ARC 201/202/203 2nd Year Studio Javier Ramos
Exploring territory, boundaries, &, form through Mulholland Dr.
ARC 201
Instructor: Hunter Knight Term: Fall 2015
Contents EX_01_TERRITORY EXPLORING FORM/SPACE EX_02_BOUNDARIES CASE STUDY: CITY OF CULTURE EX_03_TERRAFORMING MULHOLLAND WATER CAFE
EX_01_TERRITORY This first exercise of the Fall quarter dealt with spatial issues within a given volume, where the procedure was to create a transformation of the volume from a projected grid. The newly transformed space was intended to be built for a 5’ tall agoraphobic women, whom feels safest when she is confined into the tight interior space. The following diagrams show the processes of transformation of this volume into an interior space that is bound by the grid and the language of the previous form.
AXONOMETRIC
A
B
PLAN
TOP
BACK
LEFT
A
B
EX_02_SITE/BOUNDARIES CASE STUDY: CITY OF CULTURE ARCHITECT: PETER EISENMAN LOCATION: SANTIAGO DE COMPOSTELA, SPAIN The following exercise explores the concept of site analysis through site mapping. In order to understand the concept of site analysis, there were a series of case studies that were done amongst the class. My particular project was surveyed by conducting a case study on Peter Eisenman’s City of Culture, located in Santiago de Compostela, Spain. These mapping exercises were conducted as a way to understand the different setbacks and constraints that come with building upon different sites, particularly sloped ones.
City of Culture - Building shows figure/ground relationships between site and topography.
A
A
Mapping diagram of City of Culture; the map shows systems and grids relative to the configuration of the structures/diagram.
Mapping and diagramming of EX_01 on its respective site location.
EX_03_TERRAFORMING MULHOLLAND WATER CAFE This final exercise of the quarter was intended to incorporate the previous studies of the last two exercises. The objective was to design a water cafe, located near the Hollywood Bowl Overlook using the studies of site analysis gained in the last two objectives. Given that Mulholland Drive is located on the hillsides of the Los Angeles area, the site and boundary studies were the most prominent of the project. This project had various setbacks which had to be worked around considering that the cafe had to be ADA compliant This prompted a careful study as to where a ramp system would be located in order to access the cafe. This problem allowed me to design access points that would allow visitors entrance from various levels in the cafe. The descending ramps into the cafe would allow for different access points into the inside, but also allows for patrons to enjoy the different views from the overlooks just above Hollywood.
Site location for the proposed Mulholland Water Cafe, overlooking the LA area.
Floor 1
A
Service Area
B
Storage
Seating Area
Restroom
Floor 2
Terrace Area
18’ Offset
A
B
Programmatic solutions for a contemporary art museum in an urban context.
ARC 202
Instructor: Wendy Gilmartin Term: Winter 2016
Contents EX_01_CONNECTING EX_02_PACKING EX_03_ARRANGING EX_04_MIDTERM EX_05_PERSHING SQUARE CONTEMPORARY ART MUSEUM
EX_01_CONNECTING
AXONOMETRIC
This studio dealt mostly with interior programming and organizations. The exercises were produced in a sequence of concepts, each dealing with a different programmatic approach, specifically when site constraints are found on all sides of the project. In this first project, the objective was to create apertures or openings on a given envelope that measured (9.25”x18.75”x9.25”), these openings were to be connected with the opposing openings on all opposing sides. The point of the these connections was to create tunnels that ran through the envelope and were met on all opposing sides. These tunnels, when removed from the envelope, show the relation to one another as well as to the outer shell that is intended to house it.
SECTION 01
SECTION 03
SECTION 04
SECTION 02
ELEVATION 01
ELEVATION 03
ELEVATION 04
ELEVATION 02
EX_02_PACKING
AXONOMETRIC
In this particular project, the objective was to take 16 boxes and fit them into the given volume (9.25”x18.75”x9.25”). The purpose was to find an arrangement of boxes that would configure the envelope into 70 percent void and 30 percent solid. In addition to this, 16 phantom boxes could be articulated into the transformed volume, either to add or subtract from the envelope in order to maintain the 70:30 ratio. Use of the phantom boxes was not necessary however, I found that in my particular arrangement, the phantom boxes allowed for further volume connections as well as spatial connections in the void. The intention behind having the boxes work through the volume is so there could be connections leading to at least one articulation of volume from each face.
ELEVATION 01
ELEVATION 03
ELEVATION 02
ELEVATION 04
SECTION 01
SECTION 03
SECTION 02
SECTION 04
EX_03_ARRANGING This exercise was intended to find a solution that would arrange boxes in the interior to create a potential program of space and connections. When thinking about the space in the envelope, my approach towards this exercise began with analyzing the organization of the first projects; Connecting and Packing. My goal was an interior circulation with walls that had similarities to the previous exercise because there had been a series of walls and spaces already established. With respect to these wall spaces, I implemented an arrangement of boxes in order to recreate the interior and in doing so, I reapplied a second configuration of boxes to elevate spaces that ascend up towards the second level area. These configurations also allowed for the opportunity of natural light to come in from the short sides as well as from the top skylight.
D
A
B
FLOOR PLAN
C
ELEVATION B
ELEVATION C
ELEVATION D
ELEVATION A
EX_04_MIDTERM
DIAGRAM
This exercise explored the programmatic strategies established in the first three exercises. The midterm project served as a checkpoint towards a fully developed design solution for a contemporary art museum in Los Angeles. By considering scale, site, and any immediate setbacks, a preliminary program and design was established in this fourth exercise. The spatial conditions of the interior were largely influenced by the configuration schemes of the previous exercises; Connecting Packing, and Arranging.
A STORAGE UNIT
MC ROOM
EXHIBIT A
SECURITY
SMALL GALLERY
LOBBY OFFICE
GROUND FLOOR PLAN SCALE: 1/8” = 1’-0”
TICKETS
SECTION A-A SCALE: 1/8” = 1’-0”
EX_05 PERSHING SQUARE CONTEMPORARY ART MUSEUM The primary focus in the design of this museum was to create an interior space and program that is derived from a 5’x5’ grid, projected over the given building volume, (50’x100’x75’). These 5’ dimensions of the museum would constitute the spaces, which would depend on how the squares would be manipulated or extruded in order to establish interior wall spaces. Here, the process of creating a gallery space began within the perimeter of the building’s footprint. This would allow for there to be an extra amount of space along the exterior of the museum by working only within the inside of the building area. The configurations that came from arrangements allowed for the design of the museum to come together by the reinforcement of the grid. The configurations that would create the gallery spaces would play the same role on each floor of the museum, but with different organizations of wall spaces for the artwork. In this project the grid system works as a framing device on the interior and exterior which creates various qualities to the facade details. The interior spaces reinforce how the facade of the building would be applied, in order accommodate the spatial hierarchy of the interior and the lighting system from above.
SITE PLAN SITE PLAN 1:80 SCALE:1” = 80’
S TR E E T
HILL STREET
A
DIRECTOR’S OFFICE
FIRE EXIT
SMALL GALLERY STAFF
ELEVATOR SECURITY SMALL GALLERY
MC ROOM
SUPPLY CLOSET
TICKET BOOTH B
B
LOBBY
GROUND FLOOR PLAN HILL STREET
A
PROJECTION GALLERY
FIRE EXIT
FIRE EXIT
TEMPORARY EXHIBITIONS
HALLWAY GALLERY
OPEN TO BELOW
LARGE GALLERY SPACE
SECOND FLOOR PLAN
THIRD FLOOR PLAN
ROOF GALLERY
LARGE EXHIBTIONS
TEMPORARY EXHIBITIONS
LARGE GALLERY SPACE
LOBBY
SMALL GALLERY
THEATRE
SECTION A
RECEIVING/COLLECTIONS
Studies of programmatic solutions and site constraints.
ARC 203
Instructor: Jose Herrasti Term: Spring 2016
Contents EX_01_CONSTRUCTING EX_02_GRADING EX_03_STRUCTURES EX_04_MARINE MAMMAL RESCUE CENTER
EX_01_CONSTRUCTING Using a tartan grid and splines, the objective of this exercise was to construct three figures, separated by one larger figure. The result was a series of shapes that creates a figure-ground relationship between the white and black areas of the tartan grid. These shapes were strictly reinforced by the tartan grid in order to create these large to small areas.
EX_02_GRADING This was meant to be continuation of the first exercise, using the three figures created by the tartan grid to construct pools closed off by the larger figure in the middle-ground. In essence, the figure-ground drawing would take the form of a physical model where the pools are separated by the dry land in the middle-ground. By maintaining the same shapes, the wet and dry areas are a direct response to the Constructed figures in EX_01.
C
D
A
A
B
B
C
D
SITE PLAN 1/8”=1’-0”
LATERAL SECTION 1/8”=1’-0”
C
LATERAL SECTION 1/8”=1’-0”
D
LONGITUDINAL SECTION 1/8”=1’-0”
B
LONGITUDINAL SECTION 1/8”=1’-0”
A
EX_03_STRUCTURES Using the previously built model from the EX_02 Grading exercise, the objective of this structure is to provide a shading system that stands 25’ above the highest level of dry land on the site. The concept of this structure was to have three systems working above the pools as an opposite reading of what was occurring below the structure itself. In this instance, the dry and wet areas follow a curved language relative to the topography, the shading structure above is intended to follow these curves with a linear system for the purposes of evaporative cooling from the pools, as well as a sophisticated cast of shadows upon the site.
C
D
A
A
B
B
C
D
SITE PLAN 1/8”=1’-0”
LONGITUDINAL SECTION 1/8”=1’-0”
A
LATERAL SECTION 1/8”=1’-0”
C
LATERAL SECTION 1/8”=1’-0”
D
EX_04_MARINE MAMMAL RESCUE CENTER EX_04 was a problem that dealt with various site and programmatic constraints. This exercise called for a design solution that would accommodate a mammal care and rehabilitation center for injured sea animals found washed out upon any of the nearby Southern California beaches. The previously built pools and structures would now serve as the rehabilitation area for the injured animals. These pools measured at an area of (86’x120’) and would be built into a larger (120’x196’) site, which holds a hospital and public learning area. My proposal is simply derived from the curved language found within the wet and dry areas of the pools. Taking the different shapes formed by the wet areas and using them as framing device, I was able to establish a program relative to the linear language of the structure above the pools. By using these two mediums as one complimentary system to the site, the program fell into a linear frame which separates the private care areas from the public learning areas with a large central space. The building itself is set into the descending topography with the rehabilitation area sitting just above the building’s ground, accessible through ramps or stairs. The greatest advantage of this setting is that the building gets the thermal mass of the surrounding topography which keeps its areas cool in the Summer and warm during the Winter.
SITE PLAN
A
A
FACULTY OFFICE SURGERY/ IN-TAKE
RECOVERY
POOL HALLWAY
STORAGE
STAGE
B
REST AREA/QUAD
OUTDOOR AMPHITHEATER AREA
ENTRANCE LOBBY
RESTROOMS
GIFT SHOP CLASSROOM
FLOOR PLAN 1/8”=1’
A
B
SECTION A
SECTION B
MARINE MAMMAL RESCUE CENTER, BOLSA CHICA
AIRFLOW: DIAGRAM SHOWS THE AIRFLOWS OF SANTA ANA WINDS PROJECTING THROUGH THE SITE AS IT SITS WITHIN THE TOPOGRAPHY,
AIR FLOW ANALYSIS/THERMAL COOLING/EVAP. COOLING
SHADING: DIAGRAM SHOWS THE PROJECTION OF SHADING THROUGHOUT THE BUILDING, CAUSED BY THE ROOFING AND THE SHADING STRUCTURE.
SHADING STUDY DIAGRAM
DAYLIGHTING: SHOWS SUN MOVING FROM EAST TO WEST, IN THE PROCESS, SHOWING HOW THE SUNLIGHT ACTIVELY PASSES THROUGH THE BUILDING.
SUN
SUSTAINABILITY SOLUTIONS
DAYLIGHTING DIAGRAM