ZAHA HADID : BRIDGE PAVILION IN ZARAGOZA, SPAIN
KIMBERLY RICE UNIVERSITY OF SOUTH FLORIDA SCHOOL OF ARCHITECTURE + COMMUNITY DESIGN ADVANCED DESIGN SEQUENCE PORTFOLIO 2017-2018
TABLE OF CONTENTS
A B C D +
THE USF INTERFAITH CHAPEL THE TAMPA CIRCUS MUSEUM
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BARCELONA SOCIETY PARALLELS
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PALMETTO URBAN EVOLUTION
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ABERDEEN QUEENS CANOPY
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THE CHAIR WORKSHOP MEANING AND MEMORY
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JONES & JONES ARCHITECTS: THE NATIONAL MUSEUM OF THE AMERICAN INDIAN IN WASHINGTON D.C.
ADVANCED DESIGN A PROFESSOR DAN POWERS SPRING 2018
WASHINGTON D.C.
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THE USF INTERFAITH CHAPEL TAMPA, FL PROJECT ONE
CONTEXT 8 AM SUN AND ACTIVITY STUDY PANORAMA
11 AM SUN AND ACTIVITY STUDY PANORAMA
6 PM SUN AND ACTIVITY STUDY PANORAMA
SUN AND ACTIVITY PANORAMA STUDY
SIte Analysis: Bubble diagrams
AERIAL IMAGE OF USF IN TAMPA FL Main worship space: 1,500 - 2,000 SF (Semi-Private)
The University of South Florida Interfaith Chapel is located in the heart of campus next The Marshal Student Center, as seen above, and many of the academic class rooms. The Chapel is available to all students, staff, and faculty regardless of their religious beliefs and affliations. There is no religious icons, decorations, or symbols present in The Interfaith Chapel to indicate any form of religion. The building is to be used for group worshipping, special events, and individual meditation. The Chapel contains a library and offers religious counseling services aside from the worshipping and gathering spaces. The building is intended to be a safe and stress relieving space. The space is without influence and is able to uplift and calm a user in a inspirational way. The user will find solitude but not lonliness through the use of light as a means of guidance and inspiration. The demographics of the building’s users are college students around 18 years of age or older, college professors around 25 years of age or older, and college staff around 18 years of age or older. The Chapel will serve 47,000 students and 15,000 professors and staff. The building is intended to be multi-cultural, multi-gender, and multi-religious for all 62,000 people.
Secondary Worship Space: 600 - 750 SF (Semi-Private) entrance lobby: 60-80 sf (Public)
Worship storage room: 250 sf (private)
informal social room: 900 - 1,200 sf (Semi-Private)
meditation rooms: 3 at 100 - 120 sf (semi-Private) medi
library/reading room: 300 - 400 sf (semi-Private) public toilets: 200 - 300 sf (semi-Private)
Purification room: 200 - 300 sf (semi-Private)
janitors closet: 40 - 50 sf (Private) reception and waiting area: 120 sf (Public) Admin office: 120 sf (semi-Private) business conference room: 200 sf (semi-Private) busin work room: 100 sf (semi-Private) cleric officesL 2 at 120 sf each (semi-Private)
counseling rooms: 2 at 150 - 225 sf each (semi-Private)
mechanical and electrical: 8 - 10% of total = 415 - 642 sf (Private)
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INSPIRATIONAL AND CONTEXTUAL QUOTE
PROCESS
The quote to the left was chosen to portray the intent of the model and inspire what was to come. The quote inspired the making and concept of the collage to the right. The first line of the poem speaks of growth and continuation. This language can be seen within the growing “root� like lines within the collage. The next part of the poem talks of the darker parts of a heart or the hard times and places. Within the collage this symbolism takes hold in the strong gradient of colors where the clear plexi allows light to reach. The final part of the poem is the where light enters, where it would have knowledge of starting because of symbolism or appature. In the collage this appature runs completely through the depth of the collage and creates a half circle which leads into the other half of the circle within the depths of the collage, therefore allowing light to enter.
INITIAL PROCESS MODELS
SECONDARY PROCESS MODELS
INITIAL INSPIRATION COLLAGE
FINAL PROCESS MODEL
Three intial process models were made by weighing the idea of carving into the site, staying level with the ground, and excavating the ground up. The first process model on the bottom left was chosen to move forth with because of the connection to the collage meaning. The curvature found in the model followed the underlying meaning to bring light within and explictly giving light an enterance. Three nodes were designated in the model for the main worship space, the secondary worship space, and the mediation rooms. This followed into the final process model as a radial design. The entirety of the building is run off the exterior courtyard housed within the center. The main worship space and the ramps down within aligning with it. The curving arm of the structure starts as a threshold, becomes a wall, then finally, when reaching the main worship space, becomes a ceiling condition that allows light into the space.
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FINAL
FINAL MODEL
FINAL MODEL DETAIL
The brown curving diatom through the Chapel is a mechanism for guidance through the building. The light coming down through as the two pieces peel apart leads the user the main worship space. Through the journey to the main worship space the light flooding into the open gathering spaces comes from the exterior open space in the middle of the radial design. The entire journey is one with a slow progression downwards which aids the intention of solitude by depleting the near by sounds. FINAL MODEL DETAIL
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Within the site plan it can be seen the connections and paths surrounding the site. Due north of the site is the MSC or the Marshal Student Center at USF. This is usually busy from the Markets on Tuesdays, Wesnesdays or Thursdays, depending on the time of the month. Sound can also be affected by the fountain immediately to the East of the site from the MLK Reflection Pond. The sun comes mostly from the south end of the site and the trees are lush, averaging about 25 feet tall. These trees influence the morning sun to the North and South. The best viewpoints into the site come from the Northeast and Southeast, through the trees. This influenced the addition of the enterances of the ramps down into the site. The worst viewpoints into the site are from the east and west, therefore the mediation and worship spaces were placed there for privacy. FINAL SITE PLAN
FINAL FLOOR PLAN
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FINAL NORTH WEST SECTION
FINAL SOUTH WEST SECTION
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FINAL EAST ELEVATION
FINAL NORTH ELEVATION
FINAL MAIN WORSHIP SPACE RENDERING
The meditation space shown on the left is a place of solitude. It is a self guidance of mediation through the use of light within the room. Due to the room being five feet underground there is a sense of privacy from those walking on the paths above. This depth also allows for the light to come down into the space, rather than straight into it. FINAL MEDITATION ROOM RENDERING
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THE AMERICAN CIRCUS MUSEUM TAMPA, FL PROJECT TWO
CONTEXT RINGLING CIRCUS MUSEUM PHOTOS
AERIAL IMAGE OF CHANNELSIDE DR IN TAMPA FL The American Circus Museum is located at the corner of Channelside Drive and Twiggs Street in downtown Tampa. It contains twenty four interior spaces and an entry courtyard. The building is roughly 200,000 square feet. It is located directly across from the water with views of other downtown icons. Located dirrectly to the west of the site is newly built housing. The other remaining adjacent lots are intended to be built on as the area is ever growing. Channelside is an upcoming area in downtown Tampa, therefore it is the prime location for a museum of this type. The main components are the circus clown, circus aerobatics, circus animals, circus food, and circus history exhibitions. The American Circus Museum containts an aerobatic school, bookstore, cafe, coffee shop, childrens clown school, and an adiminstation suite as well. The inspiration to this project is derived from The Ringling Circus Museum in Sarasota, Florida. Photos from this museum are shown to the left. The inspiration and concentrations taken from this precedent study are the size of the installations, the vibrancy of colors, the use of lighting, and the portrayal of the history of the Ringling Circus.
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INSPIRATIONAL AND CONTEXTUAL QUOTE
PROCESS
The quote to the left was chosen to portray the intent of the model and inspire what was to come. The quote inspired the making and concept of the collage to the right. The quote from P.T. Barnum, the American showman, was choosen to be an editing and constraining tool so that preconceived design would be eliminated that is not apporiated for the design of a circus museum. The quote simply states the underlying meaning of going to a circus and is portrayed through the collage, to the right, by the collection of memories or fragmentation of photos from going to the circus. Most think of their childhood or older memories when thinking of the circus so the intention of the collage is to capture those memories in a bright and monumental way. Through the use of this collage the idea of transparency, color, and organization were derived.
INITIAL PROCESS MODELS
INITIAL INSPIRATION COLLAGE
FINAL PROCESS MODEL
The intial three process models on the bottom left corner were dervied from the inspiration of the collage to the left. Each being monumentally different in function and concept, they all have the commonality of having three distinct parts dedicated to circus clowns, animals, and aerobatics. The three models were combined with each other, rather than picking just one to move foward with. The product of this combination is shown below. The final process model is a portrayal of what the circus truly use to be through the use of the Ringling Circus mural flowing across it’s facade. This facade allows colored light to penetrate the exhibitions and changes throughout the day. The glass attrium also aids the pentration of light through every floor. Through the glass atrium is a monumental curved stairs that lightly carries the user upwards as if they were on a tight rope. The mural covered space located on the south end of the building is the aerobatics school. Mostly used at night, the intention is a glowing entity to signify the true nature of the circus. This space becomes the icon of the building. During the day the open entry courtyard is aided by an open program ramp to bring the users up to the second floor. Here the cafe, coffee shop, bookstore, and circus food exhibit are located. These spaces are open earlier and allow users to bring their food and beverages onto the ramp and elax before enjoying a day at the museum.
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FINAL MODEL
FINAL MODEL
The ramp from the process model becomes a stair in the final model. The stair cruves in same langauage as the interior stair. This stair is still a space for relaxation and pause with it’s extended balcony like features looking across the water. An elevator and vast balacony are located adjacent so the same experience is giving to those users who cannot use the stairs. FINAL MODEL DETAIL
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SECOND FLOOR PLAN
FINAL
FINAL FIRST FLOOR PLAN AND SITE PLAN
THIRD FLOOR PLAN
FOURTH FLOOR PLAN
FIFTH FLOOR PLAN
ROOF PLAN
Located on the first floor, shown on the left with inclusion of the site plan, is the main entry vestibule, the adminstration suite, the staff suite, the history of the circus display, the aerobatics school, the children’s clown school, the information desk, a waiting and lounge area, a parents lounge, the entry to the montumental glass atrium and a mini theatre. Located directly to the right of the site plan is the second floor, which contains the aerobatic school, the bookstore, a cafe, a coffee shop, exterior cafe seating and lounge area, circus food displays, and connection to the garden stair. Located directly to the right of the second floor is the third floor, which contains the aerobatic display spaces. Located directly to the right of the third floor is the fourth floor, which contains the circus animal display spaces. Located directly to the right of the fourth floor is the fifth floor, which contains the clown display spaces.
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FINAL
FINAL EAST ELEVATION
FINAL SOUTH ELEVATION
FINAL INTERIOR RENDERING OF AEROBATICS SPACE
FINAL MODEL DETAILS
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FINAL WEST SECTION
FINAL DAY TIME EXTERIOR RENDERING
FINAL NIGHT TIME EXTERIOR RENDERING
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ANTONI GAUDI: SAGRADA FAMILIA IN BARCELONA, SPAIN
ADVANCED DESIGN B PROFESSOR MARK WESTON SUMMER 2017
LONDON, UK
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BARCELONA, SPAIN
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GIRONA, SPAIN
SEVILLE, SPAIN
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ZARAGOZA, SPAIN
BARCELONA SOCIETY PARALLELS BARCELONA, SPAIN PROJECT ONE
CONTEXT
“As a Spanish citizen who has lived in Barcelona for six years, I’ve seen the huge increase in tourism and witnessed the growing counter-movement driven by locals, which is starting to get referred to as “tourism-phobia”. Sprayed on a pedestrian crossing next to Sagrada Família, I read the words “Tourist go home”. This was just the tip of the iceberg – angry graffiti and passive-aggressive messages started appearing all over the city. Recently, anti-tourist protests have hit headlines. It’s a reaction that has been triggered by the swelling numbers of tourists, creating massive overcrowding – the city has been stretched to breaking point. Barcelona is the twentieth most visited city in the world, and it keeps breaking its record number of visitors each year, going from 27 million tourists in 2012 to more than 34 million in 2016. That’s an increase of over 25 per cent in four years.” - ALMUDENA LÓPEZ DÍAZ OF THE INDEPENDENT PRESS
TOURISM ATTRACTIONS SURROUNDING THE SITE
AERIAL IMAGE OF MONTIJUIC DE PARC IN BARCELONA, SPAIN
BARCELONA TOURISM VS. RESIDENTS Imagine you’re walking down the street in the city you’ve been dying to visit for months, or even years. But then you turn a corner and stumble upon a piece of graffiti that reads: “Tourist you are the terrorist”. But a few metres ahead you see another troubling line: “All tourists are bastards”. Located dirrectly across from each other on the site is a residental apartment complex and a hotel. Also convienently located around the site is some of the best tourist attractions Barcelona has to offer, photos are shown to the left. Most residents stay far away from these parts of the city due to the evergrowing distaste of tourism. The residents of Barcelona have began to protest the climbing numbers of tourism within the city. This project is intended on challenging the parallels and relationship of the tourists and residents in Barcelona. By challenging these two dinamics the product of harmony and peace is questioned and sought after. The beauty and history of the city is desired to be kept but reviving it in a language of allowing a fresh ideology and attitude in a respectable way. The intent is to be challenging and make the user stop and think of their actions and surroundings.
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CONTEXT
The neighbors of the neighborhood of the Poble Sec demand that the House of the Premsa (Rius i Taulet, 5), also known as Palau de la Premsa, currently in disuse, to become neighborhood equipment. The neighborhood commission for its recovery opened the doors of the building the 18 of June to teach it to the neighbors and to add adhesions. They dream that this modernist jewel will write a new chapter in its history that includes them as protagonists. “Poble Sec is a long, sloping neighborhood,” explains Jordi Goñi, president of the Commission for the Recovery of the Palau de la Premsa. “The facilities at one end of the neighborhood are far away for those who live at the other end. In the area of the Fira de Montjuïc, there is a shortage of equipment,” he adds. The House of the Premsa was one of the numerous buildings that were built in Montjuïc to receive the International Exhibition of 1929, among which is the National Palau. It was the work of the architect Pere Domènech Roura.
POLICE STATION PHOTOS
HOUSE OF PRESS PHOTOS
AERIAL IMAGE OF HOUSE OF PRESS AND POLICE STATION IN BARCELONA, SPAIN
HOUSE OF PRESS VS. POLICE STATION Located dirrectly next to each other on the site is the Police Station of Barcelona and the Historical House of Press. These two parallels create a dominating icon of Press VS Police. The intention of this project is to expose the parallels through the use of glass in the language of transparency of the Police and honor the voices of the people through the Press. The House of Press building functioned as a press room during the Exhibition. “It was a writing at the forefront of the time,” says Josep Guzman, a member of the Center for Historical Research of Poble Sec. There was everything: telegraphs, two telephones with international lines, a dark room to reveal photos and 13 rooms to accommodate The foreign journalists. After the exhibition, the liquidation committee was installed, in charge of the accounting closing. In 1934 passed to the hands of the Urban Guard. The commanders of the police forces had their offices there until the late 1980s. Since then, it has become obsolete. To the neighborhood demands is added a proposal to host an exhibition space of the Institut del Teatre. Local sources argue that “we will have to expect budgets, political negotiation and participatory process to finish deciding the future uses”.
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CONTEXT
“Reflectivity and translucency play crucial roles in the perception of the Barcelona Pavilion. While physically the Pavilion may be constructed of travertine, onyx, glass, steel, and stucco, what shapes the experience of the space is the reflections. This principle is most evident in the polished steel columns, so slender and reflective that they seem to disappear completely. The fifth material used in the Pavilion is less apparent – water. By lining the pool bottoms with black stone, the pools essentially become large horizontal mirrors, created a plane of symmetry throughout. While traveling through the Pavilion and surrounding landscape, the effect is a blurring of inside and outside as the walls are dissolved by their own reflections. Upon entering the room the occupant sees their reflection leaving it, evoking a feeling of entering a room someone has just left or of chasing their own shadow.” - VICTORIA ANNE OF OWLOCATION PRESS
BARCELONA PAVILION PHOTOS
BARCELONA PAVILION BY LUDWIG MIES VAN DER ROHE
THE BALANCE The Barcelona Pavillion is an architectural icon. It symbolize everything that balance is and should be. It was designed for the 1929 International Exposition by Ludwig Mies can der Rohe. The entire experience of the structure is weightless and effortless due to the material, color, and asymmetry. Following the selection of the onyx wall, material colors and structure began to coordinate with each other. The walls, when viewed in plan, appear to be placed at random and are not symmetrical in the least, however when viewed in elevation it can be seen that the materials themselves display many planes of mirrored symmetry.Besides its strong langauge of balance, it also portrays a strong laguage of transparency. The site for this project was specifically choosen dirrectly adjacent from the Barcelona Pavilion to showcase these two traits and draw them in. The main idea of disfussing these society parallels of press vs police and residents vs tourism is through the use of architecture by balance and transparency. Therefore the strong language of the Barcelona Pavilion will be adapted into the site through the same asymmetry.
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PROCESS PROCESS MODELS PLAN DRAWINGS The white building on the plans located above is the exsisting House of Press, the red is the intended residental apartments, the black is the residential hotel, and the grey is the police station. Models of the plans are shown to the right.
The immediate area surrounding of the site is home to some of the most iconic buildings and monuments of Barcelona. Therefore the location of my site is heavily surrounded by tourists and short stay residents. There is still a heavy population of long term residents on the site, about 35% of the block. Also accompaning the long term residents and tourists, is a police station and a historical building that was once the iconic Press House of the International Expo 1929. The goal is to create a balancing harmony of the four structures through the public and private aspects. Therefore the hotel and residential housing will create public and private spaces to encompass the lifestyle of a local and then the accomidations for a tourist but also the interaction of both types. In order to speak to the public realm, the plaza in front of the block will be morphed into an interactive and interchangeable space. The plaza will replace the current pavilion in order to create an exterior space for the conventions of Fira Barcelona that can change into a public green space when a convention is not occuring.
PROGRAM POLICE STATION Four floors / offices and conferences rooms. 585 meters squared per floor. Roughly 2340 meters squared in total. HOUSE OF PRESS Semi basement with three floors / currently abandoned. 1929 : 10 telephone booths, post office, telegraph room, photo lab, dark room, offices, conference rooms, and reading rooms. 390 meters squared per floor / roughly 1560 meters squared in total. HOUSING Five units in three seperate buildings. Building one : six floors, thirty units, first floor garages / 680 meters squared per floor. Building two : seven floors, thirty units, first floor businesses / 600 meters squared per floor. Building three : five floors, 70 units, first floor businesses / 1575 meters squared per floor. HOTEL Two resturants, one bar, a spa, a gym, 18 meeting rooms, and around 500 rooms eight floors / resturants on ground level. 3150 meters squared per floor, around 25200 meters squared in total. ITALIAN PAVILION Gross surface area 2409 meters squared, max height 14.5 meters. Ground resistance 5000 kg / meters squared. Max tables and chairs 1800 for large events and conferences.
PROCESS MASSING MODEL OF EXSISTING CONDITIONS
MODEL VARIATIONS
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FINAL
LARGE SCALE FINAL MASSING MODEL
LARGE SCALE FINAL MASSING MODEL
LARGE SCALE FINAL MASSING MODEL
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FINAL
SMALL SCALE FINAL MASSING MODEL
SMALL SCALE FINAL MASSING MODEL
SMALL SCALE FINAL MASSING MODEL
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TORONTO SKYSCRAPERS FROM THE TOP OF THE CN TOWER IN TORONTO, ONTARIO, CANADA
ADVANCED DESIGN C PROFESSOR TRENT GREEN SPRING 2017
TORONTO, ONTARIO
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PALMETTO URBAN EVOLUTION PALMETTO, FL PROJECT ONE GROUP MEMBERS: CHRIS L. + MING C.
CONTEXT
ELEVATION AND PANORAMIC STUDIES OF 10TH AVENUE
EAST ELEVATION AND PANORAMIC IMAGE OF 10TH AVENUE
WEST ELEVATION AND PANORAMIC IMAGE OF 10TH AVENUE
DEMOGRAPHICAL STUDIES OF PALMETTO’S POPULATION
PALMETTO, FLORIDA BOUNDARIES
SUB AREAS OF THE HISTORICAL DISTRICT IN PALMETTO The Palmetto Historical District is defined by the three sub areas. These subareas are defined by the concentration of building use. Sub area one consists of a high density of cultural and community based building use. Sub area two consists of a high density of commerical building use. Sub area three consists of a high density of residential building use. These sub areas can be defined by brick parking or plaques on historical buildings. Looking at exsisting historical buildings we can create a basis for new structures facades to therefore create a consistent historical appearance. This consistent historical appearance will then create a definition of what historical Palmetto looks like. This definition cannot be created with the pre-exsisting historical structures nor without the creation of new buildings that celebrate the old. The Palmetto Historical District could use greenways to link open spaces around the sub areas with each other and with commerical and residential development. Therefore the district could utilize contextual architecture, native plantings and unobstructive lighting for civic buildings to minimize environmental impacts. The green spaces within the community could create walking paths segregated from vehicular circulation.
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PROCESS
PRECEDENT STUDIES
Through our intial analysis we found that the two most important macro scale focuses were Infill and the tree canopy. Infill being the most important, palmetto has a need for more diversity within their housing inorder to appeal to a range of families and their income. Therefore through infill multi family housing can be incorporated. Palmetto’s tree canopy is also equally as important. Although there is a large portion of palmetto with a dense canopy it is constantly declining. therefore it is important to preserve the natural eco corridor of the city. Through our intial analysis we found that the continuation of red brick and the incorporation of a waterfront promenade to be the most important mid scale focuses. By continuing the already exsisting brick through the whole city, it would truly give an individual the indication they are within the historical district. The propsal of a waterfront promenade is due to the success of most historical and nonhistorical cities celebrating their waterfront. incorporating parks and pop up shops around the waterfront would bring in more foottraffic to the already exsisting shops and resturants. Through our intial analysis we found that the two most important micro scale focuses were parklet additions and infill within the historical park.
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FINAL
PALMETTO URBAN EVOLUTION MASTERPLAN These small public green spaces allow for palmetto to enjoy a diversity of activites. The mini parks can be used for simply eating lunch or even throwing an event. Pocket parks are a great little escape from the city itself. Given that the two major parks within palmetto are right next to each other this creates a desire for parks in other parts of palmetto and throughout all three subareas. WIthin our master plan map shown above you can see the incorporation of pocket parks all through the historical distrcit of palmetto. The placing of these pocket parks is according the lower density areas within the tree canopy of palmetto.
Not only does brick sidewalks, lining, and streets have more character and deeper color than concrete or asphalt but it also lasts for a longer period of time. The costs of incorporating more red brick through palmetto will be madeup in the long run by how long the bricks can last without having to be replaced because it lasts three times longer than concrete or asphalt. Brick also has the advantage of being able to shift slighty so in the event of the ground shifting the bricks will shift and there will be no damage. Due to the shifting the brick is good for rainwater.
In many cities, ecspecially historical cities, the waterfront is a celebrated feature so we found the need to landscape and incoprate pop up shops on the waterfront. By incorporating pop up shops in the waterfront it brings more foot traffic to the other indoor shops and resturants as well. this therefore creates economical vibrancy. The water features such as fountains and water attractions for children create an environment to enhance the community of palmetto. Just as the pocket parks, one can go to the waterfront promenade simply for lunch or even throw an event.
Due to the desire of an increasing younger population there is a need in palmetto for a variety of housing options. Through our master plan we have implemented double, triple, and quad family housing. This allows for a range of income earning individuals to be able to afford to live in palmetto. In order to blend this into the apperance of palmetto the way the multi family housing was incorporated was in a way that flows with already exsisting buildings, both historical and non historical. The facades of the new buildings mimic those of the more historical residential homes.
PALMETTO URBAN EVOLUTION MASTERPLAN MODEL
TREE CANOPY MAP DIAGRAM The maintenance of a town’s tree canopy can maintain or enhance a better environment through making the air of better quality, reducing erosoin, creating an open space network, and new green infastructure. a high quality tree canopy can also enhance the visual character of the community. ways to advocate for community awareness of preserving palmetto’s tree canopy are doing a tree canopy survey, a management plan, a tree preservation ordinance, a tree preservation adovcacy nonprofit, or joing the tree city designation.
TREESCAPING ADDITION RENDERING
TREESCAPING ADDITION RENDERING
INFILL MAP Commerical infill within Palmetto Urban Evolution include store fronts along 9th ave, 10th ave, 11th ave, and 4th St and pop up stores along waterfront promenade. Residential infill includes small single family homes, double family units, triple family units, quad family units, and apartment units. Parking infill within the area includes parking garage along 8th ave and parking garage along 9th ave.
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PALMETTO URBAN EVOLUTION PROGRAM MAP
FINAL
DETAIL RENDERINGS
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ARCHIBALD SIMPSON: MARISCHAL COLLEGE IN ABERDEEN, SCOTLAND
ADVANCED DESIGN D PROFESSOR JOSUE ROBLES SUMMER 2018
ABERDEEN, SCOTLAND
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EDINBURGH, SCOTLAND
QUEENS CANOPY ABERDEEN, SCOTLAND PROJECT ONE GROUP MEMBERS: ANABELLE C. + LIN Y.
CONTEXT PANORAMA FROM NORTH WEST STREET
PANORAMA FROM NORTH WEST ENTERANCE TO QUEENS STREET
PANORAMA FROM MID QUEENS STREET LOOKING AT MARISCHAL COLLEGE
ACTIVITY PANORAMA STUDY
AERIAL IMAGE OF QUEENS STREET IN ABERDEEN SCOTLAND The existing conditions of Queen Street are unused as a destination and is clearly just used as a pedestrian and car throughway. The square is bare, unused, and has no clear program. The entire site is clearly used mainly by the police. We began by learning the history of Aberdeen and the style of urban and architecture language of the city. I found this helpful to design something that fit into the culture and town. I think the next steps of talking with city council members from other sectors was the most helpful because of their insight to the project. The main urban and architectural principles used for our project are a central sheltered gathering space and major pedestrian route. This area has a high amount of light exposure and the overhead condition allows for easy transition between two major structures: the Concert Hall and Queen’s Market. The wave like motion is influenced by the nearby coastline. The essential architectural parts of the existing buildings that are maintained within the project are Marischal college, The Arts Centre, and Queens Church.
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PRECEDENT STUDIES
PROCESS
MICRO-YUAN’ER: CHILDREN’S LIBRARY AND ARTS CENTER Cha’er Hutong (hutong of tea) is a quiet spot among the busy Dashilar area, situated one kilometre from Tiananmen Square in the city centre. No.8 Cha’er Hutong is a typical “Da-Za-Yuan” (big-messy-courtyard) once occupied by over a dozen families. Over the past five decades each family built a small add-on kitchen in the courtyard. These add-on structures form a special density that is usually considered as urban scrap and almost all of them have been automatically wiped out with the renovation practices of the past years.
TEA HOUSE IN HUTONG: LET’S TALK The project is located in Hutong Street District, of Beijing. It is an “L” type small courtyard with an area of about 450 square meters. The courtyard inculded five old houses. The yard was originally a corporate club and was abandoned due to poor management. After being put on hold for two years, the small courtyard will now be transformed into a tea house, where people can drink tea and read mainly, and they can also receive some individual guests to eat it. Chinese tea culture refers to how tea is prepared as well as the occasions when people consume tea in China. As a result, teahouses are a very important part of the Chinese people. Chinese people usually like to solve problems in their work through the restaurants or teahouses. Therefore, teahouses are not only places for casual tea drinking, they are also Where people communicate with others.
ARMATURE WORKS: MIXED USE BUILDING Armature Works is a fully restored mixed-use building that breathes new life into the historic Tampa Heights neighborhood. With its unobstructed view of the Hillsborough River, the historic structure has been reinvented as a premier community destination with innovative eateries, Heights Public Market, reimagined event spaces and an exclusive coworking space.
SUPERKILEN, COPENHAGEN: PLAYFUL URBAN PARK An urban space in Norrebro, Copenhagen that stretches half a mile through one of the most ethnically diverse neighborhoods in Denmark. Woven into the interventions is a collection of objects that come from 60 different nationalities of the people inhabiting the area surrounding it, reflecting the true nature of the local neighborhood – rather than the less relatable homogenity of Denmark. This urban space consists of three parks intended for a wide variety of activities and use visual markers and symbols to guide and prompt users.
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PROCESS
SUN STUDY DIAGRAM
A site analysis was done to determine the areas with maximum sun exposure for external green zones. The shadows cast by the surrounding buildings at varyingy points of the day and year were documented and studied to produce a final diagram that determined three light zones: limited, moderate and high light intensity.
TIME USAGE DIAGRAMS
DAY TIME USAGE DIAGRAM There is a higher level of distribution of individuals in the day due to increased levels of comfort because of the presence of sunlight.
NIGHT TIME USAGE DIAGRAM A variety of activities for multiple age group provides a high concentration of individuals in several locations.
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PROCESS SURROUNDING PROGRAM DIAGRAM
PROGRAM CONCEPT: Making a Destination: Making a series of public and private spaces, Removing the initial function as a throughway, Encouraging socialization and Enhancing the experience and culture of the city Improving Night Life: Event Space, Sky bar, Interior Night Market, and Night lighting for safety and activity Creating Pedestrian Space: Closing of the main routes for no car access, Creating multiple pedestrian connections, and Creating pedestrian pavilion Creating a High Density of Green Space: Contrast to the high volume of granite, Interior greenhouses for green all year round, and Creating areas for children play zones both interior and exterior
The connection to Union street is equally as important to the connection to King’s street to provide an ample amount of foot traffic into the Queen’s Canopy. The secondary path through the site allows this connection. The primary path allows the main connection from Broad street to North west Street.
CONNECTIVITY DIAGRAM
DEMOGRAPHICS DIAGRAM
A map showing the people who mainly use proposed interventions for the site. A large external public space is provided as a meeting point for the whole city to enjoy.
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Rendering of queens canopy showing entry from Broad Street side of the site near the water feature, orchard, and children’s installation.
Overhead rendering of Queens Canopy showing connection of the Canopy to the Sky Tower and the continuation of the language of the “sea” like waves and ribs.
Rendering of Queens Canopy with views into the pathway created by the canopy inbetween the Event Space and the Market. The inbetween space is used for a pathway and a Temporary Market.
Rendering underneath the Queens Canopy of the seating that interacts with the support system of the Canopy that serves as a rain catching system and a lighting system.
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OVERALL TOP VIEW RENDERING OF SITE AND CONNECTION TO THE SURROUNDING
RENDERING OF THE BOTANICAL CAFE AND ENTRY TO SITE FROM BROAD STREET
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RENDERING OF THE QUEENS CANOPY AND ENTRY TO SITE FROM KINGS AND NORTH WEST STREET
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STONEHENGE IN AMESBURY, SALISBURY, UK
SUPPLEMENTAL WORK ELECTIVE COURSES
THE CHAIR WORKSHOP PROFESSOR MIKE LEMIEUX SUMMER 2018
PROCESS
FINAL CHAIR PROTOTYPE PLANS
COPPER SOUND STUDY MODEL
FINAL CHAIR PROTOTYPE
COPPER SOUND STUDY MODEL
FINAL CHAIR CURVED PLYWOOD PROCESS Shown on the left is a plan and section drawing of the chair. These line drawings were done to discover how the copper pipings could move when wedged between the seat and the base. A study model of this language is shown to the right. This model considers the idea of holding the copper pipes with a single metal rod. Shown on the left is the prototype chair where the use of copper was being considered as not only a sound element of the chair but also a structural element. To allow the copper the freedom to make as much noise as possible the addition of bent plywood was added to the final. The formwork for the process of bending the plywood is shown to the right. CURVED PLYWOOD FORMWORK PLAN
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FINAL CHAIR
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FINAL CHAIR WHITE CANE AND MOVEMENT PHOTO STUDY
FINAL CHAIR PLAN + SECTION Due to the variations of holes trapping the copper piping, a melody is created when struck by a White Cane, or a walking stick used by the visually impared. The White Cane can be placed into an aperture on the chair. The bent, rounded red oak wood traps the noise and radiates to not only notify a person of the chair but also makes the interaction with the chair an experience.
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FINAL CHAIR WITH THE USE OF A WHITE CANE
FINAL CHAIR WHITE CANE DETAIL
FINAL CHAIR COPPER + WHITE CANE DETAIL
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MEANING AND MEMORY PROFESSOR STEVE COOKE SUMMER 2018
FINAL
CERMAIC DETAIL PHOTOS
NEGATIVE PLASTER PIECE
INITIAL POSITIVE PIECE
FINAL SERIES OF SLIP CASTED CERAMICS These ceramics were made through the process of slip casting. The first step in the process was making the positive of which the shape of the final piece would be derived from. This postive is shown on the bottom left corner. The next step was making the negative based off the positive. The negative made of plaster is shown in the bottom left corner. The last step of the process was pouring in slip to the negative and firing the outcome, which is shown above. EXCERPT FROM THE FINAL EXAM: The meaning of a thing represents intent or purpose and is all about its definition or significance in life. The meaning of a thing can be housed within the past, present or future in the form of memory. The meaning of a thing from the past comes from memories of events or associations while the meaning of a thing from the present or future is an association to an experience, intrinsic quality, style, utilitarian, or personal values. For example, I hold meaning within a knife given to me by my grandfather. This heirloom, a thing from the past, holds meaning to me because of its nature of being handed down to me. It is something I could easily go buy from the store and even buy a higher quality version of but the meaning of it being from my grandfather makes it priceless.
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STILL IMAGES OF FINAL VIDEO “HARVEST CELEBRATION�
FINAL
GROUP MEMBERS: ANA MENESES + TYLER DOBSON This video is an ode and celebration of a harvest. The process began by growing plants. Each member grew a special herb and nutured it until it was grown enough to harvest from. The celebration began with picking and washing the herbs. Then they were cut into pieces to be added to different types of cheese to be placed on top of fres bread. The final cheers of the ode to the harvest was celebrated with wine and soft jazz music from the record player. The celebration of the harvest is not only about the herbs and being thankful for the bounty, but also the celebration of coming together and appericating each others harvest and what they can bring to nourish each other.
EXCERPT FROM THE FINAL EXAM: The process of carrying meaning depends on the use of codes because of the exchange of codes we actively create that normally we are unaware of. Becoming conscious of this exchange of codes is illuminating. Words, shapes, and colors are all codes to the meaning of an entity. For example, the colors on a faucet are codes to the temperature of the water. Blue indicates the water is cold and red indicates the water is warm. There is need for language or communication because this meaning is carried through the codes of the faucet. The vividness thesis of metaphor facilitates memory by allowing us to understand things and experience in fresh new ways, capturing of our phenomenological experience of the world in a unique way. They are a means of linking subjective and objective experiences by conjoining them and resulting in a fresh fusion of horizons. Metaphors are common in poetry to create memorable images of the world. When the metaphors are included then the content is more likely to be remembered longer than if there were no metaphors because this evokes intense and picture like mental images to facilitate memory.
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