THE ARTIFACT OF PRESERVING
Kerry Kenney Graduate Design Studio VI Louisiana State University Spring 2013
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INTRODUCTION PREDESIGN SITE INVENTORY SITE ANALYSIS CONCEPTUAL DESIGN DESIGN DEVELOPMENT CONSTRUCTION DOCS CONCLUSION Prologue
Project Intention // Historical Background // Project Identification
Precedents // Context
Physical Attributes // Biological Attributes // Cultural Attributes // Reflection // Consideration
Comparative Condition // Phenomena [Observations from Site Visit]
Intention // Program Requirements // Program Analysis // Schematics // Materials + Structure // Mid-Review
Proposal // Code Compliance // Sustainability Components
Construction Documents
Competition Entry
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figure 1. Castle Pinckney, Shute’s Folly Island, Charleston, South Carolina.
Prologue
Castle Pinckney, located on Shute’s Folly Island in the Charleston, South Carolina Harbor is a historic fortification struggling to survive against coastal erosion and a lack of public interest. Constructed in 1809 over an insufficient existing structure of timber and earth, Castle Pinckney (fig. 1) was built to increase the city’s protection against the possibility of naval attacks.1 Throughout history the castle endured numerous modifications and different uses to adapt to the changing needs of the United States government. Armed forces would
occupy Shute’s Folly Island and the castle for over a century until it lost its defensive effectiveness with the improvement of explosive shells and the development of rifle pieces.2 The advances in weaponry led to the fortresse's abandonment in the beginning of the nineteenth century. Castle Pinckney, lying in ruins today, does not present its past significance or its present rarity as one of three castle forts still existing in the United States today.3 The rich historic context and its glorified location within the Charleston harbor make Castle i
Pinckney and Shute’s Folly Island the perfect candidate for ecotourism possibilities. The rethinking of the island into an eco-tourist destination would aid in protecting its heritage through access and education. It would also have the ability to create spaces for the Charleston community to use for various events and activities. To educate the ecotourist, Shute’s Folly Island will assume the roll of a museum, and Castle Pinckney will become the artifact on display. The rethinking would be sensitive to the prior structures and the islands historic importance while maintaining a sufficient infrastructure to attract visitors and maintain the public’s interest for generations to come. To establish an ecotourest environment, the historic importance and identity of the island and its structures must be understood. To initiate the
process, the attributes of the castle’s importance need to be clarified. Norman Tyler suggests beginning by thinking of the structures as either a noun or a verb. A noun meaning the building itself is significant and a verb indicates that an important event happened there to make the building significant.4 Castle Pinckney, in this situation, would be categorized as a noun. While active there were never any major historic events on the grounds that would classify it as a verb. The built structures do not serve a historic purpose that pertains to that actual site either. Castle Pinckney is important because it is one of the last remaining castle forts still in existence today, along with Castle Williams (fig. 2) and Castle Clinton (fig. 3) in the New York Harbor. It is possible that Castle Pinckney is the last horseshoe fort of this type still remaining.5 The fort is a reminder to
figure 2. Castle Williams, Governors Island, New York Harbor, New York City, 1807.
figure 3. Castle Clinton, Battery Park, Manhattan Island, New York City, 1808.
the nation of the Revolutionary War period and the Colonial problems that necessitated protection against sea attacks by Spaniards, pirates and Indians.6 The need for Castle Pinckney to represent America during the maritime fortification era begins to undermine its identity as a historic symbol pertaining to Charleston. Charleston’s colonial influences, defined through its architecture and culture, create a vibrant atmosphere that is unique to the region. The ideas surrounding critical regionalism become increasingly important for the preservation of the city’s culture. Critical regionalism, as defined by Kenneth Frampton, is “to mediate the impact of universal civilization with elements derived directly from the peculiarities of a particular place.”7 In other words, critical regionalism should adopt modern architecture while
considering the geographical context of the building as an important entity. Frampton believes that one can be critical to its region by implementing the quality of something minimal as local lighting or the tectonic of a peculiar type a building. He introduces a subtle way to be honest to the region. Frampton’s approach could even begin to satisfy Lewis Mumford, who believes that an era must stay intact. In Mumford’s The South in Architecture he states, “people, manners, feelings, architectural forms, all go together; and the aim of every generation must be to remodel their inner and their outer world together, for the sake of a more significant and harmonious life.”8 Mumford believes that people are not qualified to adapt to bits and pieces of the past, that everything physical and social must remain together. On Shute’s Folly Island iii
the old and new structures must be able to coexist and adapt to current social values. If the island is to take on the role of the “museum,� then it is acceptable to transform the area. The museum must house the artifact; it does not have to be the artifact. The artifact, Castle Pinckney, must remain in its historic sense. Even though the island can transform into a modern theme, the castle will need to remain in its historic presence. Unlike Frampton’s viewpoints, the island and the castle must coexist with each other to remain a significant site to the city of Charleston. Typically, history is not left intact with all of its surroundings and people are used to seeing artifacts in a museum environment. People do not usually get to interact with these pieces of history. It becomes a new experience when the artifacts are now the structure
and the spectators become a part of that history. Museums protect their artifacts within a glass enclosure to preserve them in their original state. The museum is important for the artifact because it is essentially the container that is preserving and displaying it. Artifacts are important because they display the history of a place and depict the evolution of humankind. When a building like Castle Pinckney becomes the artifact, it becomes difficult to determine how one preserves the structure while allowing it to be experienced like a museum. The castle acts as the artifact and the museum as well. In a typical museum the two are an entity; the structure shows little relationship to the artifact and the artifact is enclosed in a clear and unnoticeable container. The introduction of this relationship at Castle Pinckney becomes unique
because of the strange duality the building has as being the museum and the artifact and how the island becomes a continuation of the museum idea. A historic site such as Castle Pinckney must take into consideration, above all else, methods for preserving its physical integrity. The correct preservation of the site will bring the historic realism needed to set it apart and tribute its era of significance. According to Jukka Jokilehto, historic preservation does not only identify with the structures themselves, but also take into account its physical and social context.9 The integration of the physical and social context begins to draw on ideas of critical regionalism. Historic structures like Castle Pinckney were being progressive to the region at its time of construction. However, as the
region evolves the building does not mutate and adapt to change with the region. It fossilizes the context within the structure and stands as a representation to the historic conditions that were relevant during that era. The castle as an artifact should preserve the physical and social context or else it would lose its importance as an identifier of the past. By preserving the castle it is allowing for the structures to serve as a place of evocation. Also, if people can truly envision themselves in a historical setting, then it can be successful as an educational site. To completely understand a historic site like Castle Pinckney, additional resources become crucial for filling in gaps that may not be present through observation only. This is why museums serve as a great tool, not only to house collections of artifacts, but to help further educate the spectator
through various types of media. The museum is where being critical to the current context of the region becomes important. As people continue to evolve, so do their methods for collecting information. The current culture gathers information in a completely different way than of the past. Whether if it is though digital displays or interactive exhibits, the methods have evolved way beyond the old-fashioned placard. The framework that one experiences this information through becomes just as important as the information itself. The museum becomes the context to engage the spectator in the rich history. If Castle Pinckney is the artifact for representing Charleston and American fortification, then it is the duty of Shute’s Folly Island to become the museum, and for that museum to engage the spectator and provide as a supplement for the v
castle. Understanding history is crucial to understanding the present, without historic preservation the critical regionalist would not have a record of what makes the region unique. The culture surrounding a place is derived from the influences it has faced. The only knowledge that exists of these influences can be speculated from the buildings that came before. In Regions and Regionalism by Coleman Coker, he discusses regions as being defined by their buildings. People learn from their surroundings, and that information transposes to the built environment. Coker states, “we do not simply come to a region with everything already shown to us. Instead, we discover it through what is built. This work of building causes the region to emerge, to reveal itself anew.”10 A locale is made from the layers that attributed to an era in
history. The layers that make a place significant cannot be generated, they have to be evolved, this is why every city looks and feels different from one another. The only reason people are able to distinguish one city from another is by its landmarks, and those landmarks are presented in built forms. George Nelson, in his book How to See, addresses that “living in the urban world, as most of us do, our seeing is more likely to focus on man-made objects than on nature. We are more likely to see a passenger plane in the air than a flock of geese. The meandering stream is a rarity, and trees are pegged into sidewalks much like lampposts.”11 His theory may not pertain to generation’s centuries ago, but it is very relevant now. Cities engulf their residents and the buildings become their primary environment. The buildings become a vicarious identifier of
a cities past and present culture. A site, like Castle Pinckney, plays an important role as a contributor to the characteristics that define Charleston. The site in enriched with historical presence that define the locale. By preserving this site, along with others in Charleston, it allows for history to be the signifying identifier of the region, displayed through its buildings. Historic preservation of the buildings
becomes the “artifacting” of history for the built environment. The ideas of historic preservation and critical regionalism together are not congruent in regards to modern building techniques. The builder does not necessarily use the same techniques that were used hundreds of years ago. The builder is also not going to create the exact building from hundreds of years ago either.
figure 4. New Acropolis Museum by Bernard Tschumi Architects, Athens, Greece, 2009.
This does not mean that critical regionalism is about creating foreign structures that disregard their context. To be critical the builder needs to understand the current social conditions and apply them to their practice; this is what being critical means. It is also not out of place to construct a building that does not share any of the same characteristics of its surrounding. In Jokilehto’s Conservation Concepts, his closing states “the built and cultural heritage resources are a great potential, offering new alternative and new strategies for the future. The preparation and setting up of appropriate strategies need to start from appropriate knowledge and understanding of the history and the resource potentials of an area, aiming at a balanced integration of all relevant issues within the planning process.”12 Jokilehto fully believes that one vii
must know their past before they can be aware of the present. In Bernard Tschumi’s design for the Acropolis Museum in Athens, Greece (fig. 4), he designed a contemporary building over ancient ruins. Although the building may appear out of place at first, it proves successful when the realization of its historical correlation is presented to the visitors through its form. Tschumi evokes the rich historical context by elevating the building on piers to allow visitors to view the ruins through apertures in the floor and by shifting the top floor twenty-three degrees from the rest of the building so that it is oriented directly with the Acropolis. Tschumi was able to make these strong connections because he understood the past and applied this knowledge to his concept. Transformation of Shute’s Folly Island into a museum should consider the adaptation of
current cultural and environmental conditions while creating a language that is congruent with the castle. By understanding the history of the island, contemporary design strategies can be presented to evoke its historical significance. To be critical, is not to build onto historic buildings. Those buildings are part of a story that preserves the heritage of that place. If the sites are built upon the story
figure 5. Parthenon, Athens, Greece, 432 BC.
changes and some of the meaning is lost. A designer must only learn from historic sites and use that knowledge to understand what has been done before and if that information pertains to the current state of building. In return the structures they create within the landscape will tell the present story and preserve it for future generations. If this process were not considered, a society would start to lose sense of
figure 6. Baths of Caracalla, Rome, Italy, 216.
the past because it is unaware of the importance that historic buildings serve. It would start to deteriorate constructed historic artifacts and strain the understanding of history through the built environment. On Shute’s Folly Island, what are the possibilities for transforming Castle Pinckney into a site where future generations can study and gain an understanding of the past? The site could take the approach of the Parthenon in Athens, Greece (fig. 5) by roping it off and only letting spectators understand it from the outside. There is also the option to approach it like the Baths of Caracalla in Rome (fig. 6), where the spectator can meander through the structure to gain a better understanding. In the case of Castle Pinckney the latter approach would be the most beneficial to retain its historic importance. A fort is best viewed from the inside because its
interior is where most of the ideas surrounding defense strategies can be understood. Only allowing spectators to view it externally would not do any justice to the castle and the system. As with the Baths of Caracalla, Castle Pinckney could implement subtle modern gangways that allow visitors to view the remains without taking away from the structures integrity. In the landscape that surrounds the Castle is where critical regionalism can be integrated. Newly built structures should adhere to the importance of the castle within the landscape. These structures surrounding Shute’s Folly Island should act as the “museum” to display its most precious artifact, Castle Pinckney.
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INTRODUCTION
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Intention
The Museum & the Artifact Preservation of Castle Pinckney is imperative to the city of Charleston because it is one of the historical layers that make the region distinct. The castle, embedded within Shute’s Folly Island, is facing extinction due to deteriorating landmass caused by coastal erosion. For the castle to remain as an artifact of historic significance and American fortification it needs to be protected from environmental elements. The intention of the museum is to
protect and display its artifacts. The museum that displays Castle Pinckney is not necessarily the island itself. Independent structures that can evolve and adapt to current environmental conditions seem better suited for a dynamic landscape like Shute’s Folly Island. The castle is the untouchable structure; the island can become the museums foundation or continue to erode until nothing is left.
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Historical Background
The Rise and Fall of Charleston Fortification Castle Pinckney, located on Shute’s Folly Island in the Charleston, South Carolina, harbor stands as a testament to early Colonial problems of fortification against sea attacks. The castle, originally a fort built in 1809, is one of only three surviving structures of this type still standing in the United States. Castle Pinckney is considered a “castle” because of its round shape, unlike the angular
shape of typical forts constructed during this period. During the commission of the fort it did not see much action with the exception of a minor role in the American Civil War. Over time advances in weaponry left the fort useless and lead to its abandonment. The fort, deteriorating in the harbor for over a century, continues to occupy the uninhabited island.1
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George Washington visited Charleston in 1791 and noticed there was a small island located in the harbor that was strategically located to aid in defending the city from attack. Washington ordered for a fort to be constructed on that site and made the citizens of Charleston fund the project. The city named the building Fort Pinckney, after the local planter and Revolutionary War General, Charles Cotesworth Pinckney.2
The originally structure was constructed of basic logs and sand because of poor funding. The shape resembled that of a half hexagon. Behind it was a second structure believed to be living quarters for those serving on the site. In 1804, a hurricane destroyed the fort. The weak materials used for construction could not stand up to the storm.3
Painting of Charles Cotesworth Pinckney.
Troops standing at attention outside the fort.
In 1810, the fort was rebuilt in a fashion adopted from French fortification efforts. The horseshoeshape fort was rebuilt out of brick masonry this time. The exterior walls were 15’ high and 7’-6” thick at the base. The new structure faced the mouth of the harbor. It was renamed to Castle Pinckney because its new design resembled the qualities of a castle rather than a fort.4
During the War of 1812, Castle Pinckney did not serve a purpose and was demoted in 1826 to the city’s “secondary line of defense.” A year later the harbor saw the construction of a greater fort, Fort Sumter, situated across from Fort Moultrie at the harbor entrance. The construction of this new more strategically placed fort would initiate the demise of Castle Pinckney.5
Castle Pinckney reduced the amount of guards stationed on the island until 1836, and then the castle was completely abandoned until 1860. During this time of inactivity the city stored their weaponry in the castle and added a lighthouse in 1855.6
A drawing of Castle Pinckney in 1821.
Illustration of Fort Sumter, Seen from the Rear, at Low Water, 1861.
View of the lighthouse constructed on Shute’s Folly Island. 7
On December 20, 1860, South Carolina seceded from the Union. One week later, a small group of South Carolina militia “stormed� Castle Pinckney. They used ladders to climb the walls and capture the guards. No shots were fired from either side during the takeover.7
Occupation of Castle Pinckney by the Charleston Militia, December 26, 1860.
On April 12, 1861, the Confederate batteries fired upon Fort Sumter and the Civil War was initiated. During this time, Castle Pinckney was transformed into a prison for the Union troops that were captured in the Battle of Bull Run.8
Fort Sumter under fire, April 12 and 13, 1861.
After the war the Federal government no longer had a use for Castle Pinckney and the island was abandoned. Everything was left to deteriorate, including the guns that were left on the island. In 1890, the continued deterioration of the castle became so bad that the fort was filled in with sand to help protect it. Atop the sand, a warehouse and residence were constructed. In 1917, the site was abandoned again and no longer of use to city of Charleston.9
In 1924, President Calvin Coolidge proclaimed the Castle a National Monument. In 1933 the control of the castle was transferred to the National Park Service. The Park Service had trouble generating funds to restore the castle and transform the island into usable area. In 1956, congress revoked the fort’s National Monument status. The same year the South Carolina State Ports Authority took over control of the island. In 1967 warehouse and residence were destroyed by fire.10
View of the house from the Dummy Line.
A photo taken by the National Park Service.
Throughout the 20th century, ideas for resurrecting the castle came and went just like the numerous ownerships. In 2011, the Sons of Confederate Veterans purchased the island and have since been the sole owners.11 In the same year, students at Clemson University took laser scans of castle. The scans then created an accurate 3D image of the building.
Current photo of the Castle with a flag erected by the Sons of Confederate Veterans. 9
Historical Reflection
Knowing the history of a site is very important in any design process. Being aware of historical significance and addressing it in design will create a richer project that will adapt with the built environment. The history of Shute’s Folly Island and Castle Pinckney are incredibly important to American Fortification efforts of the 1800s. The castle, being one of the last remaining three of its type is important to consider when making design decisions that could have a direct affect on its presence. Not only the island, but the whole range
of Charleston Fortification needs to be addressed to preserve the heritage of the site. The castle is not a separate entity, it is part of a strategically planned system to prevent invasion by sea. Studying this past and understanding it will allow for the design to attribute to different qualities that respect the fortification efforts. Each of the harbor forts (Fort Moultrie, Fort Sumter, Fort Johnson, and Castle Pinckney) are not a separate entity, but a congruent idea to protect Charleston against invasion. Creating visual
connections from Shute’s Folly Island towards the other harbor forts will aid as a tool for understanding the entire fortification system. The connections to the other forts are only visual, meaning that Castle Pinckney must serve as the signifier for the whole system. At Castle Pinckney, visitors will be able to place themselves within this history and gain a richer understanding through experience.
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Identification
Rethinking Castle Pinckney for the 21st Century The purpose of this project is to challenge students in design related fields, to rethink Castle Pinckney, an abandoned early nineteenth century fort situated on a coastal island within the Charleston, South Carolina harbor. Proposals should preserve and interpret the extant historic fabric as emblematic of the country’s early attempt to create a national defense system, and should re-imagine the site as an ecotourist and educational destination. The island is being reformed into a public space that boosts local character with the capacity for
everyday or crowd-pulling events. Solutions should explore the issues of access, the relationship between preservation and design (both architectural and landscape), off-grid energy consumption, changing climate patterns, water management, land use, and habitat protection. Proposals should investigate how the preservation of this historically significant site can provoke a profound rethinking of our current conventions about preservation, design, community, the environment, and heritage tourism.12 13
PREDESIGN
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Precedents
Acropolis Museum Bernard Tschumi Architects 2009 - Athens, Greece The challenge for the new Acropolis Museum was to design a structure that would house the most dramatic sculptures of Greek antiquity. The building’s polemical location added further layers of responsibility to the design. Located at the foot of the Acropolis, the site confronted Bernard Tschumi Architects with sensitive archeological excavations, the presence of the contemporary city and its street grid, and the Parthenon itself, one of the most influential builds in Western civilization. Combined with a hot climate in an earthquake region,
these conditions moved Tschumi to design a simple and precise museum with the mathematical and conceptual clarity of ancient Greece.1
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Bernard Tschumi Architects first articulated the building into a base, middle, and top, which were designed around the specific needs of each part of the program. The base of the museum floats on pilotis over the existing archeological excavations, protecting the site with a network of columns placed in careful negotiation with experts. This level contains the entrance lobby as well as temporary exhibition spaces, an auditorium, and all support facilities. A glass ramp overlooking the archeological excavations leads to the galleries
in the middle, in the form of a spectacular double-height room supported by tall columns. The top, which is made up of the rectangular Parthenon Gallery arranged around an indoor court, rotates gently to orient the marbles of the Frieze exactly as they were at the Parthenon centuries ago. Its transparent enclosure provides ideal light for sculpture in direct view to and from the Acropolis and uses the most contemporary glass technology to protect the gallery against excessive heat and light.
The circulation route narrates a rich spatial experience
from the city street into the historical world of the different periods of archeological inquiry. The visitor’s route through the museum forms a clear three-dimensional loop, affording an architectural and historical promenade that extends from the archeological excavations, visible through a glass floor in the entrance gallery, to the Parthenon Frieze in a gallery with views over the city, and back down through the Roman period.2
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The footprint of the Acropolis Museum is aligned with the grid of the city and the top floor rotated to align with the Parthenon. The rotating of the building allowed for the architect to be responsive of both conditions. Similar conditions are present on Shute’s Folly Island. There may not be a present grid on the island, but it is possible that it could draw in from the surrounding city grid. There is also an invisible estuarial pattern formed by the joining of the Ashley and Cooper rivers. Castle Pinckney, compared to the ruins beneath the Acropolis
Museum, creates the issue of a permanent structure embedded into the landscape that the design should regard. The top floor of the Acropolis Museum responds to the Parthenon by creating a direct, physical and visual, correlation between the two. In Charleston, Shute’s Folly Island is in visual sight of many other significant locations that make up Castle Pinckney’s history. Aligning or framing views to Fort Sumter, Fort Moultrie or the City have potential to supplement the islands program.
Spectators at the Acropolis Museum experience the collection in a chronological sequence as they circulate up and down through the galleries. This idea has potential to be incorporated at Castle Pinckney because of its constant changes throughout history. Much like the surrounding city, the castle has numerous layers that are more understood when referenced in chronological order. Another aspect of the Acropolis Museums is the structures three components
becoming lighter as one moves upward through the building. At the top, the interior is completely open with reduced visible columns and a surrounding glass curtain wall. The second floor decreases transparency by enclosing its curtain glass wall between two thick concrete slabs that make up the floor and ceiling. The first floor is the most solid with thick concrete mullions that frame the window. The section really gives the building weight and grounds it. However, this heavy section lightly
connects to the ground, tiptoeing on the site of ruins through pilotis. The base transforms from this heavy structure into a gentle one, giving importance to the ruins below. The Acropolis Museum has a clear representation of its hierarchical order. Its ability to prioritize through its built form could apply to the program for Shute’s Folly Island.
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The strategic placement of pilotis at the Acropolis Museum allowed for the ruins to be preserved and viewed at the same time. The glass walkways allow for spectators to engage in the rich historic site. At Castle Pinckney, one method of preservation would be to enclose the building within another structure, completely closing it off from public. Similar to the Acropolis Museum, the castle would need to find an alternative to engaging its spectators in its rich history. How this enclosure would connect to the ground or structure also becomes
important so that it creates minimal disturbance to the existing building. The roundness of the pilotis at the Acropolis Museum appears to create a softer connection compared with a square shape. Materiality becomes important as well, as the light color of the concrete blends in and creates a nice harmony with the ruins below.
Natural lighting at the Acropolis Museum fills the top floor. The surrounding glass wall illuminates the space while creating unobstructed panoramic views of the Parthenon and the city. Towards the core of the floor a cut is made in the ceiling to allow for the natural illumination of the Parthenon frieze embedded in the core wall. Using lighting is a great way to prioritize information in a museum. If Castle Pinckney were to be enclosed, a slit in the ceiling to allow light to pour down the original walls could be magical.
Light becomes important again in the core of the Acropolis Museum. A skylight in the center of the building illuminates the entire core from the top floor to the ruins underneath. The bright core becomes a wayfinder to help guide visitors through the building. On the first and third floors walkways penetrate the core while maintaining transparency through a glass floor, similar to the ones on the interior of the building to view the ruins. At the castle, using light as a way to guide people vertically or horizontally through a structure could be possible. The
light qualities in Charleston are constantly changing, creating a different experience every day. Lighting does not have to be subject to a single room, through the use of transparent and opaque materials it can be harnessed to produce the desired outcome.
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Convent de Sant Francesc David Closes 2011 - Santpedor, Spain The project aimed to convert a seventeenth-century church into an auditorium and cultural facility. The intervention consolidated the church without deleting the process of deterioration and collapse that the building had suffered. The project has maintained the dimensions of the church interior space and the unusual entries of natural light produced by partial roof collapses. Rather than reconstruct the church, the intervention has just consolidated the old fabric, distinguishing clearly the new elements executed of the original
ones. The renovation allows for the reading of historical wounds and the buildings most important spatial values without giving up the use of contemporary language in the new elements introduced in the intervention.3
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The convent complex of Sant Francesc was built in the eighteenth century by Franciscan priests. In 2000 the convent, by then in ruins, was demolished by the state. Only the church and part of the perimeter wall of the convent remained standing, although in very poor condition. The church, due to its very modest construction quality, was in ruins. It bears noting that the roof had sunk, the choir had disappeared, and the vaults of the nave and chapels had partially fallen. The church, from the outside, was only interesting from a
historical perspective. The interior of the church, however, showed – despite its dilapidated state – remarkable spatial qualities. Thanks to the sinking roof and crumbling ceiling, the church was surprisingly enhanced by large inflows of natural light. The renovation of the building has been developed with the goal of differentiating the new elements constructed (using contemporary systems and languages) from the original elements of this historical church. With the aim of preserving all aspects of the building’s past, the intervention has not hidden
traces, wounds or scars. Thus, they have remained visible depressions, holes where the altarpieces once were, traces of missing elements. The construction and the building methods used have sought to strengthen the church without deleting the signs of deterioration the building has suffered. The intervention has sought to preserve the building’s historical legacy by adding new values that enhance it and give this ancient convent a unique, contemporary form.4
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Instead of tearing down Convent de Sant Francesc, the town of Santpedor wanted to renovate the structure to give the space a new use for the community. It was important to preserve the remainders of the church because of its historic importance dating back to the eighteenth century. It became a challenge for the architect to reimagine the space without taking away from its historic presence. In order to leave the building mostly untouched much of the new program was applied to the exterior of the building to leave the interior space
as true to its form as possible. The additions were then inserted lightly into existing openings. The stairwell at the entrance of the building starts on the exterior and transitions through the existing front opening to the back of the church. The stairwell is supported with its own structural system. It is independent from the stone faรงade with the exception of a few light incisions to add stability. The way the architect considers these connections is very important to preserving the quality of the historic structure.
The ruins at Castle Pinckney are extremely fragile. The walls may not be able to support a contemporary construction system. Independent structures become important to preserve the castles structure as well as its physical appearance. To aid the preservation of Castle Pinckney, techniques like those of Convent de Sant Francesc should be considered. The existing conditions of the castle should generate the form for additions.
When the architect needed to make a change to the interior he was as subtle as possible. By “floating� a restroom in the narthex of the church the architect was able to insert a contemporary structure without touching or hiding the existing structure. The restroom is enclosed in a glass box that allows people to still be aware of the historic stone structure. The architect allows for users to be reminded of the historic structure while further protecting it. Instead of enclosing the artifact, the spectator could be the one
enclosed within a structure. They would then be able to view the castle in its natural environment without any obstructions hindering its authenticity. Similar to many exhibits at a zoo, the spectator becomes imbedded in the animals (or artifacts) natural environment.
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Mimicry
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• The action or art of imitating someone or something, typically in order to entertain or ridicule.
Reconstruction
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• A thing that has been rebuilt after being damaged or destroyed.
Difference
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• A point or way in which people or things are not the same. • The state or condition of being dissimilar or unlike.
Hide
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• Put or keep out of sight; conceal from the view or notice of others. • Keep secret or unknown.
Prioritize
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• Designate or treat (something) as more important than other things.
Context
Establishing the Poetics of Construction How does one build upon a historically relevant site? Mimicry? Reconstruction? If so, what is the period of significance you reconstruct? Do you make clear the difference between old and new? Do you stand-off and build remotely (hide)? Do you prioritize old over new, new over old? Through explorative collages these questions are addressed in a manner that begins to visualize how to approach Castle Pinckney and Shute’s Folly Island. Establishing the poetics of construction starts to form a language applicable to the
way things are made. The collages are not meant to be a representation of a scene, but a tool for exploring spacial and tectonic meanings that can be continued throughout the project. The process included multiple iterations (left) of exploration that resulted in a variety of techniques for making. By addressing these questions the means for making as it pertains to the island began to evolve and a new method was 10 formulated.
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Embedded
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• Fix (an object) firmly and deeply in a surrounding mass. • Implant (an idea or feeling) with something else so it becomes an ingrained or essential characteristic of it.
Exploration of the many different terms did not satisfy the behavior that Castle Pinckney was displaying as it related to the project's intent to museum the island for artifacting fortification. To preserve the castle is to allow it to continue its natural deterioration and allow it to be true to the methods and materials used in its construction. The castle's interaction with the environment becomes the important role that helps display its natural evolution. As the castle continues to sink into the island it becomes more embedded in the landscape every day. The term embed was more fitting for the present situation that is acting as an identifier for its preservation.
To further explore the term embed and how it relates to the tectonic of the site a three-dimensional “collodel� (collage/model) was constructed to give further space to the two-dimensional collage. Creating a three-dimensional representation of the materials and connections can further influence the design and relate it to the intention. This process brought realization to the two dimensional collage. There is an addition layer between the planes that create space. How this space interacts with the whole and the tectonic presence in the void brings to life how one should consider the process of making and how it is occupied by who or what. 33
SITE INVENTORY
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Shute’s Folly Island
Soils Ts
Tidal Marsh, Soft (Ts)1 Taxonomy Series
Bohicket
Order
Entisols
Overview
This series consists of very poorly drained, very slowly permeable soils that formed in marine sediments in tidal marshes. These soils are flooded twice daily by sea water. Slopes are less than 2 percent.
Taxonomy Class
Fine, mixed, superactive, nonacid, thermic Typic Sulfaquents
Typical Pedon
Bohicket silty clay loam -- saltwater marsh wildlife habitat.
Range in Characteristics
These soils are continuously saturated with sea water. Soil salinity is high or very high. Pale yellow sulfur compounds are common on surface of peds after air drying for 30 days. The soil ranges from slightly acid to moderately alkaline throughout.
Drainage and Permeability
Very poor drained; very slow runoff; very slow permeability.
Use and Vegetation
Wetland wildlife habitat. Too soft for cattle grazing. Vegetation is smooth cordgrass.
Runoff
Very high
Wind Erodibility
Not susceptible
Soil Horizon2 Ag - Dark gray silty clay loam; massive; strong fine angular blocky structure when dry; very sticky, many medium and coarse pithy fibrous roots constituting 35 percent of mass by volume. Cg1 - Dark gray silty clay; massive; very sticky; many fine and medium roots. Cg2 - Dark gray silty clay and very dark grayish brown fine sandy loam; massive; sticky; few fine roots. Cg3 - Greenish gray clay; common coarse faint gray mottles; massive; sticky; few fine roots. Cg4 - Dark greenish gray clay, common medium faint greenish gray mottles; massive; slightly sticky; few lenses and pockets of dark grayish brown fine loam material.
Physical Attributes Topography Harbor Section3
Island Elevation4
Charleston offers a maintained harbor of -45 feet of depth at mean low tide through the main shipping channel. A five to six foot tidal lift provides even deeper access for several hours during the day. The channel width ranges from 500 feet to 1,000 feet with average tidal currents of 1.5 knots.
Shute’s Folly Island is relatively low in elevation. The island has minimal amounts of land that is dry all of the time. Most of the island is tidal land, marsh, sand and mud.
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Hydrology Tides5
Sea Level Rise6
Inter-tidal Zone
Charleston, South Carolina - Cooper River Entrance Wednesday, January 23rd, 2013
This diagram compares the typical response of shorelines to rising sea level. When sea level rises, the ocean advances over the land and shorelines retreat. The thick white line shows the irregular rate of sea level rise since the end of the last Ice Age. At that time, sea level was about 120 m below present and the shoreline was located near the edge of the continental shelf. The steep section between 12,000 and 8,000 years ago shows a rapid rise in sea level that caused shorelines to migrate landward at a faster rate.
Climate Weather Conditions7 High
Low
Total Rain
Jan
59°
38°
3.71 in
Feb
63°
41°
2.96 in
Mar
70°
47°
3.71 in
Apr
76°
53°
2.91 in
May
83°
62
3.02 in
Jun
88°
70°
5.65 in
Jul
91°
73°
6.53 in
Aug
90°
72°
7.15 in
Sep
85°
67°
6.10 in
Oct
77°
57°
3.75 in
Nov
70°
48°
2.43 in
Dec
62°
40°
3.11 in
*Normal temperature and precipitation based on a 30 year average from 1981 - 2010.
Zenith at Solar Noon8
Mean Wind Speed9 June 2012
The sun and wind are two of the important factors in passive cooling and heating systems. Between summer and winter the angle of sun variates greatly. This condition could be taken advantage of to allow for sunlight to either enter or be blocked from interior spaces. The wind also presents various conditions depending on the season. Structures can be oriented to block or take advantage of these winds.
December 2012
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Geology Coastline Development10
Island Surface Area11 Throughout history, the visible land mass of Shute’s Folly Island is in a constant flux. Expansion of the island from infill does not outweigh the amount of island that is diminishing from erosion. If this continues the island could possibly vanish within the next hundred years.
Longshore drift can cause increased land mass along a coastline. This is because it transports sediment along a coast at an angle depending on the direction of prevailing winds occurring in the littoral zone. As a result, deposition or erosion occur.
Hazards Earthquakes12
Hurricanes13
Earthquakes are an ever-present danger in South Carolina. Over two thousand aftershocks and new earthquakes have been generated by the Middleton PlaceSummerville Seismic Zone since the great Charleston (7.3 magnitude) earthquake in 1886. Charleston’s location on the Atlantic Ocean makes the city susceptible to hurricanes. In the past, hurricanes have caused great damage to the city. One of the most deadly hazards associated with a hurricane is storm surge. It is caused by the reduced atmospheric pressure on shallow coastal-shelf seas. As a result a large dome of water begins to form above the surrounding ocean surface. Large swells, high surf, and winddriven waves ride over the dome and impact the land areas causing extensive damage. 41
Vegetation
Smooth Cordgrass14
Saltmeadow Cordgrass15
Sea Ox-eye16
This long-lived, warm season perennial typically grows from 2 to 7 feet tall, and spreads extensively by long hollow rhizomes. Colonies tend to grow parallel to and continuous along shorelines; the width and thickness of vegetative colonies are controlled by a number a site specific conditions such as elevation, shoreline slope, and frequently, depth and duration of flooding.
This warm season, native, perennial grows from 1 to 4 feet tall, and spreads extensively by long slender rhizomes. Dark green stems emerge from the rhizomes. Commonly found growing in saline to brackish marshes, sandy beaches and low dunes, tidal flats and marsh ridges from normal high tide to about 13 feet above sea level.
This evergreen, low shrub usually 1 m or less in height with stem diameters of 1 cm, which forms mounds and mats. It grows near the seashore, usually within the influence of salt spray. Because the species is low in stature, grows slowly, and is intolerant of shade, it must occupy areas with low competition from other vegetation.
Biological Attributes Wildlife
Oyster17
Brown Pelican18
American Oystercatcher19
Oysters are bivalve mollusks found in the Charleston harbor and among many other oceans of the world. They are an economically valuable animal because they can provide a source of food and pearls for the use in jewelry. In addition, they appear to be effective scrubbers of polluted water, as indicated in several experiments in the United States in 2006. Many other animals are also fond of oysters, thanks to their flavorful, protein rich flesh.
The Brown Pelican is a comically elegant bird with an oversized bill, sinuous neck, and big, dark body. Squadrons glide above the surf along southern and western coasts, rising and falling in a graceful echo of the waves. They feed by plungediving from high up, using the force of impact to stun small fish before scooping them up. They are fairly common today—an excellent example of a species’ recovery from pesticide pollution that once placed them at the brink of extinction.
A large, boldly patterned bird, the American Oystercatcher is conspicuous along ocean shores and salt marshes. True to its name, it is specialized in feeding on bivalves (oysters, clams, and mussels) and uses its brightly colored bill to get at them.
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Circulation Harbor Traffic
The Fort Sumter ferry route is constantly circulating the harbor daily. The commercial shipping channel is very busy along the Cooper River with less frequent travel through the Ashley River.
Regatta courses are used seasonally and reach peak traffic during the annual race week in April. The course used is determined based on the number of participants. Courses are never used simultaneously.
Cultural Attributes Sensory Visual Associations
Shute’s Folly Island offers the best panoramic views of the Charleston Harbor. Its central location and low topography allow for unobstructed views towards many waterfront landmarks. Views of the city and the Cooper River Bridge are available here that would otherwise require a vessel to capture. The low lying land of the island makes for great views out but has minimum presence when viewing the harbor from the surrounding land. The island would be completely unnoticeable if it was not for Castle Pinckney elevating two stories above sea level. 45
Summary
The physical, biological, and cultural attributes present in any location are extremely important in architectural design. The designer must be aware of the conditions that will have a direct or indirect affect on the architectural design. Soils The understanding of the soil types at a site are important in determining the method for bearing a foundation. On Shute’s Folly Island the soil type plays a key role in how structures will be supported. The soil on the island is very soft because it is continuously saturated with sea water. The tidal marsh will not be able to bear the weight of any large structures. In most cases with coastal construction, friction piles must be drilled into the island to support the structures. Knowledge of the sites soil is also important in determining site drainage and what types of vegetation will grow in the location. Topography Existing
topography is a factor that typically has a strong influence on the form of a built structure. At Shute’s Folly Island the topography plays a minimal role in the development of the site. The entire site is within five feet of sea level. On the island a new topography will be created to give the landscape a more dynamic presence. The depth of the surroundings could pertain to unique projects that involve an expanded interaction with the harbors. Hydrology Tides create various water levels surrounding the island throughout the day. This creates a fluctuating relationship between the island and the sea. Only twice per day does the same relationship exist. The placements of program on the island has the ability to incorporate the constant changing landscape to offer an array of experiences for the users. However, incorporating the tides to
Reflection
evoke an experience may dwindle in the long term because of the rising sea levels. Climate A design can be molded to avoid or minimize an unwanted atmospheric condition or to embrace a conditions and use it to generate a sustainable system. Temperature averages, solar angles, and wind speeds all need to be analyzed and a method needs to be determined that can harness these attributes and use them to create a comfortable equilibrium for the island occupants year around. Geology Shute’s Folly Island is in a constant struggle with the two rivers and ocean. They are constantly carving away at the island. Judging by the surface timeline it seems that the island is likely to disappear into the harbor in the future. Either a method for preserving the landmass needs to be addressed or the creation of a landscape that does not depend on the mass could be
explored. Hazards Earthquakes and hurricanes have created mass devastation in the past and it is highly likely that both will occur again. The program and structures on the island could either embrace these natural events or find a way to minimize their impact on the island and even aid in the protection of Charleston. A hurricanes storm surge could have the greatest effect on a small island. It is possible that it could completely drown the island. The surge could possibly worsen the condition of the vulnerable Castle Pinckney. Not protecting the castle against hazards could also be a testament to preservation by allowing it to naturally deteriorate. Vegetation & Wildlife The vegetation on Shute’s Folly Island is specific to the typology of the island. The saltwater only allows for a specific type of vegetation to grow. Foreign plant materials may not be
able to grow under these present conditions. The use of local plants is going to create an atmosphere that is real to the island. Although there are few species of animals in this type of environment, the habitat of the ones that do exist become important. The birds that reside on Shute’s Folly add to its charisma. Circulation Throughout the day a variety of vessels pass by Shute’s Folly Island. It is the closest island to Charleston and is visible from the cities shoreline. There is the opportunity to engage with these vessels by creating a view special to them or by allowing island visitors to view them. Sensory Shute’s Folly Islands proximity to Charleston creates panoramic views for its visitors. Architectural modifications to the site have potential to really harness those views and allow people to view the city from the outside in for a change. 47
Consideration
Inventory + Intent
The environment of Charleston is full of beautiful attributes that are unique to this region. The harbor surrounding Shute’s Folly Island can be a showcase for many of these ecologies. The environmental qualities are just as important to the city as its fortification efforts. These ecologies are the background or the setting for everything else that is happening in the harbor. The low-lying topography of the island creates this dynamic intertidal zone that is constantly changing. The variation in sea level could be displayed naturally in the landscape
or have a more interactive approach. Maybe there is a marker when one arrives on the island and then when they exit it has obviously changed because of the tide systems. Climactic elements have a strong presence in the harbor as well. A structure with an open roof can showcase the sun and the sky. Structures also have the ability to block the strong harbor winds and give a sense of calmness when they are occupied. It is when a visitor steps out of that structure and into the unenclosed environment that they get a better sense of how
strong the winds are because of the provided contrast. The intertidal zone is a harsh climate that only a limited range of vegetation and wildlife have adapted to. This environment can embrace these species and present them to the visitors in contained areas or freely in the traversed landscape. This museum environment is full of other possibilities to be exhibited. Bringing them to attention creates a holistic understanding that includes both fortification and the environment. 49
SITE ANALYSIS
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Comparative Condition New Orleans/Charleston
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New Orleans, LA The annual high temperature average ranges from the low 50s to the low 80s. The mean range for wind velocity is between 6 and 10 mph with the greatest velocity occurring January through April and November. Precipitation is at its highest from May to July and slowly declining until October.
Climate
The port ranked 4th place based on the amount of imports and exports. The Gulf of Mexico erodes land due to tides, storms and saltwater intrusion. The tide circulates only once per day. The mean high water is 32.67 feet and the mean low water level is 31.35 feet. The effects from the coast include sea-level rise and increase of major cyclone activity.
Coastal Systems
Charleston, SC Climate
Coastal Systems
The annual high temperature average ranges from the mid 40s to high 80s. The mean range for wind velocity is between 7 and 10 mph, with the greatest velocity occurring February through April and December. Precipitation is at its highest from July to October and then averages out. The port ranked 8th place based on the amount of imports and exports. The Ashley and Cooper river erode the land as well as longshore drift from the ocean. The tide circulates twice per day. The mean high water is 8.17 feet and the mean low water level is 2.95 feet. Effects from the Mid Atlantic and Gulf Coast rate is accelerated due to localized sinking of land surface due to melting of former ice sheets, sediment compaction, and withdrawal of hydrocarbons from underground.
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Phenomena Observation from Site Visit
Shute’s Folly Island
Development on Shute’s Folly Island presents many opportunities because of its large array of rich qualities. The dynamic landscape allows the development to conform to a variety of conditions. The high ridge on the north-east edge of the island creates mass that is always above the sea level. This visible edge would make for a solid placement of structures. The ridge is also located in direct view of the harbor mouth and the two forts that guard it. The rest of the island is full of tidal marsh that fluctuates between a
wet and dry environment depending on the ocean tides. The area makes for a great landscape to traverse. From this marsh land unobstructed views of the Charleston waterfront are presented. The water conditions are completely different on each side of the island. The side facing Charleston is more calm because it has less boat traffic and is shielded from incoming oceanic waves by the island. The adjacent side is much more choppy and features a large and busy shipping canal. The canal often has very large cruise boats
and container ships traveling back and forth throughout the day. These large vessels make for a spectacular sight that can be viewed from the island's high ridge. The location off Charleston allows for the sun and prevailing winds to relatively come from the same direction. This characteristic could be beneficial for passively heating and cooling occupiable spaces. Wherever the island becomes occupiable there will be a dynamic range of landscape or visual connections for displaying. 57
Castle Pinckney
Compared to Shute’s Folly Island, Castle Pinckney occupies a minimal amount of the land. The castle acts as the terminus for the ridge and a separator between itself and the marsh. The castle is also elevated on a land mass that was intentionally created to prevent it from being engulfed in water. Castle Pinckney is the most important object on the site. The castle as a signifier of fortification needs to remain preserved and untouched by additional construction. The castle should appear in a natural state when being
framed as an artifact within the landscape. The interior of Castle Pinckney is filled with earth, making this space the highest existing location on the island. This elevated area offers panoramic views of the entire harbor without the need for any additional structures. The artifacts present underneath this fill are a mystery that could offer an archeological exploration experience for visitors. Existing characteristics of the castles exterior and interior should be explored and discovered by the visitors that engage in the site. The
variety of structures and object in the vicinity of the castle create a puzzle for spectators to make assumptions for their purpose. The castle is very unique to the harbor and all of the remaining pieces offer an exciting experience that allows visitors to view the artifact from the inside out. The site transforms from exterior entities to an intrinsic view of materials and interior conditions.
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CONCEPTUAL DESIGN
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Intention
Artifact the Castle Museum the Island Castle Pinckney and Shute’s Folly Island play a significant role in Charleston’s fortification efforts during the colonial era. In the harbor the strategic placement of many forts strengthened the defenses against invasion. The harbors topography was intentionally manipulated to create an underwater landscape of trenches that forced attacking ships on a path that placed them in direct range of a forts cannons. This method of harbor protection proved to be very strong as the only attack on the harbor never made it past the first
two forts. Though Castle Pinckney was never a signifier of a historic battle, it is still very important to the strategies of fortification.
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Island Access: Dock/Harbor Access to Shute’s Folly Island is by water. This access needs to accommodate small motor crafts, sailing vessels, kayaks, water taxis, harbor cruise boats, with multiple mooring stations along a landing pier or areas. It must also include a fishing pier. 2 Harbor Cruise Boats 4 Water Taxis 6-8 Small Motor Crafts/Sailing Vessels 20 Non-motorized Vessels
@ 50+/- linear feet each @ 25+/- linear feet each @ 25+/- linear feet each @ 16+/- linear feet each
Belvedere A building, architectural structure, or platform designed and situated to take advantage of the scenic views of Charleston, the harbor, Castle Pinckney, the island and nautical events in the harbor such as regattas. The Belvedere will serve as the communal space for the island guests, both overnight and daily. Minimum 1000 s.f.
Welcome Pavilion A self-sustaining (off-the-grid) visitor service pavilion which contains information on the island, require no attendant or staff and no maintenance rest room facilities. Pavilion Information Space 2 Bathrooms (ADAAG comliant) - 3 showers, 5 toilets, 3 sinks per bathroom Storage Closet Trash Depository
>1500 s.f. s.f. TBD per code review 100 s.f. 50 s.f.
Program Requirements 1
Landscape The evocative Lowcountry landscape should be crafted to create views, habitats, trails and activity areas. The island is flat and marshy and covered with low-growth vegetation.
Castle Pinckney The fort located on the far end of Shute’s Folly Island can be reinterpreted, reused, or left as an archeological site. The materials of the ruins should be protected and maintained. A clear and definable position must be determined for the fort ruin.
Lodging Much like the National Park System, a small amount of lodging will be provided on or close to the site. The lodge spaces may be used for tourism or for study on the island. 4- 4 person capacity rooms (2 rooms ADAAG compliant) 2 double bed, desk, closet, small book shelf 4- 2 person capacity rooms 1 double bed, desk, closet, small book shelf
>250 s.f. each >200 s.f. each
Further Considerations How will local residents and tourists use Shute’s Folly Island and Castle Pinckney? Consider: performance space, art installations, marine biology research, Coastal Conservation/Rejuvenation, tourism, Ecological Preserve, fisherman huts, regatta watching platforms, lookouts, nautical and recreational activities, business premises for nautical events. 65
Program Analysis
Reprogramming the Program The program for Shute’s Folly Island requires island access, a Belvedere for people to enjoy the scenic views of the harbor, a welcome pavilion and lodging for overnight visitors. In addition, a museum is added to the program to allow for visitors to gain a richer understanding of the island's historic significance. The addition of a museum introduces the need for two types of circulation to occur on the island. People visiting for educational purposes are going to require a different course than people visiting the island only to take advantage of the
views presented by the Belvedere. The method that each user would embark on the island would also correspond with the activity they are seeking. Museum goers would typically come by harbor cruise boats while the spectators would likely have their own watercraft. Although this will not be the case for everyone, the circulation will overlap at points to allow the opportunity for every visitor to enjoy the same experience.
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Castle Pinckney has become a historic artifact in the representation of its role in Charleston fortification. The large scale of the castle allows for a different interpretation for displaying it as opposed to how a typical museum presents it artifacts. If the castle is the important object, comparatively the island becomes the museum for displaying it. Like a typical museum with a large archive, Shute’s Folly Island has an entire harbor that acts as an archive of fortification. By manipulating the island's landscape, various lines of vision can begin to emerge that
create a narrative of Charleston’s fortification era for visitors. Determining the significant features in the harbor through diagram starts to formulate how program and circulation become addressed on the site. The views to these other features then allow for the program to be manipulated to frame what the spectator should see.
1. Incoming tour boats align directly with Fort Moultrie. Exiting the boat, a small glimpse of the castle can be seen in the distance. 2. As visitors make their way to the welcome pavilion they are realigned with Fort Moultrie in the distance.
3. Inside the pavilion is a framed view of Fort Sumter, the fort attacking ships would have to pass by first. 4. The second building realigns visitors a last time with Moultrie, the harbor's second line of defense.
5. Next, a view of where Fort Johnson used to be. The next in line of duty. 6. The visitors make their way atop Castle Pinckney, continuing the chronological order that attacking ships would encounter. 7. A panoramic view of the harbor marks the end point of the historic journey. If a ship were to pass Castle Pinckney, they would be in direct line to attack on Charleston. 8. The transition back to the boat dock runs parallel to the Charleston battery. 9. When the path comes in line with the entry axis of Castle Pinckney, a moment is created to allow for an unobstructed view of the fort. 10. Before visitors end their journey, they are presented with an incredible view of the contemporary bridge spanning the Cooper River. 11. Optional lodging units. 69
Schematics
Discovery Through Making Discovering through making allows for the designer to be more explorative during the schematic design phase. By making, design solutions can evolve and sometimes new unexpected discoveries can result. This transformative process allows for an understanding of program and tectonic qualities and how they interact and affect each other and the design. Through the continuous process of making one gains an understanding of the site and how it affects the programmatic layout as well as the structural relationships.
Manipulations to the design happens in real time and instant results allow for multiple studies to happened at the same time. The ability to constantly understand the whole picture makes for a congruent design. To begin this process the site needs to be understood and a model generated. The site is the foundation of any design, just like a building, without a foundation there is no support for the building. From this starting position, additions and manipulations begin the continuous process of design. 71
First Iteration
Building components are used as a method to framing the different artifacts. Thick and thin materials begin to play a role in making at this point. There is an idea that heaviness diminishes towards the castle to signify its importance.
The formation of a linear path of travel is visible in the model above. As one traverses the path they transition through multiple “follies� that act as the museum for displaying artifacts.
At this stage there are two Belvederes; one at the follies and one coming off the castle to face towards Charleston. There is also a defined difference of what materials are thick and which are thin.
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Second Iteration
The program placement is determined on the site. The structures are being more defined.
Each of the follies interiors are figured out to form a view towards the three other forts. Material and spacial relationships are being formed. Circulation between the structures takes on a more direct approach.
The sea wall that doubles as a pathway between the artificial estuary and the harbor offers an interactive experience with the estuary. Metal grate allows vegetation to pierce through the circulation path. 75
Third Iteration
The program continues to be refined. The follies see minimal change. The main concern becomes everything else in the landscape. Framing Castle Pinckney is more difficult because is it located on site. It became a challenge to frame the castle without putting it in a large case. In this attempt there are two monolithic walls on each side as a way to enclose the castle. Each of these walls would also begin to form Belvedere’s. The sea was changed to a straight path with a small kink
in it. The straight path has more meaning because it is aligning with the Charleston battery. It is also on axis with the Cooper River Bridge. The kink is a reference back to the fort. When the path aligns with the castle entry, it morphs into a picture perfect spot of the castle. The lodging continues to be placed along the retaining wall. The wall starts to unravel into roof shading structures for the overnight guests. Each lodging unit is turned at an angle so that one of its walls faces and frames the castle. 77
Materials + Structure
“At the necessary juncture of culture and place, architecture seeks not only the minimal ruin of landscape but something more difficult: a replacement of what was lost with something that atones for that loss.� -W.G. Clark 2
Materials of Middleton Inn, Clark and Menefee, Charleston, SC, 1986.
An important Charleston architect by the name of W.G. Clark has an understanding between landscape and architecture. His theory is that architecture takes away from the landscape, so in return that very architecture also needs to give back. Architecture should create an equilibrium between nature and construction. Charleston offers a rich variety of local materials. However, just the use of local materials is not fully giving back to the landscape that architecture deconstructs. To fully give back to the landscape
a relationship between form and material must be met that helps to blend the two. One of the materials available on site that could be used to help blend the land and new construction does not come from the land at all; oyster shells. Historically, oyster shells were used as a concrete aggregate in Charleston. These oyster shells are visible in many historic buildings. The abundance of shells on site enable a connection between the built forms and landscape.
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Oyster Shell
Tabby
Gabions
Tabby is a type of building material used in the coastal Southeast from the late 1500s to the 1850s. True tabby is made of equal parts lime, water, sand, oyster shells, and ash. Tabby can be poured into molds for foundations, walls, floors, roofs, columns, and other structural
Tabby is great material to use for Shute’s Folly Island and the rethinking of Castle Pinckney. The abundant amount of oyster shells on Shute’s Folly Island can be regenerated into the construction of structural elements. Tabby walls will create a nice harmony between
Gabions are great material for constructing on the island. These free-draining walls are a cost effective system for use in a saturated environment. Gabion walls/cages filled with reclaimed oyster shells can aid in defining pathways that blend
elements. It dries to a hard finish, is generally a grayish-white color with variations according to the materials used, and is extremely durable.3
the present landscape and built environment. Using this type of material is a way of having minimal impact while giving back to the land what architecture takes away.
into the landscape. These cages, whether walked on or defining an edge, begin to correlate with the tabby construction and the existing environment.
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Concrete
Cast-in-place
Texture
Pigment Admixture
Concrete is going to be used as the main structural site work. The transformative qualities of concrete can be explored to create a contemporary contrast to historic tabby material. Cast-in-place concrete seems best for this type of environment
Cast-in-place concrete has the ability to mimic any material surface that is used for its formwork. By using wood planks as the formwork the concrete will take on an appearance that represents the wood found in boating docks throughout the region. The plank texture also gives
The monolithic concrete structures on Shute’s Folly Island need to contrast the similar tabby. At a distance both materials will blend together without an obvious hierarchy. It is only when viewed up close can the materially be understood.
because of the depth it needs for bearing into the tidal land.
the material a sense of layering that compliments Castle Pinckney and its materiality change.
To give these structures a more monolithic and contrasted appearance the use of a pigmented admixture would be used to create a darker color concrete more similar to Charleston Green.
Reinforcing Steel Bar
Construction
Gabion Cage
Boundary
Concrete cannot withstand very much tensile stress without cracking. To overcome this deficiency, tensile reinforcement steel bars are embedded in the structures to hold the concrete in compression.4 The relationship between steel and concrete is typically a concealed
The gabion exterior shell can be constructed of any strong metals or alternative material that can withstand the weight of the enclosed material. Rebar, because of its use in other elements on the site makes the perfect candidate for the gabion cage material.
Steel rebar can be used in defining circulation in other ways separate from gabion cages. Rebar is available in many sized diameters, allowing for a variation of use or appearance on site. For the design of their Pedestrian Bridge in Austin, Texas
one. To be true to the nature of the material it is only right to expose the internal substructure. The exposed rebar allows the monolithic material to transform into a translucent surface.
[above], Mir贸 Rivera Architects used rebar in an unfamiliar way. Vertical rebar spanning across the river created a unique structure that fits beautifully with the surrounding reeds of the site. 83
Tectonic
Satsop Nuclear Power Plant In the 1970's, the construction of a nuclear power plant in Satsop, Washington began. As the budget swelled, and public opinion turned against nuclear power, the project was cancelled, with 85% of the plant completed.5 The nuclear plants possesses an "artifacting" quality by exposing its rebar substructure and formwork ties. The unfinished plant is an outstanding example of the tectonic language for the structures of Shute's Folly Island. On the island, rebar extends from its concrete
covering to screen areas or become railings. Unlike the nuclear plant, the exposed materials are transformative. The overall aesthetic of the materials are likely to be very similar to each other. Shute's Folly Island is exposed to harsh climactic conditions that are sure to accelerate the aging process and create a similar feel to that of the abandoned nuclear plant. The only different on the island is the addition of gabions which is sure to increase the rustic quality of the island. 85
Piles The unstable nature of the soils on Shute's Folly Island make construction difficult. For a structure to be supported in this condition the addition of piles need to be added to the foundations. The piles are forcefully driven into the earth until it encounters firm resistance from a suitable bearing stratum such as rock, dense sands, or gravels.6
Pile Caps
Walls
In order to support a loadbearing wall, pile caps are joined by a grade beam. The reinforcing in the grade beam is similar to that in any ordinary continuous concrete beam. In some cases, a concrete loadbearing wall can be reinforced to act as its own grade beam.7
For the Pavilions to have their monolithic appearance it is important that their walls appear to be sinking into the soil beneath them, just like Castle Pinckney. To make this possible, the walls need to be reinforced with a strip footing below the frost line. In this case, the strip footings will be integrated with pile caps.
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Mid-Review
The Design
The design for the transformation of Castle Pinckney and Shute's Folly Island into a museum environment to artifact Charleston fortification has become developed enough so that receiving valuable criticism can be beneficial to the continuation of the project. Although not every part of the program is figured out in detail, the mid-review will spark conversations about island access, the Belvedere, welcome pavilion, landscape, lodging, and how Castle Pinckney is being addressed. Going into the mid-review the rethinking of Shute's Folly Island
has a solid intent that correlates with the narrative of the museum. The current idea and how it related to historic preservation is vital to the intent and will remain the driving force for the duration of the project. Mainly, the review will request focus on programmatic layout solutions and how to relate them to the museum and the artifact.
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The renderings depict a sequence of events along a singular journey that narrates the history of Charleston fortification. Upon arriving, notice a large monolithic building with
a hole in the center to frame Fort Moultrie. When guests enter the pavilion their historic journey commences. As visitors traverse the museum (landscape), their strict
path of travel leads them to or aligns them with views that frame distant structures that were important in harbor protection efforts.
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Belvedere
Bridged Wetland
Lodging
This iteration used two platforms flanked on each side to "frame" Castle Pinckney for the distant observer. By framing the castle, it transitions the artifact as a distant object to one within the "museum." The two Belvederes made for a different viewing area depending on
The idea of three different surfaces to traverse this section remain the same; the translucent, the solid, and the penetrable. This form continues to evolve to meet the needs of the changing design. The small divider walls, perpendicular to the path, separate local vegetation.
The lodging begins to unravel itself from the retaining wall that contains the artificial wetlands. The wall curves to the roof of the lodging structures to create a shade over each of the wetland facing porches. The layout of the buildings were difficult because no matter where
the size and location of the race. One of the platforms has the museum circulation running through it while the other is somewhat off the "beaten path."
By categorizing the vegetation, it becomes an artifact representing the locale of the region.
they were placed it always seemed random. Eventually, the placement just followed the natural curve of the oyster ridges topography.
93
Museum Structures
The monolithic museum structures are made of either concrete or oyster shell enriched tabby. By creating structures out of a historic Charleston building material like tabby, the new structures of the island become secondary artifacts that tell the story of culture and place through materiality. 95
The Critique
The critique brought to my attention many issues that need to be addressed before my project could continue. Most all of the issues brought up were about the program placement and not the architectural qualities themselves. Following the review I carefully considered all the advice I was presented with and began to filter out the commentary I felt was best for me to address going forward. Post review I continued refining my design while constantly being aware of the following key points.
Key points to work on: • Need to stitch everything together as a single idea. • Create a major spine and allow for program to intersect and branch out from it. • Compress the program. • Use smaller paths as a “step-off” to help frame things on site. • Thicken edges to offer a space that can be occupied. • Need to make these heavy things softer. • Complete the frame in all directions. • BE PROVOCATIVE! 97
The Application
Following the review, the stitching together of the various programs was the main task to resolve to go forward. To stitch everything together resembled the aesthetic of a manufacturing plant. At a plant, the vast amount of pipes are interwoven to look as if they are a single system, but in reality they are all separate entities that branch out from the whole and make their way to wherever they are needed. On Shute's Folly Island, much like the manufacturing plant, there needs to be a visible central core where smaller program can intersect
while maintaining a hierarchical order. The central core of the project becomes an axial armature of museum pieces that are linked to various other programs; those that are unsupported by the main intent of the museum and the artifact. The axis of museums creates a singular path meant to be experienced in a linear connected motion. The intersecting program is not intended to be experienced in a singular movement and visitors can move within these programs in any assortment of ways.
99
Hydropower With all these armatures in the landscape it is possible that some could extend into the harbor and have power generating turbines connected to them as a way to generate "run-of-the-river hydroelectricity" to power lighting and lodging. The turbines could be
only the adventurous can gain access too. These piers can also act as a playground for children to run through [like they typically do] to get wet and cool off during the hot Charleston summer months. The turbine pathways would have a direct linear connection
large enough to support pathways in the middle of them. If someone was daring enough and willing to get a little wet they could make their way to the end of these turbine piers for a very special view that
through the oyster berm to the lodging pathways. The created axis would subtly bisect the main armature without taking away from its dominance in the landscape.
101
Hydropower could also be generated with the help of the artificial estuary that has been dredged in the middle of the island. The water wheel is dependent on the irregular water flow of the Cooper River to rotate the turbine. The estuary still uses the turbine, but in a more unseen way. It uses the variations in sea level formed by the tides to trap
and release water. It creates a water flow that is dependent on gravity. Much like a river flows dependence on gravity, this method is similar because it compresses the cycle. The more efficient way of generating a reliable source of energy is through the use of water entrapment, or tidal barrages.
Tidal Barrage8 A tidal barrage is a dam-like structure used to capture the energy from masses of water moving in and out of a bay or river due to tidal forces. Instead of damming water on one side like a conventional dam, a tidal barrage allows water to flow into the bay or river during high tide, and releases the water back during low tide. This is done by measuring the tidal flow and controlling the sluice gates at key times of the tidal cycle. Turbines are then placed at
these sluices to capture the energy as the water flows in and out. These systems are similar to a hydro dam that produces static head or pressure head (a height of water pressure). When the water level outside of the basin or lagoon changes relative to the water level inside, the turbines are able to produce power. The basic elements of a barrage are caissons, embankments, sluices, turbines, and ship locks. Tidal pools are independent
enclosing barrages built on high level tidal estuary land that trap the high water and release it to generate power. Two lagoons operating at different time intervals can guarantee continuous power output. Enhanced pumped storage tidal series of lagoons raises the water level higher than the high tide, and uses intermittent renewable for pumping. These independent barrages do not block the flow of the river.
103
105
The Outcome
In this model most of the chunkiness of the structures were edited to give a softer presence to the built structures on the island. These structures continue to act as the main focus point of the spine from which everything else branches. Added to the spine in this model is the Belvedere. It now takes on the same language as the other structures as a continuation of the spine. It terminates in the water. The lodging, located in the same place, has a relationship with the museum structures. It branches off from the museum axis but continues
to be attached through pathways or walls. The secondary axis that penetrates these structures begin with the barrage lagoon piping system to gather water from the central harbor side and continues to the lodgings other side through the artificial wetland and past the sea wall to terminate in the Charleston harbor. Now that the structures are formalized, a language for the traverse needs to be determined that is congruent with the intentions of the built forms.
107
The Traverse The way one moves through the landscape and between structures is an extension of the tectonics true to the constructed buildings. One of the elements used in the construction to add strength to monolithic concrete structures is steel rebar. The intention is for the tectonic of these
a building as a softer transition from an enclosed space to the open landscape. As one traverses, the rebar would gradually diminish in height and slowly transform into the gabions used to stabilize walkways over the marsh. When descending into the entry port of Castle
structures to expose themselves and the rebar continues beyond the built forms to create boundaries for the traverse. The exposed rebar would enclose the visitor as they leave
Pinckney the rebar transitions to a retaining wall to hold back the earth. Rebar encloses visitors as they exit, then enclosed materials to form the path, then encloses the earth. It is being used to artifact.
The Pavilion/Bathrooms The first pavilion and the bathrooms inside of it are a continuation of the idea for enclosing visitors within rebar as if they were the material for the gabion fill. The rebar will materialize from the concrete walls to create a translucent divider between the interior space and the environment. The screen will allow the passage of light into the space and allow for ventilation into the bathroom. The screen does not attach to the ground: it is suspended as a secondary
structure that is derived from the concrete walls. This illustrates that the rebar is only a continuation of the concrete tectonic and not its own separate entity for building or making space. The vertical rebar that creates the bathroom screen is also used for railings on the second floor welcome center and museum space. It will follow the same tectonic as it does throughout the rest of the building.
109
DESIGN DEVELOPMENT 111
Castle Pinckney and Shute’s Folly Island played a significant role in Charleston’s fortification efforts during the colonial period. In the harbor the strategic placement of many forts (Sumter, Moultrie, Johnson, Pinckney) strengthened the U.S. coastal defenses against invasion. The harbor’s topography was intentionally manipulated to create an underwater landscape of trenches that forced attacking ships on a path that placed them in direct range of the forts’ cannons. This method of harbor protection proved successful as the only attack on the harbor never made it past the first two forts. Though Castle Pinckney was never in a significant historic battle, it is still very important to the system of harbor fortification. Castle Pinckney has become The Artifact of Preserving Charleston
harbor fortification. The large scale of the castle presents a unique opportunity for displaying it as opposed to how a typical museum presents it artifacts. If the castle is the historic artifact, comparatively the island becomes the museum and similar to a typical museum with a large archive, Shute’s Folly Island has an entire harbor that acts as an archive of fortification. By manipulating the island’s landscape, various lines of vision emerge to create an artifacting of Charleston’s fortification era for visitors. Visitors of Shute’s Folly Island or the “museum” are introduced to the history of Charleston fortification in a fashion identical to the chronological order that attacking ships would be introduced to each defense fortress. As visitors traverse the museum, building components
Proposal
the artifACT OF PRESERVING are used as a method to display the different harbor artifacts. The exhibit begins as tour boats arrive to the island on the same axis as Fort Moultrie. When visitors get off the boats they see their first display in the distance, a pavilion with a large exterior armature that exhibits Fort Moultrie. Inside the pavilion visitors are abruptly presented with a view to Fort Sumter, just as attackers were deceived by seeing Moultrie in the distance, but were met with the cannons of the unseen Sumter first. In the next pavilion, visitors are realigned with Fort Moultrie, the harbors second line of defense.
Castle Pinckney. Visitors then make their way atop the castle through a tunnel carved within the existing infill, continuing the chronological order that attacking ships would encounter. Visitors conclude their traverse at the Belvedere with a panoramic view of Charleston: the city invaders were in direct line to attack if able to pass Castle Pinckney. The Pavilions on Shute’s Folly Island have a duality in preserving historic locale; they are displays that artifact fortification and their tectonic is a display that artifacts the materiality of the region. The
screens or boundaries for the traverse. In the landscape, the rebar formalizes into gabions or retaining walls to display local ecology. To generate water needs for the visitors, a cistern collects water for toilet flushing and a desalination system generates the potable water needs. Energy needs are hydropowergenerated through a tidal barrage system that evokes its process with semi-diurnal water features. The Artifact of Preserving Charleston fortification through the artifacted traverse provokes conventional learning by maintaining an identity true to the island while becoming
The third pavilion is a small openair structure that frames a view to where Fort Johnson once stood. Following this pavilion, visitor’s attentions are redirected to the island and towards the sally port of
buildings are constructed of concrete and tabby, a concrete with an oyster shell aggregate that was used in construction during the fortification era. Rebar materializes from the concrete structures to create interior
a signifier for the harbor defense progression.
113
Moultrie Pavilion
115
Sumter Pavilion
Johnson Pavilion
117
119
121
123
Building Code
1
Welcome Pavilion Code Compliance
Building Construction
Occupancy: A B E F H I M R S U - 1 2 3 4 5 Assembly - Worship, Recreation or Amusement
Height (ft): Stories:
Construction Type: I II III IV V - A B HT Noncombustible materials / unprotected elements Occupant Load: 219 people
Allowed
Req.
Actual
55 2
— —
27 2
— — —
1 2 44
1 2 60
9,500 19,000
— —
1,095 2,000
— —
.9 1.7
5 5
— — —
.5 .5 1
3 3 2
Exits First floor: Second floor: Width (in.): Area Limitations Floor (s.f.): Building (s.f.): Plumbing Fixtures Water Closets Male: Female: Lavatories Male: Female: Drinking Fountains
Code Compliance Accessibility
ADA Standards for Accessible Design; Public Restrooms2
1. Entrances and exits are laid out to minimize congestion and for universal access; 2. Passageways and access aisles are a minimum 42 inches to 48 inches wide; 3. Minimum clear height of 80
inches throughout all circulation routes, passageways and access aisles; 4. Wheelchair turning spaces wherever required; 5. Accessories are fully recessed into the walls wherever possible; 6. Each type of accessory meets or exceeds 2010 ADA and 2009 ICC/ ANSI Standards; 7. Centered minimum clear floor space of 30 inches by 48 inches is provided for each accessory; 8. Lavatories, urinals, and toilet compartments meet or exceed 2010 ADA and 2009 ICC/ANSI Standards; - The bathroom diagram illustrates the accessible restrooms with universal design features considered for Shute's Folly Island. 125
Ft. Sumter Viewpoint Code Compliance
Building Construction
Occupancy: A B E F H I M R S U - 1 2 3 4 5 Assembly - worship, recreation or amusement
Height (ft): Stories:
Construction Type: I II III IV V - A B HT Noncombustible materials / unprotected elements Occupant Load: 97 people
Allowed
Req.
Actual
55 2
— —
26 1
— —
1 44
2 60
9,500 19,000
— —
484 484
— —
.4 .7
5 5
— — —
.2 .2 1
3 3 2
Exits First floor: Width (in.): Area Limitations Floor (s.f.): Building (s.f.): Plumbing Fixtures Water Closets Male: Female: Lavatories Male: Female: Drinking Fountains
The Fort Moultrie Viewpoint is the second floor of the Welcome Pavilion. Once a visitor enters this structure their museum experience officially begins. This viewpoint, as well as the Fort Sumter viewpoint, are very open and spacious. They both go well beyond the minimum ADA guidelines in regards to accessibility. Their relatively small size allows a simple path of egress well under the 200 foot maximum travel distance allowed per International Building Code. 127
Belvedere Code Compliance
Building Construction
Occupancy: A B E F H I M R S U - 1 2 3 4 5 Assembly - outdoor events
Height (ft): Stories:
Construction Type: I II III IV V - A B HT Noncombustible materials / unprotected elements Occupant Load: 200 people
Allowed
Req.
Actual
55 UL
— —
30 1
— —
2 44
2 60
UL UL
— —
1,000 1,000
— —
1.3 2.5
5 5
— — —
.5 .7 1
3 3 2
Exits First floor: Width (in.): Area Limitations Floor (s.f.): Building (s.f.): Plumbing Fixtures Water Closets Male: Female: Lavatories Male: Female: Drinking Fountains
The Belvedere is the hovers above the water south of Castle Pinckney. All of the ramps are within ADA guidelines. At the top of the stepped seating there is a small recess for wheelchair occupants to enjoy the harbor views. 129
Lodging Code Compliance
Building Construction
Occupancy: A B E F H I M R S U - 1 2 3 4 5 Residential - sleeping in buildings containing more than two dwellings
Height (ft): Stories:
Construction Type: I II III IV V - A B HT Noncombustible materials / unprotected elements
Area Limitations
Occupant Load: 24 people
Allowed
Req.
Actual
55 4
— —
14 1
— —
1 36
1 36
16,000 16,000
— —
1,860 1,860
— —
1.2 1.2
5 5
— — —
1.2 1.2 1
3 3 2
Exits First floor: Width (in.): Floor (s.f.): Building (s.f.): Plumbing Fixtures Water Closets Male: Female: Lavatories Male: Female: Drinking Fountains
There are two identical lodging buildings located adjacent to each other. Each building has four rooms; two two-person units and two four-person units. Every room and the surrounding decks is ADA accessible. All interior exit travel distance is less than 75 feet and all door are 36 inches wide per International Building code. 131
Water Requisite Lodging occupancy: Visitor occupancy: Days per year occupied: Gallons needed (yr.): LEED baseline (gal./yr.): Reduction vs. LEED base
24 180 245 283,196 340,746 17%
Cistern (for toilets) Annual rainfall (in./yr.): Area of collector (s.f): Collection efficiency: Gallons needed (yr.): Gallons collected (yr.): Difference (gal./yr.):
51.03 2,455 95%
Urinals Gallons per flush: Uses per males per day: Water use (gallons/day): Bathroom Sink Faucets Gallons per minute: Minutes per person per day: Water use (gallons/day):
127,939 128,274 +335
Showers Gallons per minute: Average shower duration per person (min.): % of people using showers: Water use (gallons/day)
155,257 633.7 800
Totals Gallons per person per day: Gallons per day: Gallons per month: Gallons per year:
Potable Water Gallons needed (yr.): Avg. gallons needed (day): Gallons produced (day):
Toilets Gallons per flush: Flushes per person per day (men): Flushes per person per day ( women): Water use (gallons/day):
Lodging
Visitors
1.28 1 3 61.4
1.28 1 3 460.8
.13 2 3.1
.13 2 23.4
1 5 120
1 1 180
2 8 80 307.2
2 8 0 0
20.5 491.7 14,956 120,466.5
3.7 664.2 20,203 162,729
Sustainability Considerations Water
Desalination3 Potable water is going to be generated through a desalination process or the removal of salt from ocean water. The use of a Spectra Watermaker is able to produce up to 800 gallons of clean water per day. This method uses a high pressure to force salty ocean water through a semi-permeable membrane. The membrane allows liquids, but not solids (like salt) to pass through it. Clean water is left for drinking, showering, etc... This processes is called reverse osmosis. 133
Tidal Lagoon Pipes extending from the island into the harbor will collect water. The pipes are situated at a height that only allows for water transfer during high tides. During the high tides, water rushes through the pipes to fill up the lagoon. Midway through the transition the water becomes visible as it transitions from the closed pipe into a small waterway embedded in the top of the gabion wall.
Electricity
At the end of the transfer saltwater makes a dramatic entrance into the lagoon that creates an aural and visual queue to "artifact" tidal change. It becomes this magical event that only happens twice a day. Once the lagoon is full and the tide recedes, sea wall sluice gates open and water escapes through the turbine enclosed openings. The turbines generate power and send it to a converter/storage unit for daily use on site. 135
Greywater
Greywater is produced from the sinks and showers in the main pavilion only. The used water is sloped towards the walls and then visibly drained to the ocean via a crevice in the floor.
Blackwater
Blackwater produced from the toilets can not drain to the ocean like greywater. The blackwater will be collected in a large tank underneath the pavilion and be professionally pumped out when it is full.
137
CONSTRUCTION DOCS 139
Construction Documents
Construction documents include all building plans, specifications, and supporting documents used during the completion of a construction project. These documents serve several purposes. First, they help translate the needs to the owner or developer into a buildable format that can be universally understood within the construction industry. Second, they allow the owner to put the project out for bid and to obtain permits from local authorities. They also provide comprehensive instructions to the contractor as to how the project is constructed.
A set of completed documents is made up of two to three components. The largest is the set of building plans or drawings, which may range from a single sheet to hundreds of pages, and include everything from floor plans to finish selections. Another component commonly included in a set of construction documents is the specifications manual, or “spec book.� The spec book is a written project manual that covers materials and methods that should be used when constructing the project.4
141
Title Sheet
Code Compliance
143
Site Plan
Welcome Pavilion Floor Plans
145
Elevations
Sections
147
CONCLUSION 149
Competition Entry
151
153
References
prologue 1
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Castle Pinckney. 19 May 1970. National Register of Historic Places Inventory - Nomination Form. Charleston
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3
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6
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