Lenin Betancur Design Fundamentals II Professor Johana Monroy NYIT Spring 2020
NYIT SoAD
Table of Contents Volumetric Vessels
Painting Analysis Volumetric Studies Concept Formation
Bathhouse Precedent Studies
Tamina Therme Bad Ragaz
Bathhouse Design Drawings Paneling Studies Perspectives
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Volumetric Vessels
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Lenin Betancur
NYIT SoAD
VOLUMETRIC VESSELS This unit introduces the formal analysis of a painting by Le Corbusier to generate a kit of parts. After obtaining these components, they are transformed from two dimensional studies into three dimensional vessels to generate the character and material of void and space after several studies. Le Corbusier’s Three Bottles (Blue), 1928 focuses on the three volumetric bottles with other layers which can be different objects such as a wine glass. They all seem to be within a system of layering of different objects and patterns which allows different interpretations. focusing on the three bottles I immediately noticed a round/opening in the middle/within these volumes in the painting which gave me the illusion of an opening exposing the inside. Upon studying the painting, an individual complex iteration of the painting was completed considering the colormap and coordinating to the existing painting. Then, many studies took place as essential shapes were extracted in order to organize and further understand the role they play two dimensionally and in the concept of layering, nesting, and the framing caused by or through these actions.
Le Corbusier-Three Bottles (Blue)-1928
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r- Three Bottles (Blue) 1928
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Le Le CorbusierThree Bottles (Blue) 1928 CorbusierThree Bottles (Blue) 1928 Extraction of of shapes/oulines Extraction shapes/oulines
01_Outlined shapes
Le Corbusier- Three Bottles (Blue) 1928 Abstract replica with corresponding coloring
04_Individual painting iteration
Shapes extraceted/ outline of of combined Shapes extraceted/ outline combined shapes. shapes.
02_Extracted shapes
Color corresponding Color corresponding outline of shapes outline with of shapes with individual/corresponding individual/corresponding midpoints. midpoints.
05_Color tracing and midpoints
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Extracted shaped with each corresponding midpoint.
03_Corresponding midpoints of shapes
Colored in Shapes with Colored added in midpoints Shapes with added midpoints
06_applied midpoints to painting iteration Lenin Betancur
NYIT SoAD
A
B
Exploded Axon_Rule-spaced every 2.5 inches Contour observation Foreground to background
These isometric views were composed in order to understand the way these chosen shapes work within a framed system and from the background to the foreground, this emphasizes the Exploded Axon_Rule-spaced every 2.5 inches Contour observation different systems of shapes layering and nestForeground to background ing onto one another once brought together into an individual two dimensional illustration.
Exploded Axon_Rule-spaced every 2.5 inches Color coordinated contour observation Foreground to background
Exploded Axon_Rule-spaced every 2.5 inches Color coordinated contour observation Foreground to background
C
Exploded Axon_Rule Color coordinated Foreground to back
A. Balck Contours B. Colored contours C. Shaded in Contours Spring 2020
spaced every 2.5 inches
6 Exploded Axon_Rule-spaced every 2.5 inches
Exploded Axon_Rule-spaced every 2.5 inches
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Vertizal axis, corresponding to midpoints
Vertical axis, indicating shape connection
Horizontal and Vertical Axis Studies As the shapes were narrowed down and their midpoints within the frame were studied, there’s a clear understanding of a unifying relationship all the shapes share as all of the midpoints come together to the left, middle, and right of the painting within the vertical axis studies. Moving on to the Horizontal axis studies, the unity of these midpoints allow a further illustration of the layering and nesting concept of the shapes, as well as it is able to emphasize these openings in the middle of the volumes which allow an illusion of an inside exposure. Horizontal axis, corresponding to midpoints
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Horizontal axis, indicating shape connection
Lenin Betancur
NYIT SoAD
This Exploded Diagram is an understanding of all the two dimensional studies, which allows a clear illustration of the layering and nesting system found within the extracted shapes and how it all comes together as one. Spring 2020
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S
A
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D
A. VOLUME
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E C
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VOLUME [A]
L K
J
H
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T
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C. VOLUME
VOLUME [B]
VOLUME [C]
E. VOLUME
F. V O L U M E
G. VOLUME
VOLUME [E]
VOLUME [F]
D. VOLUME
VOLUME [D]
D
G K
B. VOLUME
H. VOLUME
F G
VOLUME [G]
VOLUME [H]
E
H
I. VOLUME
L
NJ
VOLUME [I]
J. VOLUME
VOLUME [J]
K. VOLUME
VOLUME [K]
M. VOLUME
N. VOLUME
O. VOLUME
Q. VOLUME
R. VOLUME
S. VOLUME
L. VOLUME
VOLUME [L]
P. V O L U M E
I M
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O P
Q
T. V O L U M E
R
After completing all 2Dimensional studies, we move onto the 3Dimensional asS T U D E N T N A M E | F U N D A M E N TA L S 0 2 | S P R I N G 2 0 1 9 pect of the chosen shapes, which allows us to recognize different iterations done in Rhinoceros software which contribute to influence and enhance the system of layering and nesting happening within the shapes but now within these three dimensional volumetric vessels. All the chosen vessels are now recognized within the painting in order to later understand the relationship they share with one another.
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Lenin Betancur
NYIT SoAD
As all twelve volumetric vessels are separated, I made four different groups which easily illustrate their layering and/or nesting relationship from an isometric framed perspective, an elevation, as well as the original 2Dimensional painting. Group one allows an understanding of layering which causes a variation of perspectives when seen from an isometric view or an elevation view. These views are also delivered through the framing of the other three groups, which are able to illustrate a system or both systems of layering and nesting at once. At the same time, starting to connect to the idea of the way they are framed.
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A
VOLUME [A]
VOLUME [B]
VOLUME [D]
VOLUME [C]
VOLUME [E]
D
B
E
C
Group_02
Group_01
F VOLUME [F]
VOLUME [G]
VOLUME [H] VOLUME [I]
VOLUME [J]
VOLUME [K]
VOLUME [L]
G L
H
K J
I
Group_04
Group_03
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Lenin Betancur
NYIT SoAD
Understanding the volumetric vessels and how they work with each other in order to portray the systems of layering and nesting allowed me to move forward and study different ways the volumetric iterations could be changed both imposition as well as scale. With changing these vessels and their positioning within the frames, they are moves in order to create a new relationship in which they are able to connect and become one system which would later be introduced into a site where new relationships between the site and the system of connecting vessels would create the basis of understanding relationships between solid and void.
01_Plan cut
Updated isometric view, above and below ground
02_Section cut
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Exploded diagram illustrating the layering and nesting system within the 3D vessels.
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Lenin Betancur
NYIT SoAD
Four layered/�bel Process developme
Plan Cut, solid and void study
Section Cut, solid and void study
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Isometric view, inside and outside ground
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After understanding volumetric vessels and their relationship with the site, there is now an understanding of vessel composition which allows for the volumetric relationship to develop as not only is there a new relationship of solid and void but a better understanding of connection and the space they create once connected. Many of these spaces create an illusion of the concept that has been followed of a layering and nesting sysContored isometric, study of in-ground shapes in tem, therefore, creating a sample composition of what a series of layers/contours will be the bath house, in order to understand how the vessels connect and how they become one with the site, creating spaces both outside and inside the ground.
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Lenin Betancur
NYIT SoAD
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Bathhouse Precedent Studies
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Lenin Betancur
NYIT SoAD
Tamina Therme, by Smolenicky and partner architecture of Zurich.
LOCATION: Bad Ragaz, Switzerland. ARCHITECTS: Joseph Smolenicky and partner architecture of Zurich BUILT: Completed in 2009, after winning competition in 2003 ABOUT: The Tamina Thermal Bad Ragaz constrcuts the ability to bring the outdoors inside as it is surrounded by large opening both covered in window glass or opened up completely. The natural hot spring located within the site rushes down and through the bath house, providing the water for all of its hot/warm pools. Involving the outdoors with inside areas one of the largest pools carries through from inside to the outside with interiro and exteriror entrances. The use of materaisl such as stone/concrete, white marvel, glass and othe rnatural and rather “cold� elements allows a contrast to the hot waters that run in the pools of the bath house.
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entrances
changing room
exercise room room
massage room
wet sweat room (sauna)
dry sweat room
warm bath Plan Drawing. Tamina Thermal Bad Ragaz, by Smolenicky and partner architecture of Zurich.
hot bath
cold bath
plunge pool
bathrooms, toilets, washrooms
common areas Section Drawing. Tamina Thermal Bad Ragaz, by Smolenicky and partner architecture of Zurich.
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Lenin Betancur
NYIT SoAD
Inspiration factors taken from bathhouse precedent studies Material The brightness of the material, both inside and outside consisting of white wood paneling and white concrete, allow a contrast between the warmth of the baths and allow the natural lighting to infiltrate the spaces.
Scale The large scale of the spaces provide a deeper feeling of refuge and with the materials it also plays into allowing the mind to feel at zen in contrary to busy when outside the bathhouse.
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Bathhouse Design
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Lenin Betancur
NYIT SoAD
https://youtu.be/j1AEwoQ1cfY
Applied Volumetric Studies Gif Here we are able to see how all of the studies within the Volumetric Vessels studies take part into coming together as a system of vessels inserted into the site which then becomes the present bath house. Spring 2020
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The Bathhouse is able to organize the volumetric vessels to introduce the role of pace and enclosure. A process of excavation and carving establishes the primary space making and site shaping methods to create inhabitable zones. Each space will accommodate the human body, water and light as a cumulative set of experiences using color and material to further define unique qualities, thresholds, and opportunities for entry and view. My bathhouse is intended for young adults, who are not afraid of being in a nudity friendly space, where an ongoing framing of people, spaces and views both from the interior and exterior occur. While also looking for a get away from reality and allow the mind to be in a state of Zen.
Elevation of bath house from the river
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Lenin Betancur
NYIT SoAD
This Roof plan allows an understanding of different entrances and spaces within the bathhouse, as well as the different levels to the bath house, in this case the entrance and outdoor areas are at the top on the surface and the pools are on the last level, which are the main attraction andare the last rooms one can visit inside the bathhouse. Next to it there’s two different plan cuts and two section cuts which illustrate different rooms in the bath house as well as passage on how to get from one level to another. These plans and sections also allowing a further understanding of how the vessels came to work together in order to follow the system of layering and nesting of the architectural structure that derived from the vessels.
NN 0’ 0’
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32’ 32’
Scale: 1/16”=1’-0” 1/16”=1’-0” Scale:
NN 0’ 0’
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32’ 32’
Scale: 1/16”=1’-0” 1/16”=1’-0” Scale:
Roof plan & section cuts
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Roof plan & section cuts
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N 0’
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N 0’
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Plan_01 & pathway
Plan and Circulation Diagram_01
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Plan_01 & pathway
Lenin Betancur
NYIT SoAD
N 0’
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Scale: 1/16”=1’-0”
N 0’
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Plan_02 & pathway
Plan and Circulation Diagram_02
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Plan_02 & pathway
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8’
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Scale: 1/16”=1’-0”
Section & Section Cut
Section & pathway
Section and Circulation Diagram_02
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Lenin Betancur
NYIT SoAD
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Section_02 & Section Cut
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Section_02 & pathway
Section and Circulation Diagram_01
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entrance entrance entrance
showers & changing rooms
showers & changing rooms
showers & changing rooms
stairs stairs stairs
dry sweat room
dry sweat room
dry sweat room warm pool
hallway hallway
warm pool hallway
plunge warm pool pools
Entrance plunge pools
passage
sweat room/sauna hot pool
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4’
8’
16’
hot pool
4’
8’
16’
Scale: 1/16”=1’-0”
4’
8’
16’
passage passage
cold bath
cold bath
cold bath
plunge po plunge po
wet sweat room (sauna) river wet sweat room (sauna)wet sweat room (sauna)
river river
dry sweat room
dry sweat room dry sweat room
warm bath
warm bath warm bath
showers & changing rooms
site/ground
site/groun site/groun
sweat room/sauna sweat room/sauna
hot pool
32’
Programatic Sections
32’ 0’
hot bath
showers & changing rooms
Scale: 1/16”=1’-0” 0’
hot bath
hot bath
showers/changing rooms plunge pool showers/changing rooms showers/changing rooms
entrance
showers & changing rooms
Entrance
plunge pools
entrance entrance
Entrance
32’
Scale: 1/16”=1’-0”
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Lenin Betancur
Progr Progr
NYIT SoAD
stairs
stairs
stairs
showers & changing rooms
showers & changing rooms
Entrance
Entrance
showers & changing rooms
passage Entrance
passage
N
showers/changing rooms passage
N
showers/changing rooms
N
wet sweat room (sauna) showers/changing rooms stairs
sweat hallway room/sauna
cold bath plunge pool cold bath
plunge pool river plunge pool
dry sweat room
site/ground
site/ground river
site/ground
warm bath
warm bath
hallway dry sweat room
cold bath hot bath
river
warm bath dry sweat room
stairs hallway
hot bath
wet sweat room (sauna)
dry sweat room wet sweat room (sauna)
stairs
hot bath
warm pool
hot pool
sweat sweat room/sauna room/sauna plunge pools
dry sweat dry sweat cold warm pool warm pool room room pool hot poolhot pool
N plunge plunge pools
pools
cold pool
programatic Plans
cold pool
N
N
programatic Plans
programatic Plans
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A very important part of the bathhouse project was the introduction of paneling. Once using paneling tools in Rhinoceros software, I was able to create different systems of paneling which would contribute to the enclosure of different spaces. This would also play into my concept where there is a constant framing of views within and outside of my bath house. I therefore used different panelling to frame the outside from inside, and the inside from outside including how light comes in, applying it to the entrance and all three pools/ dry rooms. As well as different areas inside where paneling is used for human interactions such as the showers/ changing room and shelving system.
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Upclose entrance paneling section Section_01 & panels 0’
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Scale: 2/32”=1’-0”
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Section_01 & panels
Lenin Betancur
NYIT SoAD
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Upclose shower paneling section Section_02 & panels
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Section_02 & panels
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Upclose hallway paneling section Section_03 & panels
Section_03 & panels
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Entrance perspective with paneling
paneling
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June 20th Summer Solstice 7am 9am 12PM June 3PM 20th Summer Solstice
5PM 7am 9am
7PM
12PM 3PM 5PM 7PM
https://youtu.be/1aEuMlF7WbM
GIF_01: Entrance to the bathhouse In the entrance there’s paneling which not only contributes to the framing GIF_01: Entrance to creating the bathhouse of views, but also allows light to play within the room, an illusion of larger space as well as allowing a different experience throughout the day.
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Lenin Betancur
NYIT SoAD
Pathway/shelving system perspective with paneling
neling
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June 20th Summer Solstice 7am 9am 12PM June 20th Summer3PM Solstice 7am
5PM
9am
7PM
12PM 3PM 5PM 7PM
https://youtu.be/Tz242qAnoC4
GIF_02: Showers/changing Rooms GIF_02: Showers/changing Rooms
In the shower/changing room there’s an introduction to paneling interacting with the human body as it’s in the wall and is what makes up the rooms for showers. There’s a lack of light within this room which contributes to some privacy to those in nude.
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Lenin Betancur
NYIT SoAD
Hallway perspective with paneling paneling
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June 20th Summer Solstice 7am 9am 12PM June 20th Summer Solstice
3PM
7am
5PM
9am
7PM 12PM 3PM 5PM 7PM
https://youtu.be/OjFTuSlXZiE
GIF_03: Hallway leading to pools Once again we have the use of paneling as a way for the human body to interact with, in this case the paneling is on the wall as a system of shelving where one can keep their belongings. The light at the end of the hall enters from the pool’s entrances as all the pool rooms contain large openings to the outside and natural lighting.
GIF_03: Hallway leading to pools
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Lenin Betancur
NYIT SoAD
All three pools contain large openings with paneling which allow the natural light to be filtered in throughout the day, as well as frames the outside for the people inside and also frames the interior view for the people passing by the bathhouse. The first perspective starts off in the hot pool which is on the west side of the cliff, getting the best lighting from 12PM5PM, framing the outside as well as the hallway and a view of the warm pool The warm pool is the following perspective which contributes as the largest pool where people would spend the most time in and therefore obtains some of the most lighting from 7AM-5PM. At last, the cold pool perspective illustrates what is the smallest pool as well as plunge pools, these are the smallest pools/wet areas as there’s the least attraction to them as the cold pool and plunge pool are only for a couple minutes, however, being the last pool to be visited to close the pores, and also being the pool with natural lighting through the day as it faces south of the river. Hot pool/dry room perspective Hot pool perspective (5PM)
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Warm pool/sauna perspective
Cold/plunge pool perspective
Warm pool perspective (12PM)
cold
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Lenin Betancur
NYIT SoAD
Through studying and understanding volumetric vessels and how they share a relationship with a site of solid and void, there’s also a deep understanding of how lighthouses work in order to take different elements such as material, nature, and design, combine them all together and organize a space for people to feel welcomed and cleansed of everything they entered with, leaving clean and with a clear mind. My bath house dealt with a system of layered and nested spaces, which all connected within a system of framing both exterior and interior, allowing a nudity friendly zone, the intended audience is young adults, not afraid of exposure and constant framing both from people in and outside the bathhouse, focusing mainly on the cleansing the bathhouse indulges. This project allowed me to understand the difficulty of being given full design control with guidance. creativity was crucial and there were little to no boundaries which allowed me to explore many ideas but also exposed me to the reality of how difficult it can be to know where to stop and where to keep going, as well as using different ideas and recommendations in order to contribute to the project’s structure. Bird’s eye view perspective of bathhouse
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