architecture
2016
ensam lee
portfolio
01 02 03 04 05
concrete research lab
01-12
scale jump: bookstore
13-24
block towers
25-30
urban courtyard
31-40
sketches
41-44
ensam
lee.ensam@gmail.com 224.456.9469 www.ensamlee.com
ensam ensamlee@syr.edu 224 456 9469 309 Gold St. Brooklyn, NY 11201 https://issuu.com/ensamlee/docs/portfolio-2016
Education
Skills
Syracuse University
Digital AutoCAD, Rhino, SketchUp, Revit, V-Ray, Podium, Photoshop, Illustrator, Indesign, After Effects, Premier
May 2016
Syracuse, NY
Bachelor of Architecture Dean’s List GPA: 3.58 Music Performance Minor - Cello Lake Zurich High School 2011
Lake Zurich, IL
National Honor Society Editor-in-Chief of Yearbook High Honors Roll GPA: 3.5/4.0
Physical Lasercutting, 3D Printing, Paper cutter machine, Foam cutter Hand Drafting Vellum, Mylar, Ink, Graphite, Watercolor Languages Fluent in English and Korean Proficient in Spanish
International Studies
Experience
From Shoji to SANAA: Japan-ness in Architecture
Perimeter Architects Internship
Summer 2013
Japan
Rubin Global Design Studio: Taipei Spring 2013
NYC + Taiwan
Florence Studio Fall 2014
Italy
Awards + Recognition
2015
Chicago, IL
Render study views Build study and final models Prepare drawing sets Site survey and drawings Research Internship 2014
New York, NY
Syracuse University Chancellor’s Scholarship
Research industrial zones in major cities Create graphics for book by Nina Rappaport
Syracuse University Cutler Scholarship
Cube Tomato_BNB Magazine
Syracuse University Ringer Architecture Study Abroad Scholarship
Translator of articles from Korean to English Graphic design for publication
2011-Present 2013
2014
National Society of Collegiate Scholars Here & Away: Networked Places Exhibition
2010-Present
Schaumburg, IL
Syracuse University Events Team 2014
New York, NY
2012
Prepare lecture events for Fischer Center
Interests
YWAM
Cello Former Chicago Youth
Member of house build project Constructed house for family in a week
Symphony Orchestra Principle
Photography DSLR Private Pilot 100+ Hours of ight time
2012
Guadalajara, Mexico
01
balancing opposites This project is located in Syracuse, NY and uses concrete as its primary building material, which is fitting as the project is a concrete research lab. Taking advantage of the high bay, which is the central function, the concept focuses on balancing loudness and quietness. This is expressed both acoustically and visually so that users can experience the drastic differences as they move throughout the building. The intersecting, stacking concrete tubes help reinforce the concept.
02
PROJECT STATEMENT: Distance doesn’t have to be the key factor in separating quiet spaces from the loud ones. Materiality, the size of the forms, and even the orientation of the spaces can all become tools in creating fluidity between spaces that may be quiet versus loud. In a concrete research lab there is a wide range of types of spaces. Some, like the high bay or the workshops, are loud by nature while others like the offices and labs require a quieter environment. However, overall the research lab must remain homogenous and fluid due to the fact that the within a research lab, where new studies and discoveries are constantly underway, the possibility of encounters becomes extremely valuable. As a result, the concrete research lab is imagined as a large encompassing volume of ‘loud space’ with the high bay acting as the central spine in the volume. Within this larger ‘loud’ volume pockets of ‘quiet’ spaces are then subtracted and therefore sit embedded within louder spaces. The formal results of this approach are long tubes made of concrete that are embedded within a prismatic volume that face outwards. The faces that are within the loud space are made of concrete and their thickness and texture help reflect the sounds in the high bay and workshop areas away from the offices and labs. The tubes are stacked on top of each other in pairs in order to create pockets of spaces in between each layer that then provide the platform for the loud spaces like the workshops. The center vertical space becomes an atrium that becomes the high bay where the crane operates. Structurally, the slabs of each floor are supported by vertical members spaced apart 20’ or 30’. On this 20x30 grid the 2 vertical cores on opposite corners of the tubes’ intersections become significant as vertical support, bracing, and also carries systems up from the basement to each level. The elevator core plays the same role in one of the remaining 2 corners and the last corner is supported by a load bearing wall. In the space between the tubes (workshops) a steel column supports the span. The cantilevers at the outer corners are restricted to 15’ maximum. In the end, the research lab becomes a building that can be read as both a singular stacked volume as well as multiple pockets of spaces that intertwine with one another. The user of the space is then able to traverse from a loud space into a quiet space and vice versa fluidly. However, one would experience the drastic difference between the loud space (outside the tubes) and the quiet space (inside the tubes) through the interior finish, or the lack of in the case of the loud spaces like the workshops, as well as the acoustic differences the user would experience moving from outside the tube or vice versa.
the site SITE PLAN
N
SCALE: 1/32” = 1’-0”
Located in downtown Syracuse, the research lab shares the same block as the Center of Excellence and therefore continues the same landscape strategy as the existing building.
03
floating pods
The intersecting tubes create a sense of floating spaces in section. This reinforces the concept of pods of ‘quiet’ spaces within a larger ‘loud’ space.
a TOP ROOF LEVEL TO TOP OF CONCRETE SLAB ELEV: + 71’-3”
LOWER ROOF LEVEL TO TOP OF CONCRETE SLAB ELEV: + 67’-3”
LEVEL 3 TO CONCRETE FINISH ELEV: + 43’-4”
LEVEL 2 TO WOOD FINISH ELEV: + 30’-4”
c
LEVEL 1 TO CONCRETE FINISH ELEV: + 17’-5”
GROUND FLOOR + 0’-0” ELEV: -
BASEMENT LEVEL TO TOP OF CONCRETE SLAB ELEV: --10’-5”
04
loud The entire building is thought of as a loud space with the high bay as the spine in the atrium. The labs continue that central loud space and the concrete is left exposed as well as the systems to reinforce the idea of loudness.
quiet The administrative offices have a different and more polished aesthetic than the labs and high bay space. Here, most of the concrete is hidden by wood finishes and the systems aren’t show.
05
DETAILED FACADE SECTION + ELEVATION
detailed section This drawing looks at the methods used to hide or expose the systems throughout the building. It also reveals the raised parapet that hides the machinery on the roof thus creating a clean outline from the ground level.
SUMMER JUNE 1ST
% 80.4+ 72.4 64.4 330°
18 15
56.4
345°
315° 1167
300° 19
48.4
N
40.4
14
285°
13
32.4
15°
24.4
12
16.4
270° 11
30°
8.4 10
0.4 09
45°
08
07 06 05
60°
75°
210° 90°
195°
105°
180°
120°
135°
165° 150°
WINTER
DECEMBER 1ST
% 80.4+ 72.4 64.4
330° 345°
315°
300°
56.4 48.4
N
40.4 285°
15°
32.4 24.4
270°
16.4
30°
8.4 0.4 255° 45°
240°
16 15
60° 14
13 225° 12
75°
11
210°
10
90°
09
195°
08
105°
2
1/4” SCALE
121’-0” 60’-0”
FORMAN AVE
21’-0”
20’-0”
7
26’-2”
6
5
4 c 8
2
2
1/4” SCALE
1/4” SCALE
3
9 b
1
1
2
1/8” SCALE
1/8” SCALE
a
a
TUBE IS ELEVATED 2 FT FROM THE GROUND AND OPENING IS MADE TO ALLOW ELEVATOR TO LAND AT GROUND LEVEL
b
STEPS BRING USER BACK UP TO LEVEL OF TUBE AND FIRE DOOR IS IN WALL FOR EMERGENCY CLOSE OFF
07
2
E WASHINGTON ST
1/4” SCALE
1
HVAC SYSTEM DIAGRAM:
ALL THE REQUIRED SYSTEMS LIKE THE ELECTRICAL UNITS, PIPING FOR WATER, AIR SUPPLY AND RETURN, PLUMBING, ETC. START OUT IN THE BASEMENT. THEY MOVE UP THROUGH THE TWO VERTICAL CORNERS AT THE OPPOSITE CORNERS AND THEN SPLAY OUT TO EITHER SIDE RUNNING ALONG THE BACK WALLS.
121’-0” 60’-0” 10’-6”
20’-0”
20’-0”
20’-0”
20’-0”
10’-6”
21’-0”
20’-0”
AIR SUPPLY AIR RETURN
MEETING ROOM 390 SQFT
+ 10’-6”
2 VERTICAL CAVITIES FOR DUCTS
1
4 3
26’-2”
2
EGRESS:
THERE ARE TWO MEANS OF EGRESS. ONE LEADS DIRECTLY OUTDOORS WHILE ONE EXITS THROUGH THE LOBBY. THE MAX DISTANCE TO EGRESS IS 110’.
WOOD WORKSHOP 1400 SQFT
+ 12’-0”
TERRACE
BATHROOM 120 SQFT
FIRE STAIR 1
130 SQFT
+ 10’-6”
20’-0”
EXIT DISCHARGE
OFFICE
121’-0” 40’-0”
VERITCAL CORE 1
FIRE STAIR 2 VERITCAL CORE 2
+ 10’-6”
20’-0”
EXIT DISCHARGE
ELEVATOR CORE
TERRACE
STRUCTURE:
THE STRUCTURE IS ON A 20’X30’ GRID WITH THREE CORES BRACING THE INTERSECTING TUBES AND TAKING ON THE MAJORITY OF THE LOAD WHILE THE SPANS BETWEEN THE TUBES ARE BROKENUP BY STEEL COLUMNS AND LOAD BEARING WALLS.
ELEV. 1
26’-2”
VERTICAL CORE 1
TERRACE
TERRACE
ELEV. 2
ELEVATOR LOBBY 260 SQFT
+ 10’-6”
METAL WORKSHOP 1400 SQFT
+ 12’-0”
LOAD BEARING WALL VERTICAL CORE 3 CONCRETE SLABS
VERTICAL CORE
10’-2”
STEEL COLUMNS
EXEC. OFFICE 205 SQFT
+ 10’-6”
VERTICAL CORE 2
08
reflected ceiling plan
level 3 plan Offices are lined towards the back wall of the concrete tubes with views out through glass walls. The larger overhangs are meeting rooms, the smaller ones are terraces.
The reflected ceiling plan shows the backbone of the systems lined towards the inner walls with the vertical cores being their access points.
121’-0” 60’-0” 10’-6”
20’-0”
20’-0”
20’-0”
20’-0”
20’-0”
10’-6”
1
MEETING ROOM
2
METAL WORKSHOP
3
STORAGE CLOSET
4
BATHROOM
390 SQFT + 10’-6”
1400 SQFT + 12’-0”
10
6 7 8 9
26’-2” 20’-0”
HVAC RETURN
40’-0”
121’-0”
METAL WORKSHOP
STORAGE CLOSET 75 SQFT + 10’-6”
EXEC. OFFICE BATHROOM
205 SQFT 120 SQFT + 10’-6” + 10’-6”
5
5
OFFICE
OPEN TO BELOW CRANE OPERATION AREA
RECTANGULAR INLET HVAC RETURN
5
5
130 SQFT
+ 10’-6” WOOD WORKSHOP
RECTANGULAR OUTLET HVAC RETURN
1400 SQFT STORAGE + 12’-0”
10
6
EXEC. OFFICE
205 SQFT ELEVATOR LOBBY + 10’-6”
260 SQFT WOOD WORKSHOP +SQFT 12’-0” 1400
5
HIGH BAY
5 20’-0”
4
HVAC RETURN
390 SQFT + 10’-6”
1400 SQFT STORAGE + 12’-0”
5
4
130 SQFT MEETING ROOM + 10’-6”
10
RECTANGULAR INLET LIGHTING
8 26’-2”
2
5
RECTANGULAR OUTLET
ELECTRICAL WIRING
9
LIGHTING
+ 12’-0”
ELECTRICAL WIRING
ELEVATOR LOBBY
WOOD DROP DOWN CEILING PANELS
260 SQFT + 12’-0”
10 TERRACE
WOOD DROP DOWN CEILING PANELS
10 TERRACE 10’-2”
DROP DOWN CABLE HOLDERS DROP DOWN CABLE HOLDERS 7
LEVEL 3 PLAN
N
SCALE: 1/8” = 1’-0”
LEVEL 4 REFLECTED SYSTEMS DIAGRAM SCALE: 1/8” = 1’-0”
121’-0”
111’-0”
60’-0”
60’-0” 26’-0”
20’-0”
20’-0”
20’-0”
10’-6”
30’-6”
20’-0”
20’-0”
20’-0”
20’-0”
1
21’-0”
21’-0”
1
09
20’-0”
1
2
1 5
24’-5”
N
7
3
4
5
5 26’-2”
9
4 10
OFFICE
3
8
3 6
120 SQFT + 10’-6”
1
7
2
75 SQFT + 10’-6”
5 6
1
21’-0”
1
3
5
5
5
5
5
10’-6”
26’-2”
3 6 4 10
10
5
MEETING ROOM 390 SQFT + 10’-6”
STORAGE CLOSET
4
BATHROOM
5 6 7 8 9
level 2 plan
40’-0”
121’-0”
3
5
5
METAL WORKSHOP 1400 SQFT + 12’-0” 75 SQFT + 10’-6” 120 SQFT + 10’-6”
OFFICE
OPEN TO BELOW CRANE OPERATION AREA
10
STORAGE
EXEC. OFFICE
HVAC RETURN
5
5
130 SQFT + 10’-6”
HVAC RETURN
The second floor is where the lecture hall is located. This floor more public programs before the higher floors become more regular.
10
6
WOOD WORKSHOP 1400 SQFT + 12’-0”
RECTANGULAR OUTLET
9
ELEVATOR LOBBY 260 SQFT + 12’-0”
10’-2”
10 TERRACE
7
LIGHTING ELECTRICAL WIRING WOOD DROP DOWN CEILING PANELS DROP DOWN CABLE HOLDERS
7
LEVEL 3 PLAN
N
The higher floors become regularized but the labs on these floors still have access to the high bay.
RECTANGULAR INLET
8
205 SQFT + 10’-6”
level 4 plan
5
HIGH BAY
5
20’-0”
2
26’-2”
1
20’-0”
4
N
SCALE: 1/8” = 1’-0”
LEVEL 4 REFLECTED SYSTEMS DIAGRAM SCALE: 1/8” = 1’-0”
121’-0”
111’-0”
60’-0”
60’-0”
OFFICE
6
STORAGE CLOSET TERRACE 1
21’-0” 24’-5”
3
5
7
420 SQFT
3 BATHROOM 985 SQFT 1 207 SQFT 10’-6” + +12’-0”
7
6
STORAGE CLOSET
8
40’-0”
9
9
1130 SQFT
135 SQFT + 10’-6” 135 SQFT + 10’-6”
3
150 SQFT + 10’-6”
5
5
5
5
6
2
TERRACE 1501 SQFT 420 SQFT + 10’-6”
2
5
11
LOUNGE
480 SQFT MEETING + 10’-6” ROOM
7
315 SQFT BATHROOM 1 +3 10’-6” 135 SQFT
8
BATHROOM 2
4 TESTING 135 SQFT LABS + 10’-6” 700 SQFT LABS +5 12’-0”
HIGH BAY
OPEN TO BELOW CRANE OPERATION AREA
150 SQFT + 10’-6”
TERRACE 6 STORAGE CLOSET 150 SQFT 270 SQFT + 10’-6”
MEETING ROOM
9 7
11 TERRACE 9 TERRACE 270 SQFT 175 SQFT
10 ELEVATOR LOBBY
30’-0”
560 SQFT + 10’-6”
LABS 12 TESTING 11 TERRACE
10
4
5
5
5
5
5
700 SQFT 175 SQFT + 12’-0”
2 11 LOUNGE 970 SQFT
12 TESTING LABS 700 SQFT + 12’-0”
10’-2”
+ 12’-0” *FIREPROOF GLASS TOWARDS ATRIUM
SCALE: 1/8” = 1’-0”
480 SQFT + 10’-6”
+ 12’-0”
10
*GLASS WALLS AROUND LECTURE HALL
LEVEL 2 PLAN
1
560 SQFT TESTING LABS +8 10’-6” 700 SQFT
LECTURE HALL
+ 16’-0” 2 11 LOUNGE SLOPE OF 4” FOR EVERY 2’ 970*HAS SQFT
N
10’-6”
315 SQFT LOBBY 10 ELEVATOR + 10’-6”
11
510330SQFT SQFT + 12’-0”
CURTAINS AROUND EXTERIOR +WITH 12’-0” *FIREPROOF GLASS ELEVATOR LOBBY 10 510 SQFT TOWARDS ATRIUM + 12’-0”
LABS
20’-0”
1
420 SQFT
7
985 SQFT + 12’-0”
LOBBY 10 ELEVATOR 8 TERRACE 2 9
5
HIGH BAY
OPEN TO BELOW CRANE OPERATION AREA
20’-0”
1130+ 10’-6” SQFT +WOOD 16’-0” WORKSHOP
BATHROOM 2
8
205 SQFT + 10’-6”
LECTURE HALL 6 STORAGE CLOSET 127 SQFT
4
20’-0”
+ 10’-6”
BATHROOM 2
330 SQFT 5 OFFICE
BATHROOM 1
7
20’-0”
+ 10’-6” WOOD WORKSHOP
207 SQFT
3
6
SQFT 127550SQFT +LOUNGE 10’-6”
4
9
5
1
+ 10’-6” TERRACE 2
LOUNGE
4
205 SQFT + 10’-6”
2
8
5
207 SQFT + 10’-6”
2
1
BATHROOM 2
5
7
1
118’-0”
4
207 SQFT + 10’-6”
TERRACE
20’-0”
21’-0”
BATHROOM 1
420 SQFT + 10’-6”
1
20’-0”
26’-2”
3
2
550 SQFT
20’-0”
40’-0”
LOUNGE
10’-6”
30’-6”
121’-0”
2
20’-0”
20’-0”
TERRACE 1
20’-0”
26’-2”
1
20’-0”
20’-0”
26’-0”
N
12
12
LEVEL 4 PLAN SCALE: 1/8” = 1’-0”
10
8 9
WOOD WORKSHOP
7
985 SQFT + 12’-0”
11
TERRACE 2
8
330 SQFT
9
LECTURE HALL
9
1130 SQFT + 16’-0”
specifications
*HAS SLOPE OF 4” FOR EVERY 2’ *GLASS WALLS AROUND LECTURE HALL WITH CURTAINS AROUND EXTERIOR
510 SQFT + 12’-0”
TERRACE 270 SQFT
11 TERRACE 175 SQFT
a
12 TESTING LABS 700 SQFT + 12’-0”
10’-2”
+ 12’-0” *FIREPROOF GLASS TOWARDS ATRIUM
N
7
560 SQFT + 10’-6”
2 11 LOUNGE 970 SQFT
N
9
TESTING LABS 700 SQFT + 12’-0”
10 ELEVATOR LOBBY
10
30’-0”
10 ELEVATOR LOBBY
MEETING ROOM 315 SQFT + 10’-6”
26’-2”
7
LEVEL 2 PLAN AXONOMETRIC SECTION
N
SCALE: SCALE: 1/8” = 1’-0” 3/16” = 1’-0”
12
10
4
5
5
5
5
5
DOUBLE GLAZING CURTAIN WALL IS THEN ENCLOSED IN A THIRD LAYER OF GLAZING THE ENCASES THE AUTOMATIC CURTAIN SHADES. *REFER TO 1/4” SCALE SECTION FOR DETAIL 12
HVAC SYSTEM DIAGRAM:
LEVEL 4 PLAN
ALL THE REQUIRED SYSTEMS LIKE THE ELECTRIC PIPING FOR WATER, AIR SUPPLY AND RETURN, PLUM START OUT IN THE BASEMENT. THEY MOVE UP THRO VERTICAL CORNERS AT THE OPPOSITE CORNERS AN OUT TO EITHER SIDE RUNNING ALONG THE BACK WA
SCALE: 1/8” = 1’-0”
HYBRID COOLER + EXHAUST FAN
TUBES AS QUIET SPACE: bINTERSECTING EQUIPMENT REQUIRED ON ROOF ARE SPLIT BETWEEN TWO
e
PARTIAL DROP DOWN LEVELS ON ROOF ON OPPOSITE SIDES OF THE BUILDING. *THE DROP DOWN IS 4’ IN ORDER TO HIDE THE EQUIPMENT FROM VIEW ON THE STREET LEVEL AND KEEP A CLEAN PROFILE OF THE INTERSECTING TUBES AIR SUPPLY
b
AIR RETURN
c
VENTILATION WINDOWS
d
TRIPLE GLAZED ATRIUM SKYLIGHT THERE ARE TWO MEANS OF EGRESS. ONE LEADS
2 VERTICAL
CAVITIES OPERABLE WINDOWS AT ROOF LEVEL ARE OPENED FOR FOR DUCTS AIRFLOW AND PASSIVE COOLING IN CONJUNCTION WITH THE LOUD SPACE VOLUME: OPERABLE SCREEN FACADES IN LOWER LEVEL.
d
a f
c
TRIPLE GLAZED CURTAIN WALL
EGRESS:
DIRECTLY OUTDOORS WHILE ONE EXITS THROUGH T DOUBLE GLAZING IS USED FOR THERMAL PROTECTION WHILE THE MAX DISTANCE TO EGRESS IS 110’. A THIRD SINGLE PANE LAYER IS USED ON THE OUTER MOST EDGE AT A SLIGHT ANGLE FOR WATER DRAINAGE ONTO ROOFTOP WHERE WATER IS COLLECTED *TWO SMOKE FANS ARE HELD UP BETWEEN BEAMS FOR EXIT DISCHARGE EMERGENCIES FIRE STAIR 1
VERITCAL CORE 1
e
ELEVATOR CORE
WATER DRAINAGE SYSTEM
DISTRIBUTION OF LOUD SPACES:
FIRE STAIR 2 THROUGH A WATER ON THE ROOF SUFACES ARE COLLECTED VERITCAL CORE 2 SLIT DRAINAGE SYSTEM WHERE THE SLOPE IN THE UNDER EXIT DISCHARGE LAYER DRAINS THE WATER OUT A GUTTER AT THE CORNER OF EACH TUBE.
STRUCTURE:
THE STRUCTURE IS ON A 20’X30’ GRID WITH THR
h
g
f
BRACING THE INTERSECTING TUBES AND TAKING ON DROP DOWN CEILING + WOOD FINISH MAJORITY OF THE LOAD WHILE THE SPANS BETWEEN
TUBES ARE BROKENUP BY STEEL COLUMNS AND LO THE SYSTEMS ARE ENCLOSED AND HIDDEN THE DROP DOWN BEARINGIN WALLS. CEILING WHICH IS PART OF THE WOOD INTERIOR FINISH THAT WRAPS THE INTERIOR SPACE OF THE TUBE. THIS INTERIOR ATRIUM WITHINCONTRASTS LOUD SPACE: THE SPACE WITHIN THE TUBE FROM FINISH OUTSIDE IT. VERTICAL CORE 1
LOAD BEARING WALL VERTICAL CORE 3 CONCRETE SLABS
g
BASEMENT + CORE
STEEL COLUMNS
THE STARTING POINT OF THE SYSTEMS (ELECTRICAL, WATER, AIR, ETC.) IN THE BUILDING IS IN THE BASEMENT WHERE ALL THE SYSTEMS ARE BROUGHT TO A CENTRAL VOID IN THE CORES THROUGH WHICH THEY ARE BROUGHT TO EACH FLOOR BEFORE SPLAYING OUT. VERTICAL CORE
VERTICAL CORE 2
a
b
TRIPLE GLAZED CURTAIN WALL
DOUBLE GLAZING CURTAIN WALL IS THEN ENCLOSED IN A THIRD LAYER OF GLAZING THE ENCASES THE AUTOMATIC CURTAIN SHADES. *REFER TO 1/4” SCALE SECTION FOR DETAIL
e
11
HYBRID COOLER + EXHAUST FAN
EQUIPMENT REQUIRED ON ROOF ARE SPLIT BETWEEN TWO PARTIAL DROP DOWN LEVELS ON ROOF ON OPPOSITE SIDES OF THE BUILDING. *THE DROP DOWN IS 4’ IN ORDER TO HIDE THE EQUIPMENT FROM VIEW ON
WATER DRAINAGE SYSTEM
WATER ON THE ROOF SUFACES ARE COLLECTED THROUGH A SLIT DRAINAGE SYSTEM WHERE THE SLOPE IN THE UNDER LAYER DRAINS THE WATER OUT A GUTTER AT THE CORNER OF EACH TUBE. *WATER THAT DRAINS OUT GUTTER IS COLLECTED BY WATER CATERCHER ON GROUND AND A PIPE BRINGS IT DOWN TO THE BASEMENT WHERE IT IS COLLECTED FOR LATER USE
h
DAYLIGHTING ANALYSIS LECTURE
HALL
THE LECTURE HALL IS A SLOPED SPACE WITHIN A TUBE AND IS SUMMER WINTER ENCLOSED IN GLASS WITH CURTAINS ON THE INTERIOR FOR1ST JUNE 1ST DECEMBER PRIVACY DURING EVENTS.
THE FACADE FOR THE RESEARCH LAB CAN BE BROKEN DOWN TO TWO DIFFERENT TYPES. THE GLAZING CURTAIN WALL AND THE CONCRETE SCREEN SYSTEMS. HOWEVER, EACH OF THESE TWO SYSTEMS CAN BE BROKEN DOWN FURTHER INTO TWO SUBCATEGORIES.
%
80.4+ 72.4 64.4 330°
330°
f
DROP DOWN CEILING + WOOD FINISH
IN THE CASE FOR THE CURTAIN WALL THERE IS A THIRD PANE OF GLASS THAT ENCASES AN
315° 1167
18 15
300° 19
56.4
345°
285°
315°
48.4
N
300°
40.4
14
13
15°
32.4
285°
345°
CAL UNITS, MBING, ETC. OUGH THE TWO ND THEN SPLAY ALLS.
S THE LOBBY.
REE CORES N THE N THE OAD
balance Loud vs quiet. Exposed vs hidden. Polished vs rough. These are some of the things that the concrete reasearch lab balances so that the occupants can move throughout the building and experience opposite ends of the spectrum.
% 80.4+ 72.4 64.4 56.4 48.4
N
40.4 15°
32.4
12
14
15
operations & experimentation Form of Module
CONSTANTS
2”
2” 1” 1”
Assembly of Modules
VARIABLES
Final model is composed of 4 modules
Endpoints of cutouts
Shape of Cuts
This project was about formal experimentation through a chosen operation. The operation chosen was layering. By taking a cube and layering it the shifts and cuts that you make on the cube have unexpected results. Moving the layers in different axis and making certain cuts to the cube created a variety of forms. In the experimentation there were specific constants like the size of the starting cube, number of layers, and limits to the cut. The variables of the experiment were the connection points and shape of the cuts while further distinction was made in the variables in later versions of the cube
16
connections Each cube had its unique form, when connected with another cube the form became increasing complex and created interesting spaces both within the cubes as well as between the cubes. A series of studies were done to see which kind of connections made most sense and what kind of operations could make those connections smoother. These studies played a big part in informing decisions made for the bookstore design as well as the Block Tower project.
17
scale jumps
With countless iterations of forms based on the operation of layering, the next step was to imagine what kind of spaces they could be. By stepping up in scale starting from the smallest being a furniture it was possible to imagine various potentials for the forms.
At each scale it became evident which versions of the forms would be more appropriate as well as what kind of program they might have. The scale that this project deals with is at the scale right before the tower.
playful possibilities Imagining the possibilities of the interactions that could take place with these forms at various scales led to playful ones such as this playground. The internal voids, steps, and openings were all opportunities for fun interactions.
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effect of materiality While making various versions of the form in different materials, its strong correlation with the stepping and layering of the form became evident. The spaces withing and the effect of the stepping became varied drastically 20
Stepping was a big component to resolve. It became an opportunity to take advantage of multiple surfaces, allowing occupants to interact with the form itself is multiple ways. 21
surfaces The sculpted surfaces of the bookstore makes the experience one strongly focused on tactility. The steps you take, the steps that are the bookcases, as well as the steps that you sit on are all a result of the sculpted surfaces of the bookstore’s form and this is part of what makes the experience in that space a memorable one.
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surfaces The resulting elevation and spaces of the form as a bookstore led to lots of interesting surfaces. The elevations had expressive depths while the spaces allowed for activities to occur at every level fo the bookstore.
outlines The axons show the unique outlines that result from the form. While the overall outline is that of a cube the design contains lots of interesting moments within.
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The undulating form, stepping, and internal voids of the tower all aim to bring up people, activities, and elements of the city up the tower.
program organization It was important to intersperse major public program throughout the tower so that the once flat plane on which public programs usually take place can now start to work its way up gradual levels. All the public spaces are connected by sky bridges.
Linking the voids
The voids within each tower as well as betweem them were connected to create fluidity in between the three towers.
utilizing The shifting in the form creates opportunities to differentiate the stepping the purposes depending on whether its external or internal.
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public nodes
Throughout the tower’s section major spaces with public program is placed to encourage visitors to travel to higher floors in this vertical neighborhood.
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vertical core study: finding overlaps
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office modules open office
module addition Spacing within each module allows fluid additions
communal spaces
private office
bathroom
example layout 60m x 60m Due to the drastic changes in floorplate from floor to floor a module system was put in place to make planning each floor more flexible. Various module types for each kind of space within the office are made. Adding these modules to one another depending on the floor’s specific needs avoids issues of circulation.
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Plans of the museum portion of the site shown in this render.
Taking cue from the extensive use of piazzas in Italian cities, the urban courtyard project takes the idea of a courtyard and amplifies it to the urban scale. The series of courtyards takes on specific public functions and allows people to wander through these courtyards discovering a different atmosphere in each space. The series of three courtyrards not only provide the public with curated experiences but the linked courtyards shift in a way that allows for the project to negotiate the shifting urban fabric. This is especially important as the site is located in the outskirts of Rome where the historic and modern city grids collide. The courtyards act as the mediators Visitors are encouraged to take new and unique routes through the series of spaces by entering through various points around the site. Throughout their trip, however, the gasometers are the markers that inform them of where they are situated. These decommisioned gasomters act a monuments throughout the site as well as house functions. 31
View within the exhibition courtyard looking out towards the northwestern corner.
shifts in urban fabric
shifting courtyards 32
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Entering into the site from the bridge on the Tiber while looking into the northern edge of project.
One of the main ways to enter into the project is by the bridge over the Tiber. As you enter from the bridge you are in alignment with the northern edge of the built portion of the project. This gives the illusion of an especially deep space. Once you enter into the courtyard, however, the space changes drastically into a very expansive one as you have entered into the exhibition courtyard. This particular courtyard holds sculptures and various public installments as it is an extention of the museum in the northern wall.
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curated views
The musuem is designed so that specific ‘wedges’ have been cut away from the bar of space. These cuts provide views to specific locations both within and beyond the site. These series of views culminate at the top of the gasometer with a panoramic view of Rome.
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The site is located at a point in Rome where multiple city grids overlap. As a result, managing these different systems so that the project seamlessly stitches in with the rest of the city was very important. Multiple points of entries into the site were chosen and the grid systems were negotiated in a way that would allow visitors to fluidly enter, move, and exit the site all the while experience multiple shifts in the city’s fabric. 36
occupying the gasometer
The gasometers that once pumped gas into the city of Rome are now empty structures on the site. Therefore, they have now been designed to hold different functions. The gasometers in the Leisure Courtyard are aviaries while the tallest gasometer is a garden at the ground level and has an open amphitheater at the top of the structure that looks back at the historic center of Rome. 38
monuments within Throughout the entire site there are four decommisioned gasometers that can be seen from any of the three courtyards. They are the monuments within this massive space much like the many monuments in the historic center of Rome. Each gasometer has been given new functions with the tallest of the gasometers being an amphitheater in the sky that looks back towards the historic center of Rome.
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The Leisure Courtyard is the one in the middle that holds the park.
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Tempietto of San Pietro A sketch of the section, plan, and facade of the Tempietto as well as studying the proportions existing in the architecture. 42
Villa Giullia
This sketch looks at the different volumes of space throughout the site as well as the changing levels.
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Villa Rotunda Studying the changing perspective and its effect on the proportions on the facade of the Villa Rotunda. 44
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