TERMINAL
Expectations Bachelor of Architecture Thesis
Luke Dale
This work is submitted to Virgina Tech School of Architecture + Design in partial fulfillment of a Bachelor of Architecture
Spring 2017
Mom, Dad, and Elena: I dedicate this book and the work inside to you. Thank you for your undying love, endless support, and constant encouragement. I am only where I am today because of who you all are and everything you have done for me. I love you dearly.
A Very Big and Special Thank You: Aki Ishida: I could not have asked for a better advisor. Thank you for putting up with me these past few years, for pushing my design and thoughts further, and for constantly challenging me to better everything I produce. Studio Mates: Anuja. Austin, Holly, Ge, Shayna, Tamanna, Tara - Thank you for suffering through the year right by my side. You all helped make this final year bearable, enjoyable even, and you provided consistently amazing feedback. Burchard: Thank you for letting me overstay my welcome on an everyday basis.
Thesis Statement
A single space is not limited to a single function or experience, nor should it be perceived that way. Architecture is not created for the single. It is created for the mass. This thesis aims to create a space that is static in structure but, dynamic in atmosphere, challenging what one might believe a building to be upon a first impression. As one moves, one sees, hears, feels, and digests more, gaining a greater understanding of the occupied space. Over time, the sun moves and weather changes. The environment is able to conceal, reveal, and change details as time progresses, creating a space that can be discovered over time, yet understood in a single moment. Capitalizing on movement, architecture can better serve and engage its user with changes in perception and sensation. These changes lend to a building that evokes comfort, ease, and commonplace while at the same time encourages exploration, contemplation, and excitement. As multiple details, functions, and people cross paths, one finds a space not created solely for them, but one created for many. Such a space helps challenge the passive attitude that has emerged towards the mundane expectation of the built environment.
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Terminal
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Program
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This thesis is explored and researched through the use of an international airport terminal. The project proposes an extension of Terminal 3, the international terminal at the JosĂŠ MartĂ International Airport in Havana. Cuba.
In a terminal, occupants move from A to B quickly and directly in order to get to their desired gate or baggage claim location. It is not until after they arrive at their destination that they pause and explore the space they are in. A terminal is often the first or last building a person occupies in a certain city. Because a terminal is usually rushed through, the building itself begins to lose importance and the occupants leave without a full understanding of the building and its possibilities.
The aim of this thesis is to create a space that challenges the idea of how a building is perceived and used. The proposed terminal will seek to slow things down in a time-sensitive area. It will attempt to make people more aware of their surroundings and encourage occupants to uncover new details every time they enter and every time they turn around.
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Havana, Cuba
Havana is situated on along the north coast of Cuba and is the country’s capital and largest city. Spanning over 280 square miles and home to around 2.2 million residents it is one of the largest cities in the Caribbean. In this wet-dry (wet from May to October, dry from November to April) sub-tropical climate area, the temperature varies from 81ºF in the wet season to just 71ºF in the dry season. Havana’s location was chosen by the Spanish due to the large bay in the area that could serve defensive purposes and be used as a port (Colantonio and Potter 63). This location additionally had an abundance of other water resources, including over 10 rivers and fresh water reservoirs and an underground aquifer.
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Text: Colantonio, Andrea, and Robert B. Potter. “City Profile Havana.” Cities 23.1 (2006): 63-78. Web. 01 Mar. 2017. Images: WorldAtlas.com (Left) Google Earth (Right)
The urban transformation of Havana can be linked to four distinct periods, each relating heavily to the political state of Cuba at the time (Colantonio and Potter 64). The Colonial Period from 1514-1898, the PseudoRepublican Period from 1898-1959, the Revolutionary Period from 1950-1989, and the Special Period from 1989 to the present. Each period has shaped the urban landscape of Havana in a unique way creating a diverse and distinct urban fabric throughout Havana. The eclectic urban history of this region continues to invite new styles of design and architecture. This thesis utilizes Cuba’s unique and distant history a means for further exploration through a building by tapping into the unfamiliar. Upper Circle: Center of Havana’s first district: Havana Vieja Lower Circle: José Martí International Airport located in the district of Boyeros
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José Martí International Airport
Handling over four million passengers a year, José Marti International is Cuba’s busiest airport. There are currently five terminals. Terminal 1 serves domestic flights. Terminal 2 has historically served chartered flights between the US and Cuba. Terminal 3 serves international commercial flights is the and largest terminal of the airport. Terminal 4 is for freight and cargo. Terminal 5 is used mainly for flights throughout the Caribbean. In this proposal, a new linear concourse will be added to the eastern side of Terminal 3. Being an international airport, I am able to explore ideas from the viewpoint of a range of individuals with varying familiarity of the region. José Martí International Airport - Existing Conditions (Courtesy of Google Earth)
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José Martí International Airport with proposed expansion to Terminal 3
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Terminal 3
Terminal 3 Ticketing Lobby Photo by Shawn Coomer, 2015
Terminal 3 Ticketing Counters Photo by Shawn Coomer, 2015
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Main Concourse: Departing Flights Photo by Shawn Coomer, 2015
Terminal 3 Entrance Photo Courtesy of José Martí International Airport
Terminal 3 Exterior 01 Photo by Terry Feuerborn, 2012
Terminal 3 Exterior 02 Photo Courtesy of Google Earth
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Typical Behaviors
The interaction of three groups of people, each occupying the space for their own distinct needs, is observed in a terminal. The arrivals land in Havana and quickly make their way to baggage claim. The Flight Crew arrives at the airport or steps out from the lounge and makes their way towards the necessary gate. The Maintenance staff is in the terminal day in and day out, cleaning and fixing everything as needed. Three groups each have unique views and experiences inside the terminal. How can everyone experience what everyone else is? How can the totality of the building, in space and time, be experienced by anyone, no matter the reason for or duration of their visit?
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Arrivals
Someone entering Havana and Cuba for the very first time: This group is unfamiliar with the airport, landscape, climate, city, and country. The Arrivals are anxious and excited. They move quickly, taking brief glances out windows hoping to get acclimated to a new country before they leave the building. As it is their first time in the building and country, they do no know what to expect and are often easily impressed with something new. They are excited to reclaim their luggage and start the adventure of exploring a new territory. They rush from the gate to baggage claim, pausing only for a short bathroom break.
Flight Crew
Someone occupying the airport on a semi-regular basis: The flight crew has been here before, but they do not spend much time in the airport when they do happen to pass by. This group knows the best side of the terminal to walk on to avoid the big crowds. They wait in the pilot lounge until it is their time to fly. They walk fast, maneuvering between the passengers, trying not to get distracted as they mentally prepare for the flight ahead. They visit the airport at different times throughout the year, experiencing a different atmosphere in the building each time they pass through.
Maintenance
Someone working in the terminal for forty or more hours a week, every week: The maintenance staff spends their work hours inside the building, meandering through the building, cleaning and fixing as needed. They know the ins and outs of the building. They focus on the building for what it is, not so much for what it could be. They see the faults, but fail to see the potential. They work in an ever changing space, spending hours a day inside, consciously observing the slowly changing atmosphere of the terminal, which keeps the building and workplace fresh and new, day after day and year after year. 11
How senses affect the way Arrivals, Flight Crews and Maintenance interpret the space they occupy.
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How Arrivals, Flight Crew, and Maintenance maneuver through the same space differently.
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Development of plan involving segments and nodes and the physical and programmatic relations between the sets of each.
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Terminal extension/renovation iterations and ideas.
Comparing pros and cons of placing new concourse on either side of the existing terminal
Capturing angles used in the plan of the existing terminal. 15
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A single elevated linear structure is broken into multiple sections by a series of nodes that rise up from the ground. These nodes then twist and turn the segmented linear form into a more irregular shape. The new form is easily placed between the existing structure to the east, the airport’s apron to the south, and the parking lot to the north.
The nodes are connected to each other through appearance and program, which are both dramatically different from the linear segments it punctures through. The overall form of each segment is determined by examining the node that comes before it and tracing shadows throughout the day and year.
The new form becomes an alternating experience between long, narrow, and heavy linear spaces interrupted by tall, light, and voluminous vertical forms. Each type of space serves a different function and each is used to heighten the experience of the other as one moves through the building.
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Facing northwest, looking at the exterior of the proposed terminal addition.
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Facing southeast, looking at the exterior of the proposed terminal addition.
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The existing Terminal 3 at JosĂŠ MartĂ International Airport is built in a way that separates the users from each other. Those arriving in Havana occupy the ground floor and those departing from Havana move through the upper floor. All related facilities, including bathrooms, shops, and restaurants, are, by default, also separated. This approach can be beneficial if congestion is a concern as each floor is now solely used for one-way traffic.
Because the two floors are so different, an individual might not be able to make a connection between the floor from one visit to the next. This model makes the building appear to be two separate static forms, each with their own atmosphere, rather than a single building with a dynamic experience.
The aim of the proposed terminal extension is to merge these functions and experiences into one. All users will be able to occupy the same space. They However, this model lends to a building are given shared facilities and single that is doomed to be static. Users are story halls that will encourage people to not encouraged to interact with each pass and interact with each other. other. This model, while lending itself to quick travel, aids in the mundane Allowing everyone to interact with each experience of the built environment. other is not the main reason for merging People traveling different directions all the traffic together. The main will never pass one another, they will reason for doing so is to challenge the never have the opportunity to side expectation of the built environment. shuffle multiple times in an awkward If people are rushed one way, they attempt to move past each other, and wont have time or the mindset to truly they will never have the opportunity to appreciate the space they occupy. If share stories and ask questions while you give someone the opportunity to waiting in line for a quick burger. turn around and view the space they are in from multiple angles or at multiple Because the existing model separates times, that someone will have the the building into two floors, the chance to recognize and comprehend maintenance staff has a harder time the building the they are in. maneuvering through the building to do their work. They now have to cover It is my belief that a building should almost twice the floor area than they not give itself away upon first glance. would have had all traffic been on the A building should have certain qualities same floor. While on a single floor, that reveal itself over time or that are there is only one type of traffic flowing revealed only if someone is willing to through, creating a very repetitive and find them. boring background for the staff as they go about their job. Every time you enter a building it should be a new experience. Whether it A building where one spends over forty is your first, fifth, or seven hundredth hours a week should never be stale. It time in the building it should never be should be a place of excitement and stale or static. There should always be change so energy and motivation can things that are changing and things that remain high. can be discovered. Inside Terminal 3, those departing from Havana await their flight in a large hall with plenty of daylight shining in from the all-glass walls and the large skylights in the ceiling. Those arriving in Havana walk through the ground floor, a dimly lit space that receives minimal sunlight peaking through small windows that are sparse throughout the floor. This makes it difficult for an individual to appreciate and understand the totality of the building in a single visit. 20
By pushing all users of the terminal into the same space it creates an opportunity for one person to gain multiple views of the same space. Someone who might be arriving in Havana will move through the terminal a certain way. When it is time for them to leave and they walk back through the terminal, they will be occupying the same space, but this time they will be forced to see it from a new angle.
As an added benefit, the maintenance staff can more easily travel through the entire building, making clean-ups and repairs easier and quicker. This organization also allows everyone to be in everyone else’s company. So if a maintenance staff member notices the sun only shines in a particular corner of the building during November, they can share that fact with one of the crew members. A crew member can take that knowledge and start to look for other areas of the building that are lit up differently throughout different times of the year and they can then share that knowledge with someone arriving in the country for the very first time. This newcomer might then be able to notice, after a quick bathroom break, that the natural day lighting has shifted across to the other side of the terminal. Having everyone occupy the same space can help everyone understand the building as a whole. The concept for this terminal is simple: Through movement, one can better understand the space they are in. Travelers are encouraged to walk through each segment with or without stopping. At the end of each segment is a node. Each node has a high ceilings a giant skylight shining down to contrast the multiple thin skylights and low ceiling of the segments. This drastic change is meant to make everyone take a quick pause between regions. At each pause, one might continue on their way, stop to buy a souvenir, use the restroom, grab a bite to eat, or glance behind them. In the event they glance behind, one will see a segment that looks dramatically different from what they thought it looked like when they walked through moments ago. If they grab a bite to eat or otherwise stay in the node for more than a few seconds, they may notice the lighting in each segment has shifted. One might then be encouraged to walk around the terminal and stay for longer than they had initially planned. The nodes are used to entice visitors and workers to pause and see the building differently in the same visit. Combing all users to the same floor encourages exploration of the building on separate visits.
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Ground Plan
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Roof Plan
A series of studies using shadows to generate form: Rectangular frames, varying in height and orientation, are placed around a circle. An artificial sun is rotated around the set of frames. Each study focuses on the shadows cast by one or two frames. Shadows are observed, traced, and reworked into a habitable space. 22
The goal of this exercise is to explore how shadows can influence form and function. Can a single static form evoke the sense and feeling of an entire day? Or better yet, an entire year? This exercise allowed me to explore how lines, intersections, forms, functions, and time can be determined and perceived by shadows.
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This form explores how different seasons can generate a single enclosure. Each wall represents a different time of year. Each wall was originated by tracing shadows from a new location on a rectilinear form. The ends are covered to complete the enclosure, leaving a frame that is no longer visible. There is noticeable symmetry in the form. 24
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A space for summer next to a space for winter: The tall vertical room is formed by tracing the summer shadow of the taller corner of the frame. The low and wide space is formed by tracing the winter shadows from the lower corners of the frame. The summer space is smaller and convex while the winter space is larger and concave.
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This form explores how circulation can be interpreted throughout the year. Using four different locations on the frame, the circulation brings one across, down, up, and out starting in the spring and ending in the winter. Shadows of different seasons mark a change in direction and orientation, inviting one to move with time. 32
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Three floors are created by observing and tracing shadows of the upper corner of a single frame. The bottom floor was formed by following the path of the sun on a June 21st day from high noon until sunset. The middle floor follows the sun on October 21st for the same length of time. The top floor follows the shadow of the frame during December 21st. 36
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Surfaces are created by pinpointing the frame’s shadow at a certain time or by tracing the movement of the shadow over a duration of time. The black surfaces capture a single moment in time while the white surfaces capture the movement of a shadow throughout a day. The shadows are formed by cycling through the hours and seasons. 40
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Sketches of roof and ceiling meeting walls, columns, floors, and ground.
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Feb. 16 - 08:15 Feb. 16 - 12:45
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Sketch of formal interactions between node and segment.
Exterior form iterations showing relation between node and segment.
Roof iterations allowing sunlight in from one direction and a view outward from the other. 45
Segment 01
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Node 01
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This node is divided into three vertical pieces with a single large skylight coming down between the pieces. Programs include bathrooms on every floor, employee break rooms for inside and outside workers on appropriate floors, and a large open space where passengers and workers can look out over the runway and Havana’s countryside.
This segment includes three gates and is the furthest segment from the original terminal. There are two gates for smaller to medium sized planes and one gate for large/charter planes.
Two corners of the node influence the shape of the segment. Shadows from one corner can be traced to reveal the ridge of the roof. Shadows from the second corner mark the roof line of the southwestern edge of the segment. Segment 01 is the only segment to connect to Node 01. The skylight in Node 01 helps bring people from the segment into the node and the overlook serves as the final destination of the proposed terminal.
Node 01
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Blue lines showing roof edge of Segment 01 being derived from shadows cast from corner of Node 01. Purple lines showing ridge of roof being derived from a separate corner of Node 01.
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Section diagrams showing change in width of terminal and ceiling height and shape as one moves through the space.
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Skylights are cut into the ceiling at varying angles. The angles relate to the sun’s altitude and azimuth during the summer months to allow for this section to be the brightest during that time of the year. The varying angles allow for direct light to enter separate sections of the building at different times of day, ensuring a changing and new experience depending on when the building is traveled through.
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Node 02
Node 02 is divided into two vertical pieces with two skylights shining down in the center. This node includes shops on the main level and elevated lounges for both passengers and staff which provide 360 degree views out from the airport.
Segment 02
Segment 02 consists of the remaining gates in the new proposed terminal extension. Like segment 01, this segment also has three gates but one is for small to medium planes and two are for larger planes. Segment 02 feeds into Node 02 and Node 03.
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Node 02 also uses two corners to influence the form of segment 02. The shadows captured from the first corner mark the ridge of the roof as it gets further away from the node. The shadows of the second corner provide a rough outline for the southwest wall of segment 02. The double skylights in Node 02 draw people from Segment 02 to enter the node. The skylights also pull people from Segment 01 to pass through the node and enter Segment 02.
Node 02
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Blue lines showing wall location of Segment 02 being derived from shadows cast from corner of Node 02. Purple lines showing ridge of roof being derived from a separate corner of Node 02.
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Section diagrams showing change in width of terminal and ceiling height and shape as one moves through the space.
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Skylights are cut into the ceiling similarly to Segment 01 however, the angles of skylights more closely relate to the altitude and azimuth of the Havana sun during spring and autumn months. While direct light is able to enter the segment all year long, the most light is able to enter during the spring and autumn. Light moves back and forth across the segment throughout the day and year chasing the movement of the passengers and staff.
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Node 03
Node 03 is the busiest node in the terminal is divided into 4 vertical pieces, one of which is a giant skylight. The skylight is the divider between the node and the hall of the terminal that pases by. Programs include bathrooms, shops, and restaurants.
Segment 03
Segment 03 is where the floor begins to divide. The floor splits in half and one side begins its descent to the ground floor. The other half remains at the same elevation. The linear form of Segment 03 shifts halfway through the volume, another distinction from it and the previous two segments.
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Node 03, like the others, uses two corners to influence Segment 03. As with the others as well, the shadows of one corner influences the ridge of the roof. The shadows traced from the other corner mark the shift in the floor that begins to divide the users in the terminal. It is possible to walk from Segment 03 to Segment 02 without passing through Node 03, but the giant skylight is in place to encourage visitors to turn and spend time in the terminal’s busiest node.
Node 03
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Blue lines showing separation of the floor in Segment 03 being derived from shadows cast from corner of Node 03. Purple lines showing ridge of roof being derived from a separate corner of Node 03.
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Section diagrams showing change in floor level, ceiling height, and shape as one moves through the building.
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Skylights cut into Segment 02 differ from those of the previous segments. These skylight align themselves with the azimuth and altitude of the summer sun and are directed more towards the later half of the day. This allows this segment to be the brightest during the afternoons and summer months.
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Node 04
Node 04 is occupied by arrivals on the ground floor, and everyone else on the upper floors. It is divided into two vertical pieces, one of which is a skylight. Because of the off set paths, the skylight is able to reach both the ground and first floor. Programs include bathrooms and employee break rooms.
Segment 04
Segment 04 is the only segment which totally separates those arriving from those departing. It is designed this way so the proposed terminal can align itself with the conditions of the existing terminal. This segment serves as the security check points for all visitors.
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As expected, Node 04 capitalizes on the shadows from two corners to influence the form of the Segment 04. Shadows from one corner mark the ridge of the roof while shadows of another corner mark the location of the first floor wall. Node 04 is the final point of complete division. As visitors move beyond the node and into the terminal they begin to merge with the other visitors and staff. As such, the node acts a divider between functions of the terminal and segment 04 is a continuation of the divide.
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Blue lines showing wall location of lower level of Segment 04 being derived from shadows cast from corner of Node 04. Purple lines showing ridge of roof being derived from a separate corner of Node 04.
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Section diagrams showing shift in floor slab placement between levels as one moves closer to Node 04.
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In Segment 04, skylights are cut at varying orientations and angles. The hectic nature of this segment invites the skylights to appear just as haphazardly. The orientation and angle of the skylights shift the direct daylight in unexpected aways throughout the terminal. This provides a strange and unexpected change in atmosphere as time progresses.
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Three different experiences can be felt only if one is willing to move through and around the sea of columns. If one stands still, they will only receive a glimpse of what the columns truly are. By moving through the space, one can uncover the complexity and simplicity in their arrangement. When approaching from one direction, a sea of columns appears in a random order. When approaching from a perpendicular direction, the sea of columns are seen as organized rows. Upon entering the space, the columns appear to be placed in groups, alternating between spaces of columns and spaces of void.
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This is a landscape that brings travelers up, down, and through. In one direction a traveler sees white. In the other direction the traveler sees black. Even when one crosses through to the other side, they remain separated from the others. The change in floor height and wall positions allows for a constant view of the other path while still keeping the paths separate.
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Angled partitions influence travelers walking in the same direction to walk through the same path. One direction sees white, the other sees black. Those who travel in only direction have a limited experience of the space. Those who travel through the angled partitions to the other side are able to experience both sides of the hall and appreciate the irregular center walls.
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A space is designed to compress and release its inhabitants. While traveling one direction, the floor rises and the ceiling falls. The inhabitant is slowly compressed and their view out becomes smaller as the move further along. In the opposite direction, the opposite effect happens. The floor sinks and the ceiling rises, releasing the inhabitant from the grasp of the structure. As the inhabitant moves ahead, their view out widens.
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A transparent wall with opaque obtrusions marks each side of the hall. Depending on the direction of travel, one is inclined to either look down toward the floor or up over the walls and into the sky. When turned sideways, one is easily able to see straight through the structure at any viewing angle with minimal obtrusions in their way. Facing sideways allows the user to look freely, while walking either direction down the hall forces the user to aim the sights to a specific location.
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Two polar opposites work together in creating the experience of traveling through this hall. In one direction, users see a hall of windows with thin mullions, encouraging those who travel to view out into the world and outside of the structure. Those traveling in the opposite direction experience an opposite atmosphere. Light is able to reflect off the walls but the travelers see no windows. Their view is directed strictly down the hall, aided by the angle in the walls leading the eye to the center of the hall. Turning sideways, one is able to see the pattern of opaque and transparent. These three opportunities can only be seen if one is willing to turn around and explore where they came from. 91
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As the arrivals gather their belongings and exit the plane, they soon enter the terminal. The wall on their left side is punctured with an array of floor-to-ceiling windows. In the distance at the end of the hall, a large beam of light is seen. These two factors keep the arrivals looking ahead and slightly to the left in order to keep the herd of visitors moving forward.
As the flight crew makes their way toward their specified gate, they are presented with a lack of windows. Instead, the walls and ceiling capture and bounce reflected light into the terminal, creating a pattern of darker and lighter surfaces. This helps keep the crew focused on the other side of the terminal, where the gates are located.
The maintenance staff makes rounds about the terminal, focusing on the shorter axis of the building rather than the longer one. They take notice of the straight and angled walls, and the cut outs for the windows. They notice the shiny ground but rarely focus on the ceiling unless a light is out.. As they move through, the maintenance staff is able to notice small details but does not always notice the entire space as one whole.
When the arrivals reach the end of the hall, the flight crew arrives early to their gate, and the maintenance staff starts to move to the next section of the airport, all three are able to pause. As they turn and face the direction they came from, they notice the terminal has a completely different feel. From open to close and concentrated to expansive. Immediately, everyone becomes
curious, maybe even a little confused. They begin to backtrack their steps in hopes of understanding why the building appears nothing like what they thought it originally did. As they move through they begin to notice the alternating pattern of the walls. Although radically different depending on the direction they are looking from, the walls still switch between light and dark. The ceiling
takes on a similar role, but with smoother transitions. When looking down, the floor begins to subtly reflect whats above and to the sides. Should the occupants return to the site a few hours, days, or months later, they will find almost all the qualities of concourse have shifted, changed or disappeared.
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Those arriving in Havana continue their walk through the next segment of the terminal. There is a row of columns to the left and a set of gates to the right. They notice the triangulated pattern in the ceiling above the columns and the single straight pitch on the other side. The arrivals focus on how the different sections of the ceiling and columns are lighting up differently.
As the flight crew makes their way towards their gate, their gaze is directed out onto the apron. There appears to be a lack of windows on the right hand side of the terminal, although ambient light is still flowing in. In between the columns to the left, clusters of windows appear giving sight to which ever plane is parked out front. As the flight crew makes their way, they can either try to find their gate number, or look out the clusters of opening to find where their plane is parked.
The maintenance staff maneuvers in and out of the columns and they take note of all the imperfections that have appeared since their last trip through the terminal. The layering of columns in front of short segmented walls between columns makes the maintenance staff see a room full of columns. The shiny floor reflects the incoming light and columns heightening the perception.
As the arrivals reach the end of the current segment, they stop in the node for a bathroom break. In hopes of seeing the triangulated ceiling pattern lit up by the sun one last time, they glance back down the segment before moving on. Much to their dismay, they see what they believe is a new space. They sun is not bouncing off the ceiling and almost all the windows have disappeared. The only
remaining feature is the row of columns. Since being at the airport the last time, the flight crew notices the terminal is brighter and even more-so, a completely different end of the terminal is much brighter than the last time they came through. As they turn back before passing through the gate, they see a wall of columns in front of a row of segmented walls. The maintenance staff begins to clean the
windows and notices every now and again a shadow falling on the each corner of the terminal. When they turn back around they again see the vast number of columns that appear to be holding the entire building up. As all three people move about the space they each notice different patterns with the light, but all take great notice of what appears to be an abundance of columns.
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The arrivals enter the third segment after eventually leaving the third node. As they enter they are hit with a wall of windows looking out over the original portion of Terminal 3. The angled head of the windows force their eyes to move from right to left. They then see the floor begin to shift. They start making their way toward the bright wall of large windows at the end and bottom of the hall.
The flight crew enters this segment and begins their walk down the hall. Horizontal lines in the floor and railing paired with the lack of windows in the walls force the eye and flight crew down the hall. At the end of the hall is a large area brighter than the north star in the night sky. The hall gets brighter as they move through it, but none of it compares to the light coming from inside the Node at the end of the hall.
The maintenance staff has the angled windows, railings, ramps, and floors, to help keep them moving along the terminal in either direction. They notice the linearity of the space better than anyone because they do, unfortunately, have to walk back the way they came in order to reach every spot in this segment since the floor is divided in two pieces.
Leaving the node, the arrivals enter the third segment in a well lit area where light is being reflected off the floor making the space even brighter. They see their destination ahead and make their way down the ramp. As they do, they keep their heads to the right to look out the windows beside them. As they continue to move forward, the windows soon vanish before their eyes. They turn
completely around to find the wall void of any windows. As they turn back around they capture a glimpse of the angled windows and in the same horizontal line are the larger windows at the end of the ramp. The flight crew reaches the powerfully lit node and they take a quick glance behind to compare how dark the space was now that they are in the light. To their surprise, the hall is well
lit with many windows along the wall. The maintenance staff takes their time moving through this hall. As they slowly meander through the space, natural light fills the hall, creeping along in the opposite direction compared to the direction of the staff. The light moves up and back in a day and the maintenance staff, out of preference, moves back and up.
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The following pages contain a set a studies indirectly relating to the final project seen on the previous pages. I began the year unsure of what to do, unsure of what to make, unsure of what to draw, and unsure of what to study. I had no desired direction, I only wanted to see where my interests would take me. I allowed my brain to travel in every direction it wanted and I tried to output every thought. I spent an entire semester wondering if I would ever figure out what my thesis was. Not everything I produced during this time is included within the following pages because a lot of what I produced was so far out in left field. When compared to where I ended up, it did not make sense to include many drawings and models in this same book. So I have selected certain studies that are not necessarily my best or my favorite; they are simply the studies that had the greatest impact on the final outcome of this project.
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It is easy to make people do what you want when you are playing god. For half of this exercise, I felt as if I At some point in the fall semester, was not learning anything new, I was I became interested in the idea of just making a drawing to be exactly architecture and deception. I did what I had imagined it would be in my not want to necessarily mess with A room was made with a checker board head. There was nothing new to be someone’s head, but I wanted to push of columns. Half of the columns were learned from it by putting it on paper. the limit of what someone would typical structural columns, presumably However, this drawing sparked a new believe. I first started to look at how made of concrete although material did flame inside me. The idea of trying someone might interpret or interact not necessarily matter. The other half to confuse myself kept ringing in my with a column. Does a physical of the columns would be light wells mind. This was not a drawing made to column need to be present in order shining in from the ceiling. I imagined see how someone might interpret a for someone to hug it? Do people visitors playing with the columns and column. This was a drawing made to always walk “around” columns? Or is being unsure of which were real. I see how I could think about a column. it something they can just walk past? would have people hug the concrete This drawing began to make me think Or better yet, can it be something columns and walk through the light outside the norm and about how I they can walk through? Is a column wells. I would have people lean against could view ordinary objects in not so defined by its structural integrity, its and hug the light wells but trip and fall ordinary ways: a structural column that presence, or something else? I began through the concrete columns. I wanted is actually a hollow ray of sunlight or a my exploration in deception by pushing to look at the drawing and not be sure seemingly unimportant light well that the boundaries of a column truly is and of which columns I intended to be someone could bump into, hug, lean what it has to potential to be. “real.” I set out to confuse myself. against, and support an entire roof.
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Exploration
This set of 3 drawings was next in my set of deception and architecture. For these drawings I wanted to explore the gradual change in perception of a space. I was interested in seeing how I could replicate subtle movements that would allow for a grand reveal of an unremarkable change. Could I trick someone into thinking the space they are in changed drastically, when really it hardly changed it all?
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Process
The bottom two drawings explore the idea of a changing floor elevation. The drawing on the left has one stairs case and a hallway that wraps around a set of rooms and subtly sinks (or rises) to meet with the base of the staircase once it loops around. Travelers can walk into the middle space for a better understanding of why they only seem to be walking up stairs but never get any higher. The drawings on the right uses the same idea, but puts the stairs in series with each other and has stairs working in opposite directions. The theory behind this drawing is that depending on what path a traveler choses to take, they may not ever realize something strange about the building. However if they chose a different path, they may be forever walking up stairs. The top drawing consists of a series of square rooms that slowly get smaller as you make your way to the bottom right corner. In the final room, the walls and ceiling open up. Due to prior rooms being so cramped, one might believe they have just entered the biggest room in the building when in reality, they entered an average sized room.
Observations
I realized these spaces only became successful (successful as in being able to mess with the minds of individuals) when the inhabitants of the space were willing to move. If someone entered this space and stood still, all of the magic would be lost. As someone moved through, they would begin to experience the strange space they were in. After these exercises, I began to think that a building would be more interesting if parts of it could only be uncovered by moving through it. You should not be able to understand a building from a single photograph, because then when you eventually get there it becomes boring. After this exercise I began to think about how the building or environment could move so that the inhabitant could stand still yet still be presented with new information about the building.
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Exploration
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Observations
Never having much experience with color, I wanted to incorporate it into my next exploration. For this study I would create three drawings. Using different shapes, colors, and dimensions, I would try to visualize a space. The exploration would consider which colors and shapes work well next to each other and which ones do not. How is a square perceived when placed on top of a triangle versus underneath a circle? How much order is needed to interpret different spaces in the same drawing? How does one move through a drawing when similar shapes and colors are used near each other versus when the colors and shapes are randomly scattered?
After I finished this drawing I lost sight of why I started it in the first place. But, I became interested in I first made a two dimensional drawing the irregularity of the drawings. The randomly placing shapes on a page. drawing on the right became my least Closing my eyes, I chose a color for favorite because it was predictable. each shape. For the second drawing, I The drawing on the left, while exciting, made a three dimensional version of is complete chaos. The middle drawing the previous drawing, while choosing has some order to it but it is not colors based on what was working and overbearing. I kept with me the idea what was not working from the first of creating something that definitely one. After arranging and expanding the has an order, but not necessarily one shapes in the second drawing I decided you can figure out upon first glance. I to make a more ordered drawing using became interested in creating spaces colors to signify three sections, and that would break from a pattern or modifying the shapes so each section would have enough irregularities to had a coherent feel. always keep someone interested in it.
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Exploration
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Observations
One half of a study on how light can signal a change. For this half of the exploration, I wanted to examine how sunlight could mark a change in the floor. Is it possible to look down an alley and judge where ramps, stairs, bends, and curves are before you get right up to them? Is the sunlight capable to highlighting these changes or will it have an adverse effect? At the time I was studying methods of way-finding and I wanted to see how direct sunlight and shadows could work together to make a hall full of stairs safer.
Before doing this exercise, I was sure the middle drawing was going to result in the best outcome. As it turned out, it appears the middle drawing actually has the worst outcome, in terms of way-finding through a stair infested hallway. Using a linear light running parallel to a path to heighten the visibility of rising grades in the floor is not an effective method. But as a whole, they were all pretty unsuccessful. I learned it is difficult for A single hallway was designed that has light to mark these bumps along the different sets and sizes of stairs and path because there is still light visually ramps, all leading up. Three different there. It does not matter that it moved types of skylights were placed above up six inches, that difference is too the same hallway. A sun was positioned small for eyes to perceive. It is difficult in the sky to allow for the maximum to mark an additive change with light. I amount of sunlight to enter the hall kept this idea in mind when designing through each type of skylight. Placed the terminal. I did not try to use light side-by-side, it was easy to compare to mark a difference, I used light to be the pros and cons of each. the difference.
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Exploration
One half of a study on how light can signal a change. For this half of the exploration, I wanted to examine how sunlight is able to mark an intersection or a change in a vertical wall. Can light and shadows be used to mark openings? Would you notice the pattern of light changing before you notice the wall changing? Similar to the other half of this test, but this time I am specifically targeting voids and subtractions from a surface, where as the other exploration looked at additions onto a surface.
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Process
Observations
A hallway with an intersection on the right was made. Windows and skylights were placed along the left wall, the ceiling, or both. Again, the sun was positioned to allow for maximum sunlight to enter the hall. The light fell on the hallway in different places and in different patterns which was helpful when trying to examine the success of each part.
While I may believe the first one is the most successful, it is safe to say all three drawings completed the task with flying colors. I found it was incredibly easy for light to mark a void or subtraction, because it easy to notice when the steady stream of light suddenly disappears. This exploration made me think about how subtle cues can unexpectedly have a dramatic impact on the understanding of a building. Placing windows along a corridor will obviously brighten the hall up, but it could also help signal where there is an intersection within the hall.
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Exploration
Process
To help visualize sound, I turned to a device called a harmonograph. A harmonograph is a mechanical device the utilizes pendulums in order to create a geometric image. A single pen or pencil is attached to two or three For this study I was looking at ways pendulums, When the pendulums in which I could switch the senses. are released, the pen rotates in a Can you taste something with your particular pattern depending on the hands? Hear it with your eyes? Smell length of the pendulums. The lengths it with your ears? I started looking into of pendulums and the images produced how I could visualize sound. The goal relate to harmonies in music. Each of this exercise was to create form pendulum length can be thought of and spatial boundaries using sound. as a and when multiple pendulums The exercise happened in the middle act together it creates a chord, or a of my fascination with separating or harmony. “Better sounding� harmonies combining senses in order to see what and chords will create tighter and still can or can not be perceived. This more regular drawings. Luckily, I was particular exercise was going to take given access to a digital harmonograph sound and attempt to turn it into thanks to Luke Wallin, who wrote something that can not be heard, but his own javascript program. The something that can be seen or felt. digital version allowed me to quickly From here I would ask if it is possible and accurately test many different to understand sound without hearing it. harmonies.
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Observations
This was a rather fun experiment to perform. I was able to create incredible looking spirograph type drawings that were rooted heavily in music and sound. I was able to now visualize one way in which certain harmonies could be seen. I began looking how these forms could be turned into three dimensional shapes. What I took away the most from this exercise was that from this point on, every form I created was not done so because of what looked the best. The forms I would create did not necessarily have to be derived strictly out of function for the building, but it became apparent they should be derived by some exterior source and not just as a visual stimulant. While I did not continue throughout the year trying to visualize sound, this exercise did prompt me to look into new ways forms could be generated.
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Observations
With this drawing, I wanted to explore how someone might interact with a building if they no longer had the sense of sight. The goal was not to produce a practical solution for blind navigation through a building. The goal was to work out how different senses could be stimulated for navigation and relaxation in a building. Is there ever a time when hearing and feeling become more important than seeing while occupying a building or space? If so, how and when?
The first area I looked into where I thought sight might not be the most important was a space for relaxing in front of a large set of windows on a sunny day. As you sit back you can feel the warmth of the sun striking against your face, chest, arms, and legs. Your eyes can close and you can still fully enjoy the moment you are in. I made a wind tunnel for wind to rush pass someone as they sit back against a wall. As the wind rushes past one’s body they would also be able to hear its subtle whistle. I looked into a space where the sound of rushing water would lead someone towards their destination. There could be an intersection of hallways that would expand like megaphones as they approached each other. This would make the sounds of footsteps and chatter louder as people approached an intersection to alert others someone is about to cross. There could be large domes at all entrances that would echo all noise (including footsteps) beneath it to let someone know they have reached the exit.
This experiment got me thinking about how most architecture is created for the eye. A full experience can not be captured by soliciting one sense. It can not be captured by being in one part of the whole. To experience a space means to move through it and see, feel, hear, smell, and digest everything there is. There are different ways to enjoy and experience something and as a designer, I should not try to force a single way. I should be conscious of the many people using the space and think critically about how different people might want to occupy the building.
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Observations
The exploration was one of many where I worked on actually designing a terminal. Past attempts had a dynamic interior but a boring exterior, or vice versa. For this iteration, I wanted to create a building that was just as dynamic on the exterior as it was on the interior. The plan was to take regular geometric shapes and arrange them in such a way that the building appears complicated but would actually be fairly simple. The interior was focused on creating experiences that would differ depending on what direction someone was traveling. The exterior was focused on creating a complicated irregular form that could be visually and easily understood as its basic elements.
This iteration became way too complicated way too fast and pretty The basic building block was a early on I knew I was going to just rectangular prism. I allowed myself to about scrap the entire thing. I wanted stretch or shrink the prism in every the form to have more meaning. The direction to a certain scale. They were interior had way more going on than arranged in a way that resembles fallen I thought was necessary or desirable. dominoes. This allowed for certain However the unofficial anchors would cutouts along the interior walls and become the starting point for each ceiling that I was after. At every bend, iteration that followed. As the anchors instead of turning the “dominoes� I of the buildings, these portions (now added a new shape. These new irregular called Nodes), could help develop forms marked pivots in the building the form of the building and serve and would unofficially be thought of as functions of the terminal I did not the anchors of the terminal. want to place in the longer halls.
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Lobby Pin-Up: April 20th, 2017 Photograph by Aki Ishida
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