided by load bearing tubes that extend below grade to the parking level

Green Roof Terraces provide a space for tenants to grow their own crops for individual food supply, as well as providing super-insulation to apartment units below

Load bearing tubes that penetrate through units are serviced with all plumbing services for the units, allowing for 100% vertical piping from the service spaces in the basement to the roof

LOAD BEARING TUBES

“Cardok” vehicle elevator

Egress Stairs Areas of Refuge 2’ x 4’ concrete beams are anchored at the load bearing tubes, providing support for the hung tubes

All load bearing tubes extrude below grade, and those spaces below grade are used for services, locating water chillers, boilers, ventilation, and gauge/valve rooms

HUNG TUBES

2 Hour Fire Rated Walls (required by code)

Parking Level (below grade)

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*Note: 3 hour fire rated construction provided

by C.I.P. concrete structure

The main structure is provided by 2’ x 4’ concrete beams, which are poured in place as the ground based tubes are being poured. The “hung” tubes are then cast around these concrete beams, giving the final form.

All corridors that connect units and the spaces within each unit are located between the tubes, allowing all the space within each tube to be used programmatically. Each corridor is made of translucent floors and ceilings and transparent walls, allowing significant natural lighting to enter the units while still providing some privacy.

1. ROOF 6” Engineered Soil with plantings (Thickness varies, dependent on planting) Filter Fabric 3” Reservoir Layer with Optional Aggregate 1” Moisture Retention Layer 1” Aeration Layer 1/4” Drainage Layer 1/4” Root Barrier 1/4” Protection Course 1/4” Waterproofing Membrane 2” Concrete Topping 4” Corrugated Metal Decking 8” Steel I-Beam 2” Rigid Board Insulation 2. INTERIOR FLOORS 2” Concrete Topping 1/2” Hydronic heating tubes 4” Corrugated Metal Decking 2“ Rigid Board Insulation 8” Steel I-Beam 2” Rigid Board Insulation 6” Dropped Ceiling system w/ sprinklers 3. EXTERIOR FLOORS (EXPOSED ON BOTTOM OF TUBES)

4. INTERIOR PARTITIONS Frosted Channel Glass (10” wide x 4” deep x 1/2” thick) 5. EXTERIOR WALLS 8” Cast in Place Concrete (Outer Tube) 1” Air Barrier 2” Rigid Board Insulation 2” Vertical Wood Panels (Inner Tube) 6. REINFORCED SITE CAST CONCRETE BEAMS 24” x 48” (in section) Site Cast Concrete Beam Reinforced by #4 Stainless Steel Rebar (56x) 7. CONNECTION BRIDGE FLOOR AND ROOF 3 layers of 1/2” Frosted Glass Panels (25% Transparency) 8. CONNECTION BRIDGE CURTAIN WALL Triple Glazing 9. STOREFRONT (FARMER’S MARKET FACADE) Clear Channel Glass (10” wide x 4” deep x 1/2” thick)

Water Cistern

"CarDok" Car Elevator

1

Ground Floor

Level 4 1/8" = 1'-0"

Third Floor

1

Level 6 1/8" = 1'-0"

2

Level 5 1/8" = 1'-0"

Fifth Floor

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Instructor_ Heather Brand ART313_ Photography: Image, Text, and Sound

designing sudden changes in a space based on a book

utopian differences

In a world where everything is kept the same to establish a utopian society, where everyone sees in black and white to avoid differences, a young boy suddenly begins to see the color red. He has no concept of color, however, and he struggles to mentally grasp the sudden change in the way he interprets his world.

In this installation, 500 white balls are strung on a uniform grid, establishing a utopia similar to that in â&#x20AC;&#x153;The Giverâ&#x20AC;?. Eight orange balls are strung randomly amidst this utopia, each of which are out of reach of the viewer. In this sense, just as the little boy in the story cannot mentally grasp the color changes, the viewer in this exhibit cannot physically grasp the color change.

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