#TEAMOOZYX
FRAXEL
digital performance theater ELIZABETH COONEY + ALEXANDRA MCCARTHEY CLEMSON UNIVERSITY SCHOOL OF ARCHITECTURE COMPREHENSIVE STUDIO | MAY 2015
Table of Contents
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COONEY + MCCARTHEY | CLEMSON UNIVERSITY SCHOOL OF ARCHITECTURE
PG. 6-7 PG. 8-13
Meet the Team
Site + Project Overview
PG. 14-17
The Concept
PG. 18-25
The Process
PG. 50-49
The Proposal
PG. 50-59
Technical Resolution
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Meet the Team
Clemson University School of Architecture Graduates of 2015
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COONEY + MCCARTHEY | CLEMSON UNIVERSITY SCHOOL OF ARCHITECTURE
Elizabeth Cooney Master of Architecture (with Certificate in Digital Ecologies) - Clemson University 2015 Bachelor of Arts in Architecture - Clemson University 2012
Recipient of Henry Adams Medal for Clemson University, class of 2015.
Alexandra McCarthey Master of Architecture ( with Certificate in Architecture + Community Build) - Clemson University 2015 Bachelor of Arts in Architecture - Miami University 2013
Finalist for Henry Adams Medal for Clemson University, class of 2015.
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THE SITE + PROJECT OVERVIEW
FREEDOM PARKWAY OVERPASS | ATLANTA, GEORGIA WHAT IS THIS ALL ABOUT? In being charged with designing a digitally inspired theater, we saw a unique opportunity to push the envelope in a new type of performance architecture, one that is non-traditional and embraces ideas of movement and verticality as it simultaneously addresses the challenges of the site in Atlanta. Coming from differing performance backgrounds, dance and figure skating, we sought to incorporate these with the more digital aspects of the theater’s missions to create a combination of unique performance type. The theoretical client being Georgia Tech’s digital media studies, the intent of the theater complex is to bring
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together talented performers and digitally focused students to jointly create these non-traditional performances, studying the interaction between the real and virtual. The architecture intended to house these missions needed to effectively represent both the students and performers themselves while still addressing the site issues of fragmentation and tension. Additionally to the theater program, the site contains studio rehearsal spaces and laboratories for digital studies, as well as dorms for the performers and students to live together while working together.
COONEY + MCCARTHEY | CLEMSON UNIVERSITY SCHOOL OF ARCHITECTURE
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UNIQUE SITE CONDITIONS The Freedom Parkway Overpass is a unique site condition within the context of Atlanta, Georgia. This concrete intervention was built at this point along the freeway to protect cars from falling icicles that may form on the adjacently-located 1000’ tall cellular tower. The topography varies greatly along the transverse axis of the overpass, and the freeway itself spans over a highly active pedestrian highway. Pedestrian trails also run parallel to the road, and nearby skate parks attract athletes of varying ages. As such, it was important to integrate the Digital Performance Complex across the length of the site to emphasize the existing pedestrian
activation of the site and encourage healthy living by breaking up the proposal into programmatic nodes. The site has multiple points of access from the ground, and parking is available on either side of the infrastructure. Service vehicles may pull up to the ground level of the vertical core for every building. Handicap Accessible parking is available close to the main ramp entrance of the complex, as well. The plinth denotes these multiple entrances through the use of fiber-optic concrete parquet, and uses illuminating technology as a means of way-finding and connection.
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FREEDOM PARKWAY OVERPASS
DOWNTOWN ATLANTA
AERIAL IMAGE: CITY-SCALE SITE
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MAPPING: CITY-SCALE NODES
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THE CONCEPT
TENSION + FRAGMENTATION
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MONOLITH
STACKED BOX
SCATTERED COMPLEX
CONCEPT In developing the concept for our digital performance theater, we instantly knew it would be important to address the issues of tension, fragmentation, and movement across the site. Our schematic explorations studied varying levels of fragmentation, and then critically considered for how each scheme would integrate into the site. The highest level of fragmentation literally disconnected portions of program, and scattered these pieces across the site. The pieces are simple translucent beacons that push through the ground and connect to the concrete plinth. The pieces encourage activation across the plinth and utilize what is
currently a barren landscape. As a natural point of tension with vehicular and pedestrian traffic, the Digital Performance Theater Complex takes advantage of natural forces pulling people towards it and connects communities across the city.
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SITE TENSION PARTI DIAGRAM
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THE PROCESS
GOOD DESIGN MANIFESTO + DESIGN RULES RULES TO CREATE INTEGRATIVE DESIGN To create a compelling system that changes the relationship between architecture, performance, and audience, we created a series of ‘design rules’ to guide our decisions and embody our views on integrative design. These rules determined the aesthetic, spatial, and functional qualities we felt presented the nature of the center and its connection to the city and the site.
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DESIGN RULES Rule #1: Nodes as translucent shards. Good Design is rooted in place from the dimensions of the surrounding landscape, culture, and built density. The intersection of these dimensions as they occur in the site, as well as with the people who populate them, form the basis for creating integrated architecture. Rule #2: Fissure connection as light. Good Design ensures that it is the performances, building uses, and existing conditions that create the form and sequence of experiences, rather than the other way around. These forces to create the hierarchy of space that people experience through the building at a human scale. Space should always be manipulated to its most efficient form, avoiding excess. Rule #3: Horizontal movement as digital. Construction and material strategies should continue to challenge traditional use, as architectural form can challenge its setting. These components should active the users’ senses and feel relatable, whether or not the choices are conventional. Rule #4: Vertical movement as vegetation. [Good Design - Details + Articulation] Good Design manipulates detail in a manner that teaches the user the meaning behind the architecture and enhances user experience. Choices of articulation of details are meticulously thought out and enhance the architecture’s relationship to its theory and place. Rule #5: Circulation as complete system. Pace can be articulated in the same sense that structure may be articulated in a building; the dynamics created by these transitions of speed can directly impact the psychological experience of the users of the space.
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Good design as it relates to site and place.
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NODES AS TRANSLUCENT FRAGMENTS FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX
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Good design as it relates to form.
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FISSURE CONNECTION AS LIGHT
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Good Design as it relates to construction and materials.
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CIRCULATION AS NESTED CORE FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX
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Good design as it relates to details and sustainability
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NODE ROOFS AS GREEN SURFACES
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Good design as it relates to movement.
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PLINTH AS DIGITAL SURFACE FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX
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THE PROPOSAL
SITE INTERVENTION + DESIGN DEVELOPMENT
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Site Plan
Distributed Access + Integration
Looking in depth at Atlanta and the issues that could influence our site decisions, we noted that the city itself is organized in pods, connected by high volume and speed vehicular traffic ways. There is a distinct separation between vehicular movement and pedestrian movement that occurs both on a larger scale, and even on a smaller scale at our actual site. In connecting nodes of importance across the city (places of performance, venues, buildings, etc.), we noted that the overpass is at a tension point directly in the middle of a transfer between high density urban grid and a more organic sprawl. Pulling on these points of tension and fragmented nodes across the city, we drew them directly into our site, placing our own fragmented nodes
on the site, skewing the largest one to be in tension with the orthogonal grid and allowing the natural movement across the plinth to dictate these points of tension and fragmentation. Fiber optic embedded parquet across the site both on the plinth and off activates the public space to assist in way-finding and event spaces. Because of the existing pedestrian systems integrated into the area, there are two main entrances to the complex; one entrance is a long, acropolis type ramp that branches off the existing walkways through the studio node and onto the plinth. For a more immediate vertical transition, the theater node touches down to the shorter entrance area to pull users directly up and into the architecture.
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SITE PLAN: LANDSCAPE DESIGN
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LEVEL 01 Dorm Node: Lobby 1 2 3
Lobby / Reception Men’s Restroom Women’s Restroom
Proscenium Node: Shop Entry 1 2 3
Entry Lobby Set Shop Costume Shop
5 6 7
Men’s Restroom Women’s Restroom Mechanical (Elevator)
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LEVEL 02 Studio Node: Mechanical 1 Mechanical (Plinth) 2 Mechanical (Elevator) 3 Pedestrian Trail 4 Service Access
Dorm Node: Residence 1 1-Bedroom Apartment 2 Lounge 3 Communal Bathroom 4 Storage
Proscenium Node: Shop 1 Vestibule 2 Bathroom + Vertical Circulation Core 3 Set Shop Storage 4 Costume Shop Storage 5 Men’s Restroom 6 Women’s Restroom 7 Storage
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DN
UP
UP
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LEVEL 03 Studio Node: Lobby 1 Lobby / Reception 2 Public Men’s Restroom 3 Public Women’s Restroom 4 Storage 5 Entry Ramp
Dorm Node: Residence 1 1-Bedroom Apartment 2 Lounge 3 Communal Bathroom 4 Storage
Proscenium Node: Plaza 1 Mid-Level Plaza 2 Double-Skin Cavity
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UP
UP UP
UP UP
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LEVEL 04 Studio Node: Residence 1 2-Bed Apartment 2 Men’s Restroom 3 Women’s Restroom 4 Men’s Showers 5 Women’s Showers 6 Data / Server
Dorm Node: Computer Lab 1 Computer Lab 2 Men’s Restroom 3 Women’s Restroom 4 Data / Server
Proscenium Node: Lobby 1 Lobby / Reception 2 Box Office 3 Administration 4 Digital Art Gallery 5 Men’s Restroom 6 Women’s Restroom
Black Box Node: Lobby 1 Lobby 2 Ticketing 3 Faculty Offices 4 Collaborative Office 5 Kitchenette 6 Mens’ Restroom 7 Women’s Restroom 8 Mechanical (Elevator)
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UP
UP
UP
UP
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LEVEL 05 Studio Node: Studio 1 Studio 2 Open Rehearsal Space 3 Men’s Restroom + Showers 4 Women’s Restroom + Showers 5 Storage
Dorm Node: Mezzanine 1 Computer Lab Mezzanine 2 Quite Study Space 3 Storage
Proscenium Node: Mechanical 1 Performer Support 2 Stage Support + Mechanical
Black Box Node: Support 1 Performer Support 2 Stage Support 3 Men’s Restroom 4 Women’s Restroom
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UP
UP
UP
UP
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LEVEL 06 Studio Node: Cafe + Lounge 1 Cafe 2 Cafe Storage 3 Lounge 4 Mens’ Restroom 5 Women’s Restroom
Proscenium Node: Theater 1 Proscenium Theater 2 Men’s Restroom 3 Women’s Restroom
Black Box Node: Theater 1 Black Box Theater 2 Men’s Restroom 3 Women’s Restroom
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DN
UP
UP
UP
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LEVEL 07 Proscenium Node: Technical 1 Catwalk System 2 Light Booth 3 Sound Booth 4 Server / Data
Black Box Node: Technical 1 Catwalks 2 Tension Grid 3 Sound Booth 4 Light Booth 5 Men’s Restroom 6 Women’s Restroom
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DN
UP
UP
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Elevation
Longitudinal, South-facing
In activating the overpass and emphasizing the play between material types, we chose to use the platform line in elevation as a datum, to give a distinct boundary at which the aesthetic movements of the skin would change. Above the datum is a translucent skin with thick mullion boxes that pierce the skin and frame the significant activities in each space. Below the datum line is a transparency that fully reveals the building activities. This also gives the nodes an even lighter presence on site, creating floating beacons especially during the night time.
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FREEDOM PARKWAY STUDIO NODE
PROSCENIUM NODE BLACK BOX NODE
DORM NODE
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Site Section
Longitudinal, South-facing
From our original concept of fragmentation and how that affected the splitting of building programs into four nodes across the site, a connective element was formed that would become a visual and implied tie between the buildings. Though not connected across the buildings, this ‘fissure’ is a dynamically flowing armature that leaves a memory imprint as one travels between buildings, and acts as the common element of acoustical and lighting control. Though not visible from the exterior, because of the translucency of the nodes at night time, the fissure is represented through
light which can be seen slashing through the buildings. In the proscenium node, the fissure also becomes a kinetic element that can transform and move to accommodate different seating and performance needs.
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TECHNICAL RESOLUTION DETAILS + SYSTEMS INTEGRATIVE DESIGN Integrative design for us means to touch on all these aforementioned qualities simultaneously at every stage in the design process. In order to move forward in creating a system that works in harmony and makes a fluid experience for the user, all aspects of structure, form, system, etc. be touched upon from the beginning. Being able to develop these building qualities simultaneously allows them develop in action and response to each other. Especially in regards to the experience moving through the complex, these choices create a system that considers social and sustainable issues – e.g. natural lighting abilities in all
spaces through use of translucent or transparent material, and connections between complexes to foster integration of all users and activities. Intervention and site activation for us became the moves between horizontal and vertical, with all circulation being pulled out of the conditioned envelope. Digital intervention takes place on the horizontal level with embedded fiber optics and projection assisting in way-finding, where vertical takes advantage of landscape and brings vegetation into and up the circulation spaces.
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ROOF CAP TIE BACK TO STRUCTURE
ROOF DRAIN
GREEN/SOIL GRAVEL
ROOF LEVEL 86' - 0"
DRAINAGE BOARD EPDM MEMBRANE CONTINUOUS INSULATION STEEL STRUCTURE
SKY LEVEL 74' - 0" TENSION GRID
THE FISSURE
LED STRIPS
RIGID ACOUSTIC MATERIAL
INNER BOX MULLION BEYOND DOUBLE PANE OPERABLE LOWE WINDOW ALUMINUM BOX INSULATION WRAPS INTO BOX BOX BRACING WIDE FLANGE
SPIDER MULLIONS
MECH LEVEL 36' - 0"
THEATER LEVEL 24' - 0"
LOBBY LEVEL 12' - 0"
ALUMINUM MULLION
MULLION TIE TO WALL RADIANT HEATING IN CONCRETE SLAB RIGID INSULATION CONCRETE SLAB
STEEL DECKING
PLATFORM LEVEL 0' - 0"
STEEL FLOOR STRUCTURE
GROUND LEVEL 2.0 -15' - 0" EXTERIOR CURTAIN WALL STEEL DECKING
STEEL FLOOR STRUCTURE
WIDE FLANGE BEAM
STEEL ANGLE CONNECTION
DOUBLE SKIN SPACE
STORAGE LEVEL -27' - 0" WIDE FLANGE COLUMN
COLUMN LEVELING BASE FIBER OPTIC EMBEDDED PARQUET
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DRAINAGE BOARD LEVELING MATERIAL
TRANSVERSE BUILDING SECTION
METAL GRATE GRADE BEAM RIGID INSULATION UNDER GRADE BEAM RADIENT HEATING TUBES
CONCRETE BLOCK DRAINAGE GRAVEL DRAINAGE PIPE
FOUNDATION RIGID INSULATION STRIP FOOTING ANCHOR BOLTS
GROUND LEVEL -39' - 0"
Detail A
Proscenium Node
THEATER NODE
RTU units for supply and return are located on opposite sides of roof
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ROOF
Passive Systems: Operable windows Cross Ventilation Venting Stack Effect
THE STAIR CAVITY Specifically, the stairs activate the connection between the human and the architecture. They are located between the inner and outer skins of the building, between which the structure is also embedded. This allows the users to experience a semi-conditioned space capitalizing on natural ventilation, light, vegetation, and structure while encouraging active movement through the height of each node.
Mechanical Systems
Return for Proscenium Theater and Mechanical Spaces is through the roof of the Technical Floor
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Service Level provides separate supply for Proscenium Theater and Mechanical spaces
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Proscenium Theater supply is forced through the floor
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TECH
SERVICE
THEATER
Active Systems:
Proscenium Node: Plinth Half
Variable Air Ventilation Energy Recovey Ventilator Dehumidification Mechanical Floor acts as a “super duct� that forces air into the floors above
Lobby supply comes through the floor and returns through the ceiling
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04
MECH
LOBBY
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ROOF DRAIN ROOF CAP CONTINUOUS INSULATION TIE BACK TO STRUCTURE STEEL DECKING
GREEN/SOIL GRAVEL DRAINAGE BOARD EPDM MEMBRANE
RIGID INSULATION
ROOF LEVEL 86' - 0"
STEEL STRUCTURE
RETRACTABLE CABLE MOTOR TENSION GRID
SKY LEVEL 74' - 0"
THE FISSURE LED STRIPS RIGID ACOUSTIC MATERIAL
INNER BOX MULLION BEYOND DOUBLE PANE OPERABLE LOWE WINDOW ALUMINUM BOX INSULATION WRAPS INTO BOX
BOX BRACING WIDE FLANGE SPIDER MULLIONS TRANSLUCENT POLYCARBONATE
MECH LEVEL 36' - 0"
ALUMINUM MULLION
THEATER LEVEL 24' - 0"
MULLION TIE TO WALL
LINK LIFT SYSTEM RADIANT HEATING IN CONCRETE SLAB RIGID INSULATION CONCRETE SLAB
LOBBY LEVEL 12' - 0"
RIGID INSULATION STEEL DECKING STEEL FLOOR STRUCTURE WIDE FLANGE BEAM STEEL ANGLE CONNECTION
FIBER OPTIC EMBEDDED PARQUET DRAINAGE BOARD LEVELING MATERIAL
PLATFORM LEVEL 0' - 0"
EXISTING OVERPASS STRUCTURE
EXTERIOR CURTAIN WALL SOUND ATTENTUATION INSULATION ALUMNIUM PANELING DOUBLE SKIN SPACE
FIBER OPTIC EMBEDDED PARQUET
GROUND LEVEL 2.0 -15' - 0"
INTERIOR SHEATHING INTERIOR SOUND PANEL WIDE FLANGE COLUMN
COLUMN LEVELING BASE
SUPPLY AIR VENTS
CONCRETE BLOCK
STORAGE LEVEL -27' - 0"
ANCHOR BOLTS
DRAINAGE GRAVEL RIGID INSULATION FOUNDATION
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RADIENT HEATING TUBES RIGID INSULATION GRADE BEAM RIGID INSULATION UNDER GRADE BEAM
LONGITUDINAL BUILDING SECTION
DRAINAGE PIPE STRIP FOOTING
GROUND LEVEL -39' - 0"
Detail B
THEATER
Active Systems:
Variable Air Ventilation Energy Recovey Ventilator Dehumidification
Proscenium Node VERTICAL CORES
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Proscenium Theater supply is forced through the floor
Mechanical Floor acts as a “super duct” that forces air into the floors above
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MECH
Another highly vertical component in the buildings is their core – all active systems are located in this area and are readily accessible, branching out underneath and through the floor slabs to maximize their efficiency and compatibility with their fellow built strategies.
Mechanical Systems
Lobby supply comes through the floor and returns through the ceiling
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LOBBY
RTU units for supply and return are placed on opposite sides of the roof. units service the storage and shop spaces below only.
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ROOF
Supply comes through the floor and returns through the ceiling
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SHOP
Supply comes through the floor and returns through the ceiling
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GROUND
Proscenium Node: Ground Half
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Typical Structural Systems Proscenium Node
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STRUCTURAL LOAD TRACING DIAGRAM
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2
ROOF SPAN
3’ Deep Trusses Wide-flange joists
PRIMARY STRUCTURE 20’ X 20’ Grid Steel Frame Construction
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SECONDARY STRUCTURE
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LATERAL BRACING
10’ Joist Spacing Steel Frame Construction
Steel Cross Bracing Over-under Cable Bracing
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RETAINING WALL
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FOUNDATIONS
Cast in place concrete
Continuous strip footing
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CONCLUSION Our team had incredibly ambitious intentions in creating these performance spaces that activated many facets of what was seemingly simple about the concept of ‘digital performance.’ In the end, visions of verticality, tension, fragmentation, dance, digital, nodes, translucency, light, and all the other integrated concepts came to fruition in the Fraxel Digital Performance Center, a unique venue connecting the city and thrusting it into the new era of the digital. Just as we are combining performing and digital arts, architecture is a combination of art and science. Do it for science!
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THANK YOU -LIZ