2015 spring studio v 5 small p 1 by Wenbo Guo

THE ARTISANS VILLAGE Eatonton, Georgia Conceptual Proposals Presented to the Briar Patch Arts Council

School of Architecture Georgia Institute of Technology

Table of Contents

Introduction and Course Organization

Survey of Eatonton, GA

22 Student Proposals 23 Abigail Aragon 27 Alexandria Davis 30 Andreas Nilsson 33 Brian Nahodyl 37 Chloe Newton 39 Clint Castles 42 Coston Dickinson

Georgia Tech School of Architecture

46 Danny Le

George B. Johnston, Professor Marisabel Marratt, Lecturer Stacy Robinson, Lecturer Wenbo Guo, Graduate Teaching Assistant

49 David Heim 53 Eric Johnson 56 Erica Morgan 59 Jessyca Reese 63 Lauren Zuccarello 67 Matt Peterka 70 Patricia Samartzis 73 Sean Rencurrel

ÂŠ 2015 Georgia Tech School of Architecture All rights reserved. Conceptual project proposals and images contained in this document are the joint intellectual property of Georgia Tech School of Architecture and the individual student authors named herein. This material may not be reproduced in any form for any purpose without written permission.

77 Zachary Hicks

Introduction and Course Organization During Spring Semester 2015, eighteen graduate students in the Georgia Tech School of Architecture led by three faculty members, all experienced architects, worked with representatives of the Briar Patch Arts Council (BPAC) to undertake design studies and proposals for The Artisans Village (TAV) in downtown Eatonton, Georgia. The project was organized in phases in order to properly calibrate the challenges of the project requirements to the experience of the beginning-level student architects. The first phase of the project focused on the accommodation of BPAC’s space requirements within the existing shells of the renovated historic masonry warehouse buildings. A second phase of the project considered a hypothetical scenario in which artists’ housing and an open-air marketplace were proposed as additions to the artisan studios, workshops, retail shop, and galleries. Students considered the entire site as an extended part of the urban fabric and studied how best to knit the renovated warehouse buildings, new artists housing, plazas, and marketplace into the overall experience of downtown Eatonton. The materials presented in this publication document the process and parameters guiding this work, the photographic reconnaissance and measured drawings that the students completed of the downtown district, and the individual proposals that students advanced based upon their particular discoveries and insights about the potential of the project. While none of these proposals presents a definitive “next step” for the Eatonton community, they do demonstrate optimism about the transformative potential of the project, a sensitive and well-considered approach to the rehabilitation and adaptive reuse of historic structures. In addition, they present a wealth of ideas about joining the old and the new and bringing new life, creative production, and economic vitality to Eatonton’s downtown.

Arch 6027 Architecture Core Studio III School of Architecture Spring 2015 Georgia Institute of Technology Instructors: Marisabell Marratt, Stacy Robinson, George B. Johnston (coordinator) Office Hours: Monday/Wednesday 1:00 – 2:00 pm or By Appointment Introduction The broad curricular goals established by the Faculty of the School of Architecture and described for this course in the Georgia Tech Catalog are as follows: Intermediate studies in architectural design emphasizing integrative design strategies that engage the programmatic, contextual, and constructed dimensions of architecture and its representations. Within this general framework, the specific thematic emphasis of this semester’s inquiry and instruction is upon the cultural work of architecture. This focus is meant to reinforce the significance of all those measurable performance expectations that define the architect’s professional responsibility but which are nonetheless only the means, not the ends, to realizing the discipline’s ultimate meaning and ethical purpose. Those aspects of the built world that can be explained and quantified by application of principles of science (stability of structures, properties of materials, flows of energy and environment) and principles of economics (private and public interests, institutional logics, flows of labor and capital) are mere props for achieving the field of architecture’s higher cultural aim: to provide the quotidian and ceremonial stages for people and their socially situated practices. “Culture” in the sense intended here ascribes value to an “entire way of life” and the process by which meaning is produced, not only to the exclusive taste preferences of culture consumers. Appreciation of culture requires a heightened attention to contexts—social, political, historical, material—and to the web of meaningful relationships they weave and construct. The cultural work of architecture is ultimately poetic, to imagine those kinds of shelters (sometimes in the foreground, most times as backgrounds for our lives) which when well-‐realized can help us bind together “memory and passion and hope.” Course Organization and Procedure The semester’s work will be centered in historic Putnam County, Georgia and will focus through two related projects on issues of cultural heritage, cultural tourism, and cultural production with an emphasis upon the role that architects can and must play in conserving, interpreting, and renewing our shared cultural resources and traditions. Project One, of four weeks duration, will envision a contemporary intervention adjacent to a 2000-‐year old Native American archaeological site, one of several of the area’s rock effigies, evidence of the region’s deeply grounded material culture of making and representing for both utilitarian and symbolic purposes. Emphasis here will be placed on two sets of reflexive relationships: between program and site,

each informing and being informed by the other; and the reciprocity between representation and construction as a force propelling design. (20% of course grade) Project Two, of about eleven weeks duration, will address the rich possibilities of a project being proposed in downtown Eatonton, the Putnam County seat, for an artists’ village. Eatonton lies at the intersection of two cultural axes: a string of charming small towns founded in the Federal era running north-‐south from Athens to Milledgeville, the first state capital; and the Historic Piedmont Scenic Byway running east-‐west which pre-‐dates European settlement. This project is seen by local leaders as an opportunity to stimulate economic development by extending the local culture of craft and making into the future and highlighting the region’s literary heritage that includes Joel Chandler Harris, Flannery O’Connor, and Alice Walker. This project will encompass scales of urban, landscape, and architectural design; it will require adaptive reuse of existing structures of historical value and character while inserting new elements to accommodate a range of uses including artists’ studios, apartments, workshops, café, and galleries. A phase of research, gathering, and analysis of contextual and programmatic parameters will inform an iterative design process, visions and revisions using appropriate 2D and 3D representational, modeling, and rendering techniques extending from conceptual through schematic and detail development phases to public presentation. (80% of course grade) Relevant readings, lectures, workshops, and site visits will introduce and supplement each project phase. Each project assignment will include specific scheduling milestones and project requirements. Regular progress toward these objectives will be advanced through individual desk critiques, informal pin-‐ups, and formal final presentations. Course Learning Objectives / Assessment By the conclusion of this course students should be able to demonstrate competence and skill in the schematic design and design development of an architectural project of moderate scale and complexity showing evidence of increasing ability: • through the identification and analysis of project “givens”; • by application of principles extracted from relevant project analogs, precedents, and processes; • by testing and evaluation of alternative design strategies and approaches; • by creative synthesis of lessons learned into design proposals that integrate contextual, programmatic, and constructional responses to satisfy project requirements; and • by deploying appropriate representational modes and media in each of these aspects in order to advance the analysis and synthesis of design parameters and to communicate conceptual, technical, and expressive intents. Student accomplishment will be assessed in light of these criteria, and written feedback will be provided at intermediate phases during the semester (at the end of Project One and prior to mid-‐term for Project Two) and at the course conclusion. Course Expectations In order to ensure a serious and respectful climate which allows creative intellectual freedom to flourish, students and faculty must be guided as a community of mutual interest by the regulations enumerated in the of Georgia Tech Catalog 2014-‐2015:

• Regulations: http://www.catalog.gatech.edu/rules/1.php • Expectations: http://www.catalog.gatech.edu/rules/22.php] Academic Integrity All participants in the course are expected to abide by the terms of the Georgia Tech Honor Code. Within the studio setting, open exchange of ideas, criticisms, and techniques is encouraged and is understood to be part of the cultural milieu of architectural education and practice. Architectural precedents which are significant influences or inspirations for student work should be documented as part of final presentations. When collaborative work is part of the studio pedagogy, students will have the opportunity to offer feedback on their team members’ participation as one part of the evaluative process. Work on individually assigned projects and competitions submitted for a grade should be solely the work of their authors unless prior authorization has been granted. Class Attendance Policy / Retention of Work Georgia Tech’s general expectations with regard to class attendance are described here: http://www.catalog.gatech.edu/rules/4b.php. Successful outcomes within studio-‐based instruction are particularly dependent upon regular and engaged participation. Likewise, the physical work produced within the professional program serves as a crucial form of evidence substantiating the program’s continued accreditation status. For these reasons, the Faculty of the College of Architecture has established this additional catalog stipulation: “All work produced in the College of Architecture as part of a degree program becomes the property of the College; it may be retained or returned at the discretion of the faculty. The faculty also reserves the right to refuse for credit any project executed outside the precincts of the College or otherwise produced without proper coordination with the faculty.” http://catalog.gatech.edu/colleges/coa/index.php Accordingly, students are expected to attend all scheduled studio/laboratory sessions. Absences for personal reasons in excess of three will result in letter-‐grade deductions for the course. Excused absences are granted for those participating in approved Institute activities. Special Needs Any student who feels that he/she may need an accommodation for any sort of disability, please make an appointment to see your instructor during office hours. Alternatively, questions relating to students with disabilities may be referred to the Office of the Dean of Students (ADAPTS Office), 221 Smithgall Student Services Building, 404-‐894-‐2564, 404-‐894-‐1664 (TDD)

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Arch 6027 Architecture Core Studio III Spring 2015 School of Architecture Georgia Institute of Technology

EXAMS

Arch 6027 Architecture Core Studio III Spring 2015

School of Architecture Georgia Institute of Technology

Arch 6027 Architecture Core Studio III Spring 2015

Project Two: The Artisans Village in Eatonton, Georgia Phase One Requirements

§

In pursuit of its ambitious goals aimed at economic revitalization in Eatonton and Putnam County, the Briar Patch Arts Council has initiated feasibility studies for the phased development of The Artisans Village (TAV) in downtown Eatonton. As described in the accompanying materials, the vision for the initiative is “to provide opportunities that attract, encourage and support artistic excellence while celebrating Putnam County’s history, diversity, and freedom of expression.” Within the first phase of schematic design, key facilities are to be accommodated within the existing footprints and shells of two renovated warehouse buildings. Once established, these core facilities will provide the nexus for future growth to be considered subsequently in a second phase of developmental study. For purposes of focusing attention upon what is possible within given constraints, the following guidelines for the Phase One studies apply. Each proposal should: Suggest urban design strategies for creating synergies in downtown Eatonton by considering connections between and among The Artisans Village, the Courthouse Square, and the future home of the Georgia Writers Museum through designed interactions of public and private realms. Treat the entire Phase One parcel (shaded in green in the attached site plan) as part of this extended urban design strategy, giving special attention to inside and outside relationships, the design of in-‐between spaces, and the creation of an integrated building and site experience including possible reconsideration of current patterns of vehicular/service access and parking. Organize the necessary program functions in ways that create purposeful affinities and juxtapositions between and among constrasting

§

School of Architecture Georgia Institute of Technology

Project Two: The Artisans Village in Eatonton, Georgia Phase Two Requirements

and associated uses, for example dirty and clean, open and closed, wet and dry, hot and cold, etc. Explore the introduction of natural light into the structures through judicious interventions and incisions in the building fabric – walls and roofs, doors and windows. Develop design strategies for the sensitive adaptive reuse of (and intervention into) the existing warehouse buildings that both honor their historical, material character and transform them for their new purposes. Explore the possibilities of reconceiving of the project site as a cultural palimpsest in which old and new are brought into an experientially rich and meaningful dialog.

Imagine ten years hence…and the initial phase of The Artisans Village has been a stunning success. The ex-‐ ample of artists and craftspeople working within the sensitively adapted and renewed warehouse structures has led to a renaissance in downtown Eatonton stimu-‐ lating commercial activity, urban infill and building ren-‐ ovations, and a growing regional reputation as the nex-‐ us of a vibrant cultural scene. As a further catalyst to this momentum, the Briar Patch Arts Council envisions the addition of a component of housing for artists di-‐ rectly adjacent to TAV in order to further concentrate the energy and vibrancy of this unique marketplace of artistic production and creative exchange. Working within the boundary footprints of the historic site configuration revealed in the 1921 Sanborn Map, the BPAC imagines a contemporary structure, at once counterpoint and complement in both material and ex-‐ pression to the masonry and timber palate of the build-‐ ings immediately adjacent. The interplay and intermin-‐ gling of the new within the old at both building and u r-‐ ban scales, it is felt, will galvanize the community in its respect for its historic resources while confirming its commitment to a vital and living future for the town. The BPAC asks for creative consideration of how best to organize a series of individual studio apartments each accommodating one or two adults living adjacent to their studios in a manner reminiscent of craftspeople of the past living above/below/beside their shops. De-‐ signers are encouraged to consider what complement of shared amenities would enhance a sense of commu-‐ nity and creativity. Solar orientation and the potential for integration of passive and active solar solutions should be a prime concern. In addition, consideration should be given to alternative provisions downtown for the newly displaced “amphitheater.”

Assigned: 16 February 2015 (Monday) Review: 27 February 2015 (Friday) Minimum Requirements @ 1” = 32’-‐0” Diagrams of urban/site/building relationships @ 1” = 16’-‐0” Site Plan Site Sections/Elevations Spatial / Conceptual Model (to fit site model) @ 1” = 8’-‐0” Building Plan(s) including in-‐between spaces Building Sections / Elevations to describe @ Other scales / 3D Orthographic/oblique/perspective/experiential studies of significant conditions where old meets new, how inside relates to outside

Programmatic Requirements 2 2 20 Live/Work Studio Units @ 800 ft .............. 16,000 ft (500 live / 300 work) (preferably, each unit to include private balcony) Shared Amenities (as required) Entry (or Entries) ............................................ as rqd. 2 Social space ..................................................... 500 ft 2 Fitness Space ................................................... 300 ft Enclosed Courtyard and/or Roof Terrace ....... as rqd. Laundry, Mailroom, Bike Storage, Garbage .... as rqd. 2 Ground-‐level Covered Marketplace .................. 4,000 ft (integrated with Phase One public spaces) Parking (accommodated within existing parking facilities) Assigned ................................................. 02 March 2015 Review .................................................... 13 March 2015 Minimum Requirements @ 1” = 32’-‐0” Diagrams of urban/site/building relationships @ 1” = 16’-‐0” Site Plan Site Sections/Elevations Spatial / Conceptual Model (to fit site model) @ 1” = 8’-‐0” Building Plan(s) including in-‐between spaces Building Sections / Elevations to describe @ Other scales / 3D Orthographic/oblique/perspective/experiential studies of significant conditions where old meets new, how in-‐ side relates to outside

Survey of Eatonton, GA

Eatonton, Georgia is located approximately an hour and half Southeast of Atlanta, in Putnam County. Founded in 1807, the cityhas since become known as the “Dairy Capital of Georgia” due to its large dairy production. However, the city is most known for its literary contributions, bringing forth authors such as: Alice Walker, Flannery O’Conner, and Joel Chandler Harris. The city is also the home of the Rock Eagle Effigy Mound, a Native American archaeological site. The city of Eatonton is a small, but culturally rich area that should be celebrated. 7

The Artisan’s Village at Eatonton, GA A Study on the Pre-exisiting Conditons of the Site: The Core III Master of Architecture Studio’s preliminary investigation on the project site for the Artisan’s Village. The project is seen as an opportunity to stimulate the local economy by extending the culture of craft making into the future. Included in the Artisan’s Village will be studio spaces for a variety of artists, apartments, galleries,workshops, and a cafe. The project will address issues of Historical Preservation, Urban Planning, Landscape, Adaptive Reuse, and Architectural Design.

Building A Overview of the Building and Exterior Views of the Facades Building A is located just off of Eatonton’s main street, North Jefferson Avenue, on East Marion Street. The clients for the project anticipate that Building A will be a suitable location for the studios of the “dirty” artists. The artists working in these “dirty” studios would include: glass blowers, metal welders, and pottery and ceramic makers. These forms of art require high intensity forms of heat in order to create their end products, which is why it is beneficial for these artists to be working in close proximity to one another.

1. Panoramic view of the Southeast corner 2. North Facade-One double door entrance

3. South Facade-Faces East Marion Street and contains one double door entrance

4. East Facade- Faces Building B and contains two double door entances 5. West Facade-Three pairs of arched windows that have been bricked over

Building A Details of the Exterior 1. Windows that have been covered with brick on the West Facade 2. Southwest corner that has been partially replaced with concrete, where brick has been destroyed 3. Metal door on South facade 4. Detail of a typical door hinge.

5. Southeast corner where brick has been painted over 6. One of the metal doors on the East facade 7. Overgrowth coming out of the doors and cracks in the bricks 8. Wooden roof eaves and the connection between the wood structure and the brick wall

8 10

Building A Overview of the Interior Conditions 1. Panoramic View from the North Entance To the left is a chainlink â&#x20AC;&#x153;cageâ&#x20AC;?, in the rear are vintage cars, to the right is a small bathroom with toilet and sink as well as large pile of wood

2. View facing South wall showing the wooden structrual support system consisting of two rows of timber columns supporting wooden rafters 3. View facing the Southwest corner of the building 4. View of the Northern entrance, behind the collection of cars 5. View of the Northeast corner of the building

Building A Details of the Interior Conditions

1. Close up of the wooden structural members which crteat two rows of columns that are 8.5’’x8.5’’ in footprint

2. Industrial looking piping on the South facade 3. One of the doors leading to the exterior along the East wall of the building 4. Detail of the door leading to the exterior of the South facade with a large gap between the floor and the threshold of the door 5. West wall with large pile of unused lumber

6. Brick flooring that runs throughout the entire interior is similar to brick that makes up the walls of the building

Building B Exterior Views of Each Facade 1. Panorama view of the West facade of the building where the main entrance is located

2. North facade-Was once connected to other buildings along the edge of the site 3. South facade -Faces East Marion Street 4. East facade-Adjacent to railroad tracks along North Maple Avenue 5. West facade-Linked to existing parking lot

5 13

Building B Exterior Details 1. Detail of the brick conditions on the Northeast corner 2. Large metal door covering large opening in wall; deteriorating brick above

3. Main entrance located on the west facade; contains two large windows and ramp leading to the door 4. Detail of the brick pattern along the Northeast corner 5. Detail of the wall and roof connection on the Northwest corner 6. Covered opening on south facade 7. Covered opening and window on south facade 8. Connection between brick wall and door

8 14

Building B Interior Views of the Front Rooms The entryway opens up to three small rooms which then leads to a much larger elongated space.

1. Two large windows are located along the western facade of the first room, which is where the entance of the building is located 2. North wall of the first room 3. Secondary room-Transition between main entrance and larger area 4. Entry into the tertiary room-Some mechanical items are located within this room

5. Space within tertiary room housing a small sink and cabinet area

6. Drop tiled ceiling within each of the rooms-Revealing brick and wooden structure

6 15

Building B Interior Views of the South End 1. View of the South wall exhibiting the structrual system sepearting the building into three parts

2. The main doors leading into the large interior space, from the front rooms

3. Detail of one of the covered window openinigs on the South facade 4. Detail of the covered door on the South facade 5. View of the tertiary front room that leads to the large interior space 6. View inside the small room in the Southeast corner of the building

6 16

Building B Interior Views of the North End 1. Condition of the room on the Northwest corner of the building

2. Wooden partition separating the room from the larger interior space 3. Exposed brick of the North wall between two of the smaller rooms 4. Small room on the Northeast corner of the building 5. North wall of the smaller room located to the Northeast portion of the building

6. Exisitng shelving along the walls of the Northeast room

South Section

North Section

Building B Interior Views of the Front Rooms

1. View looking wall, towards th

The entryway opens up to three small rooms which then leads to a much larger elongated space.

Two large windows are located along the western 11.facade of the first room, which is where the entance of the building is located

2. Small vestibu

3. Piping for fi

4. Doubel glass boarded up

2. North wall of the first room 3. Secondary room-Transition between main entrance and larger area

5. View from t room on the N

4. Entry into the tertiary room-Some mechanical items are located within this room

5. Space within tertiary room housing a small sink and cabinet area

6. View of the brick wall

6. Drop tiled ceiling within each of the rooms-Revealing brick and wooden structure

6 Building B Interior Views of the South End

1. View of the South wall exhibiting the structrual system sepearting the building into three parts

2. The main doors leading into the large interior space, from the front rooms 193. Detail of one of the covered window openinigs on the

South facade

4. Detail of the covered door on the South facade

West section

North J

Town Square

Views of No Building

Views Between the New Writers Museum and the Artisan Village 1. Panorama of the Town Square

1.Rear view of a Jefferson Avenu two empty locat masonry and co

2.View from South Madison Avenue looking towards the future home of the Eatonton Artisan Village 3.View from the corner of Marion Street and North Jefferson Avenue looking towards the new Writers Museum

2. Frontal views buidings facing S

4. View from the Courthouse towards the Town Square

3.Frontal views ings facing Nort

5. Future home of the new Writers Museum which was the former location of the Eatonton Hotel

4. Rear view of nected to the No

The Central of Georgia Railway

5. View from co ion Street facing the Eatonton Ar

Buildings Adjacent to the Railroad 1.View of the railroad tracks facing West towards the rear of the project site

2. Street view from North Maple Avenue facing West

3. Street view facing West up Marion Street

4. View facing East towards railroad tracks and North Maple Avenue showing proximity to the site 5. View of site along Marion Street facing East towards North Maple Avenue

The Cen

Buildin

1.View of the r of the project s

2. Street view fr

3. Street view fa

4. View facing E Maple Avenue s

Student Proposals

PRELIMINARY SKETCHES

SITE PLAN

FIGURE GROUND MAP

MATERIAL INSPIRATION

EVOLUTIONARY PARTI DIAGRAM

PUBLIC SEMI-PRIVATE PRIVATE

EXISTING OVERLAPPING NEW

SECTION C

PROGRAM DIAGRAM

SECTION D

EXISTING VS NEW DIAGRAM

Abigail Aragon

APARTMENT ENTRY D

MAIL MARKETPLACE

SOCIAL SPACE

NORTH ELEVATION

C OUTDOOR THEATRE

FOOD COURT / DELI

STUDIO

CONFERENCE

CONFERENCE STUDIO

STUDIO MEETING & COLLABORATION

PUBLIC PARK

ARTIST PATIO

STUDIO

APARTMENT SOUTH ELEVATION

STUDIO

GALLERY SPACE

A STUDIO

STUDIO

STORAGE

WC TOURIST INFO.

RETAIL WC

PERSPECTIVE: EXTERIOR APARTMENT WALKWAY

PERSPECTIVE: INTERIOR BUILDING B

FIRST FLOOR PLAN

Abigail Aragon

CURTAIN WALL SEALANT FLASHING BLOCKING ROOF MEMBRANE WATERPROOFING MEMBRANE 2” INSULATION BOARD 5/8” SHEATHING BLOCKING CURTAIN WALL MULLION

STUDIO

TRUSS MEMBER CURTAIN WALL

BEDROOM

MATERIAL DETAIL, BUILDING A ROOF

KITCHEN / LIVING

AXONOMETRIC EXTERIOR VIEW

PERSPECTIVE: EXTERIOR COURTYARD

BALCONY

UNIT

SOCIAL SPACE GYM

Abigail Aragon

LAUNDRY

SECTION A THIRD FLOOR PLAN

SOCIAL SPACE

SECTION B

SECOND AND FOURTH FLOOR PLAN

Abigail Aragon

MODEL PHOTOGRAPHS

Abigail Aragon

Warehouse Interior| Site Within Urban Context| Scale: 1” = 100’ - 0”

Site/Building Circulation| Scale: 1/32” = 1’ - 0”

Public/Private Diagram| Scale: 1/32” = 1’ - 0”

Section Perspective|

Northeast View|

Dwelling Double-Unit| Scale: 1/4” = 1’ - 0”

Site Plan| Scale: 1/32” = 1’ - 0”

Exterior Market Place|

Exterior Courtyard|

Alexandria Davis

A Revitalization of The Artisans Village|

The focus of this design scheme is to provide strategies that not only illustrate + maintain the historical value of the city of Eatonton, but also create elements that contribute to the ongoing develoment of its cultural identity. The project site is located in the heart of the city, allowing for a design with direct views to the Courthouse Square, as well as the future home of the Georgia Writers Museum. Various spatial + organizational relationships have been explored [public/private, inside/outside, building/site] with the aim of developing a holistic design which would “provide opportunities that attract, encourage, and support artistic excellence, while celebrating Putnam County’s history, diversity, and freedom of expression.” Live|

Murals are painted onto the exterior walls of the 20 individual housing units to further drive the local artistry + craft of Eatonton.

Work|

The existing envelopes of two historic brick warehouse buildings are preserved as new curtain-wall systems are inserted into them, transforming + redefining their architectural character.

Display|

Roof|

Wooden columns and a large open space are used to form an outdoor courtyard + covered market-place, which both serve as connections between the artists’ studios, gallery spaces, cafe, workshop ps,, + the housing g comp ponent.

Structure|

Second Skin|

Envelope|

Ground Level Plan|

Alexandria Davis

North Elevation| Scale: 1/8” = 1’ - 0”

Second Level Plan|

East Site Section|

West Section| Scale: 1/8” = 1’ - 0”

Warehouse Detail| S l 1/8” 1’ 0”

South Site Section| Scale: 1/8” = 1’ - 0”

Alexandria Davis

THE ARTISAN’S VILLAGE EATONTON, GA ANDREAS NILSSON CORE III STUDIO

The driving idea for the design of The Artisan’s Village was the notion of exhibition, of everything being on display – the working artists, their artifacts, and the buildings and spaces themselves. Key to the interior development of the two existing buildings was treating the artists’ studios as extensions of the gallery space. By restructuring the ground plane, the gallery takes advantage of a newly enhanced volume to create a theatrical eﬀect in cross-section. The splayed walls of the studios establish an active backdrop for the gallery visually framed by and interwoven with the exposed timber structure – a theme developed in the second warehouse building as well. The form of the artists’ housing arose from the extension of the courtyard space between the existing buildings. The resulting V-shaped building mass encloses a small courtyard as yet another theatrical display, here connecting both covered and uncovered market spaces. Double-volume studios are oriented to that courtyard and provide a spatial buﬀer and threshold to the two-level dwellings each with its own outward facing balcony.

URBAN SITE PLAN OF EATONTON SCALE: 1/100”=1’-0’’

A A

BLOCK PLAN

SCALE: 1/32”=1’-0’’

GROUND PLAN SCALE: 1/8’’= 1’-0’’

Andreas Nilsson

SECTION A SCALE: 1/8”=1’-0’’

SECTION B

SCALE: 1/8”=1’-0’’

SECTION C SCALE: 1/8”=1’-0’’

INTERIOR PERSPECTIVE OF BUILDING A

CONFIGURATION DIAGRAM OF NEW OPENINGS OF BUILDING B

INTERIOR PERSPECTIVE OF BUILDING B

Andreas Nilsson

TYPICAL UNIT PLAN

DOWN

SECOND LEVEL SCALE: 1/8’’=1’-0’’

TYPICAL PLAN

SCALE: 1/8’’=1’-0’’

TYPICAL UNIT PLAN FRIST LEVEL SCALE: 1/8’’=1’-0’’

CONFIGURATION DIAGRAM OF UNIT WINDOW SHADES

INTERIOR VIEW OF UNIT ENTRANCE

PERSPECTIVE VIEW OF HOUSING + COURTYARD

INTERIOR VIEW OF UNIT KITCHEN

BALCONY+CANTILEVER CONDITION

Andreas Nilsson

(PARKING) ARTISTS ENTRY ENTRY

LIVING 1D

LIVING 1A

LIVING 1C

LIVING 1B

LIVING 1D LIVING 1E

COVERED MARKET SPACE STORAGE LAUNDRY

MULTIPURPOSE/

MAIN DEMO

MAIN GALLERY

STORAGE

CAFE

MAIN DEMO

STORAGE

STUDIO

ENTRY STUDIO

STUDIO

STUDIO/DEMO

STUDIO/DEMO STUDIO

STUDIO

ARTISTS ENTRY

STUDIO

INFORMATION

ENTRY FROM SOUTHWEST

ENTRY

MAIN GALLERY

LEVELS 1 AND 2

1/8” = 1-0’

Brian Nahodyl

EATONTON ARTS CENTER AND ARTIST HOUSING Eatonton, GA

LONGITUDINAL PLANES

EXISTING WALLS REMOVED

APARTMENT MASSING

SITE CONTEXT (1/32” = 1-0’)

LAUNDRY

FITNESS

STORAGE

LIVING 3G

LIVING 3H

LIVING 3I GARDEN

LEFT: SITE RELATIONSHIPS TOP: MAIN STREET VISIBILITY

LEVELS 3 AND 4

1/8” = 1-0’

Brian Nahodyl

APARTMENT WEST SECTION B

NORTHEAST APARTMENT ELEVATION

1/8” = 1-0’

APARTMENT EAST SECTION C

SOUTHWEST APARTMENT ELEVATION

1/8” = 1-0’

NORTHEAST SECTION A

GALLERY B EAST SECTION D

1/8” = 1-0’

Brian Nahodyl

SECTION ELEVATION

MARKET AREA

LONGITUDINAL SECTION

PITS

TRANSVERSE SECTIONS

LONGITUDINAL SECTION

UNDERGROUND GALLERY

Chloe Newton

SECTION ELEVATION

MARKET AREA

LONGITUDINAL SECTION

PITS

TRANSVERSE SECTIONS

LONGITUDINAL SECTION

UNDERGROUND GALLERY

Chloe Newton

THE ARTISAN VILLAGE EATONTON, GA CLINT CASTLES The Artisan Village is an aspirational project intended to bring tourism to the city of Eatonton while enriching its culture. There is a public component for gallery space, a cafe, a shop,demonstration studios and outdoor public space. The Artisan Village will also serve the artist community with individual studio space and as well as on-site live-work studios. The project seeks to act as a meeting point and facilitator for engagement both within the community of artists working there and with the city around it. SpeciďŹ cally, the project is designed around a succession of linked public spaces. The large central space links the three buildings together and provides circulation through the site and can also serve as the focus for an open air market area. Additionally a courtyard is created by cutting through the wall of one of the existing buildings on the site, and this serves as the main entrance for the cafe, shop and gallery public areas. It is bounded by two large glass walls that face each other and allow an interface between these public services on one side and artist studios on the other. The third building, the live-work component for a resident artist program, also forms itself around a courtyard that is ringed by the separated studio spaces for the artists who live in the two upper ďŹ&#x201A;oors. This courtyard links to the continuous public space and serves as both a potential collaborative space for the artists and an interface with the visiting public. The living spaces are then removed and the artists are provided a large terrace which also links back to the studio spaces in the other building.

ENTRANCE COURTYARD

STUDIO AREA

Clint Castles

NORTH ELEVATION 1/8” = 1’

SECTION A 1/8” = 1’

PUBLIC AREA/MARKET

SECTION B 1/8” = 1’

SECTION C 1/8” = 1’

RESIDENCE COURTYARD

Clint Castles

RESIDENCE STUDIOS

STUDIO SPACES SITE PLAN 1/32” = 1’

DEMO STUDIOS DN UP

SHOP

2nd LEVEL TERRACE

CAFE

GALLERY MEETING SPACE

LEVEL 1 PLAN

LEVEL 2 PLAN

1/8” = 1’

Clint Castles

Coston Dickinson

Danny Le

SOUTH ELEVATION

SECTION BB

SECTION AA

SECTION CC 47

Danny Le

GROUND

KITCHEN

STUDIO

Danny Le

IT TAKES A VILLAGE | Eatoton Artisans’ Village Proposal

Site Plan 1’=1/32”

Circulation

Site Plan 1’=1/00”

Pivot Wall Detail 1’=1/2”

Ground Plan 1’=1/8”

DAVID HEIM | Georgia Institute of Technology

David Heim