JUDD HIGH RISE
GUNN CHAIYAPATRANUN GERARD DAMIANI ASOS FALL 2018
PHENOMENOLOGY One of the aspects of Judd’s work that inspired the design of my museum annex is a concept called phenomenology, that is the study of how phenomena appear in object-oriented, or “intentional” consciousness. Judd achieves this by his meticulous use of spatial alignments and relationships between objects and the environment in which they situate, which is best seen in his architectural works and interventions. At 101 spring street, his kitchen epitomizes this technique, where the horizontal lines or heights of the window sill and mullions dictate the heights of door openings, furniture and even the size and positioning of canvases. This careful alignment renders the ordinary, phenomenal, and I wanted to translate this effect to an architectural scale, one that can be experienced at street level. To do so, I imitated the Judd Foundation’s floor heights in my building to emphasize the conversation between the two which also coincides with Judd’s interest with mirroring and reflection. Donald Judd, 101 Spring Street, New York City (Kitchen, Level 2)
MIRRORING THE JUDD FOUNDATION
PROGRAM
SCALES
RESIDENTIAL
LOCAL | NEIGHOBORHOOD | CITY
GALLERY
PHENOMENOLOGY
LEVEL 1
LEVELS 2-3
LEVELS 4-5
The mirroring of the Judd foundation was not only limited to the larger scale, but also translated down to the facade details. The castiron facade of the judd foundation increased in width and complexity as it progresses upwards, with classical pilasters as decorative motifs. In a similar manner, a Miesian approach was used, by adding decorative metal channels and beams to the facade. The final design used a series of abstractions on Judd’s later extrusion artworks to add a level of depth and complexity on the facade.
JUDD FOUNDATION
ITERATION 1
ITERATION 2 (JUDD EXTRUSIONS)
PHENOMENOLOGY Judd also reinforces the reading of his spaces by tailoring artworks to the proportion of the space or room that houses them and by treating architectural features as objects in a larger space. In a similar fashion, the main staircase in the museum lobby is proportional to the area of the lobby, and its solid appearance emphasizes its presence as an object in the space.
Donald Judd, 101 Spring Street, New York City
PROMENADE
M
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R
C
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GALLERY LOBBY
S
RESIDENTIAL LOBBY
SITE PLAN
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GALLERY LOBBY
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One of my main moves after mirroring the Judd foundation was inverting the hierarchy of the foundation’s circulation. At the foundation, the main circulation of the galleries is tucked away in the interior wall, where there is no sunlight, and an iron fire escape attached on the facade (show in red dashes in site plan). Instead, I brought the main circulation out where the mirrored fire escape ladder would be, and tucked the egress core where the main Judd Foundation circulation would be. This not only improves the experience of the promenade through the galleries by allowiing the visitors to experience their surroudning context, but also gives them the sense of the promenade by adding the experience of not only seeing but also being seen by pedestrians at ground level when traversing the stairs.
JUDD FOUNDATION
M
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R
0 2 4 1/8” = 1’ - 0”
SITE PLAN
8
12
20
28
More details on plans, next page.
JUDD FOUNDATION
MUSEUM ANNEX + RESIDENCES GUNN CHAIYAPATRANUN
LEVEL B2
LEVEL B1
LEVEL G
LEVEL 2
FLOOR PLAN
LEVEL B2
LEVEL B1
LEVEL G
CURATORIAL OFFICES
ART + BOOK STORE
GALLERY + RESIDENTIAL LOBBIES
MECHANICAL FLOOR
REFLECTED CEILING PLAN
LEVEL 3
LEVEL 4
LEVEL 5
LEVEL 6
LEVEL 7
LEVEL 2
LEVEL 3
LEVEL 4
LEVEL 5
LEVEL 6
LEVEL 7
GALLERY 1 | CONTEXTUAL
GALLERY 2 | CONTEXTUAL
GALLERY 3 | CONTEXTUAL
GALLERY 4 | WHITE BOX
GALLERY 5 | DAYLIT
RESIDENTIAL 1+2 | INTERLOCKING DUPLEX
LONGITUDINAL SECTION
LEVEL 8
INTERLOCKING DUPLEXES AND PENTHOUSE UNITS
SECTION 1
SECTION 2
LEVEL 8
0 2 4
8
12
20
28
1/8” = 1’ - 0”
ITERATION A lot of Judd’s artworks are dependent on iterations, making them appear redundant at first glance, but unique in their details. Although the gallery floors of the annex are almost identical, the treatment of the finishes of the floor, walls and ceiling are different. In addition, all the residential floors appear almost identical on the facades facing the Mercer-Spring intersection, but as seen in the floor plan thumbnails on the right, every floor is different. Additionally, the residences are organized into sectionally interlocking duplexes that add a moment of surprise into the living space, and a more dynamic experience of the space and context.
LEVELS 9 + 10
LEVELS 11 + 12
LEVELS 13 + 14
LEVELS 15 + 16
RESIDENTIAL 3+4 | DUPLEX
RESIDENTIAL 5+6 | DUPLEX
RESIDENTIAL 7 | TWO-LEVEL PENTHOUSE
RESIDENTIAL 8 | TWO-LEVEL PENTHOUSE
0 4 8 1/16” = 1’ - 0”
16
24
40
56
Donald Judd, 100 Works in Mill Aluminum, Marfa, Texas | An example of seemingly redundant yet thoughtful iteration.
EGRESS STAIRS
VIERENDEEL TRUSS CANTILEVERS PENTHOUSE KITCHEN
EGRESS STAIR CORE RESIDENTIAL FLOOR STRUCTURE SHEAR WALLS OFFSET OR ROTATED 90°
ELEVATOR SHAFT
RESIDENTIAL LEVELS INTERLOCKING DUPLEX TENTH FLOOR STRUCTURE WALLS ALIGN WITH VIERENDEEL STRUCTURE BELOW
MECHANICAL FLOOR VIERENDEEL STRUCTURE [CLAD] TYPICAL FLOOR STRUCTURE CANTILEVERING STEEL FRAME GALLERY SEQUENCE
THIRD FLOOR STRUCTURE CANTILEVERING FROM LOAD-BEARING CORE AND WALLS
EGR
MU
ESS
SEU
FIRE CURTAIN LINE
EGR
ART + BOOKSTORE
RES
ESS
IDE
CURATORIAL OFFICES
SEQUENCE | CIRCULATION
NT
ENT
ME
PAT H
NTR
RESIDENTIAL ELEVATOR & EGRESS LOAD-BEARING CORE
ANC
E LOAD-BEARING WALL
PAT H
RAN
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CORE
STRUCTURE
“Now painting and sculpture are less neutral, less containers, more defined, not undeniable and unavoidable”
These two quotes can be read as contradicting, because a building is by definition, a container. So to compromise between the two, at ground and lower levels, marks of the construction of the building are left exposed and celebrated. Light, sprinkler and air ducts and pipes are also exposed. The concrete is rough and the welded metal stair is rusty and unpolished. As you progress upwards through the galleries, you are more and more removed from the smells and noises of vehicle and pedestrian traffic, and the architecture is also finer and more polished, with wood finishes and finer wall plaster and concrete treatment. The topmost gallery floor (level 6) is a frosted glass box, where one can enjoy artwork in natural daylight, yet at the same time, be removed completely from contextual distractions.
“I pay a lot of attention to how things are done, and the whole activity of building is interesting”
Donald Judd, “Specific Objects” and Oral Interview
HIGHER GALLERIES
HIDE ARCHITECTURE
“Now painting and sculpture are less neutral, less containers, more defined, not undeniable and unavoidable”
SHOW ART
SHOW ARCHITECTURE
“I pay a lot of attention to how things are done, and the whole activity of building is interesting”
SHOW ART
GROUND LEVEL
Donald Judd, “Specific Objects” and Oral Interview
NOISE POLLUTION VISUAL DISTRACTION
+ 132.0’
RESIDENTIAL UNIT SECTION 2
+ 121.5’
RESIDENTIAL UNIT SECTION 1
+ 93.5’
MECHANICAL ROOM
+ 70.5’
DAYLIT GALLERY
+ 60.0’
“WHITE BOX” GALLERY
+ 49.5’
GALLERY
+ 35.5’
GALLERY
+ 21.5’
GALLERY
0.0’
MUSEUM + RESIDENTIAL LOBBIES
- 11.0’
ART + BOOKSTORE
- 24.0’
CURATORIAL OFFICES
LONGITUDINAL SECTION 0 1 2 1/4” = 1’ - 0”
4
6
10
14
LEVEL 2 GALLERY | CONTEXTUAL
LEVEL 5 GALLERY | “WHITE BOX”
LEVEL 6 GALLERY | DAYLIGHT
MERCER STREET
0 24 1/8” = 1’ - 0”
81
22
02
8
SPRING STREET
0 24 1/8” = 1’ - 0”
81
22
02
8
Mid-Review Model & Renders
More, higher quality model photos after break.
BIBLIOTHEQUE NATIONAL DE FRANCE | HENRI LABROUSTE
Predesign Precedent Study Sequence & Promenade | Bibliotheque Nationale de France
LEGEND | HIGHLIGHTED SEQUENCES EXTERIOR COURTYARDS + MAIN AXES MAIN READING ROOMS LABROUSTE BOOKSTACKS INTERIOR SECONDARY + VERTICAL CIRCULATION