Mary-Beth Luster: Thesis

MARY BETH LUSTER Thesis 2012-2013 Ammar Eloueini, Adviser

1

contents Research....................................................................................................4 Abstract....................................................................................................6 Document..................................................................................................8 Annotated bibliography..........................................................................14 Precedent as inspiration.........................................................................16 Precedent as research.............................................................................22 Site analysis.............................................................................................34 Program analysis.....................................................................................38 Design......................................................................................................46 Project description..................................................................................48 Site strategy............................................................................................50 Program strategy.....................................................................................54 Form strategy...........................................................................................58 Final product.............................................................................................62

1

1

research

1

Exploring the dichotomy between the material nature of architecture immaterial quality of digital art.

1

abstract

Architecture is diminishing in its role as protective fortress against weather and outside intruders. In contemporary society it functions more as a loose container for human activity; a means of defining space while maintaining a connection to the greater urban context. Therefore, architecture, inherently material, has the potential to become immaterial.

Digital information, on the other hand, in inherently immaterial, existing only as data and manifested physically only through the vehicle of whatever digital storage hardware it happens to be placed on. However, with the rise of the digital age, digital information is taking on increasingly real roles in society, and the lines between the digital and physical realms are becoming more and more blurred. Therefore, digital information, in a way, becomes material.

To explore this dichotomy and blurring of digital and physical worlds, I propose the design of a museum of digital art. I will employ dematerialization in architecture in order to provide a contrast to the materialization of digital art.

1

1

Document

1

MATERIALIZING THE IMMATERIAL; DEMATERIALIZING THE MATERIAL Exploring the dichotomy between the material nature of architecture and the immaterial nature of digital art

Fundamentally, architecture exists as a container for human activity. Its core purpose is to fulfill the basic human need of shelter; protection from the elements and outside intruder. A home. Historically this led to buildings that literally and phenomenally conveyed their structural stability and resistance to exterior threats. The kinds of materials and construction methods that provided this level of security resulted in homes that were visually impenetrable as well; similar in effect to man’s first dwelling, the cave. Eventually, buildings began to increase in complexity and specificity of purpose.¹ Architecture’s role eventually grew from simply providing shelter to establishing and solidifying one’s place in society. In homes, walls acted not only as physical barriers against beggars and robbers, but formed unspoken boundaries along class lines. Larger-scale buildings also became bastions of social power, whether it be the Church asserting its rule over society or a business proclaiming its dominance over the market. The increasing monumental and symbolic nature of architecture was evidenced in the outrageous amounts of resources and time put into their construction, as well as their sheer size.

Such buildings were a serious undertaking. Built over decades, they lasted centuries. Erecting a building was a momentous occasion, and a considerable commitment, as it would be completed several years later and outlive anyone involved in its conception or construction. However, due to new technology and the rapid demand for new buildings, this long, almost biblical saga of construction and even longer life span is no longer in place. A new material palette has been introduced. Buildings are generally not built from large stones or heavy timber; difficult to come by and harder still to work with yet essential to building longevity. New construction methods employ materials that are lighter, smaller, and easier to acquire and install yet have a fraction of the life expectancy of older methods of construction. Furthermore, new technology such as CAD, modular construction, and the design-build model have allowed for buildings to be built at unprecedentedly rapid rates. Like cars and cell phones, contemporary buildings are built with an expiration date in mind. There is no need to build to last when the building will become obsolete in a matter of decades regardless. These factors have led to rapidly changing skylines, which challenge the notion of architecture as a static force in the urban context.

While some buildings continue to last centuries as monuments or icons, built for a very specific purpose, others are being designed with a degree of flexibility and programmatic complexity in mind. Driven by increasingly short construction periods and rapidly changing needs, some buildings are designed with a future repurposing, renovation, or demolishment in mind. Spurred on by the increasingly fluid urban fabric and the complex needs of society and enabled by new technology, a new architecture has emerged which changes rapidly in response to these dynamic factors. One such example is a project called “I’ve Heard About…” by Francois Roche and Stephanie Lavaux in which an urban habitat gathers information from its inhabitants and actively recreates itself accordingly.

The digital age has spurred societal changes that affect the role of architecture in society. Communication through cell phones,

1 Jonathan Hill, Immaterial Architecture (London: Routledge, 2006)

10

social media, and video messaging programs like Skype has managed to “shrink” the world down to such a degree that location and distance between locations are losing their relevance. This has led to a diminishing sense of place and weakened ties to any particular location. Hill presents a fitting example, speaking of a friend who “was comfortable without a physical home for a while because her mobile and computer provided familiarity, ready access to a community of friends, and thresholds she could open and close.” ² Social media has especially contributed to these changes by increasing transparency and interactivity among individuals spanning across society. Private lives are now put on display; one may eat breakfast within the confines of their own home yet share a photo of the meal with thousands of connections, from close friends to people they hardly know. In a global society of increasing connectivity, architecture is arguably the last bastion of sacred privacy.

This rapid advancement of technology and digital information has produced another interesting phenomenon. Buildings rely more heavily on digital technology such as video cameras and digital alarms and security systems than thick walls and heavy locks to keep out intruders. New technologies have created buildings that are increasingly “smart” and better equipped to combat the elements. However, a new form of “weather” has emerged; one which even the most sophisticated of rainscreens or security systems can keep out. Buildings are hopelessly permeable to “electromagnetic weather,” the flow of digital information.³ Digital technology, now used to keep buildings secure, is the one intruder that they can no longer keep out.

These technological and societal changes signal the end of an architecture that is solid, static, built for a specific purpose, and closed off to the outside world. They have made way for transparency, flexibility, and interactivity, and allow for an architecture that begins to dissolve away and allow its inhabitants and their various activities to take precedence. This is an architecture defined not by walls but by a series of interactions, adjacencies, and connections. Lines begin to be blurred between what is inside and outside, where one space runs into another, and where exactly the building begins and ends.

These phenomena are achieved through dematerialization; both in the form and materiality of a building. In formal dematerialization, spaces are often designed in such a way that they defy the sturdy and impenetrable appearance of their surfaces. One example of this technique is the Brick Weave House by Jeanne Gang, in which a traditionally solid material like brick is applied in an open weave pattern. The resulting effect allows brick to act as a translucent surface; a screen.

Light is also crucial to dematerialization. Penetrating the building envelope, it effectively erases various surfaces and takes on its own form within the space. It destroys the notion that the building is an impermeable shell, and dissolves the barrier between inside and outside. Dematerialization of material on the other hand is a play on transparency. Transparent materials can create connections to other parts of the building or the greater urban context. Translucent materials possess the ability to distort what lies behind, and can blur boundaries and lines within the space or between the building and its surroundings.

2 Jonathan Hill, Immaterial Architecture (London: Routledge, 2006) 3 Jonathan Hill, Immaterial Architecture (London: Routledge, 2006)

11

These are all examples of literal transparency. Another type of transparency, deemed “phenomenal transparency” by Colin Rowe, also comes into play in achieving dematerialization. Whereas literal transparency refers to the physical qualities of certain materials, phenomenal transparency involves both form and material.4 It involves the interaction and visibility between overlapping and intersecting spaces within a building; the ability to read multiple pieces of information about a building at once.

Arguably, the built environment is diminishing in its importance, or at least share the stage with the digital realm. While the current social and technological atmosphere has allowed for the physical and social dematerialization of architecture, it has allowed digital technology to take on an increasingly real presence in our world. The past few decades of technological development have blurred the lines between digital technology and the physical world like never before. Children’s toys such as Webkinz now have both physical and online presences. The internet is now the second most common place for couples to meet.5 Online music purchases have finally surpassed CD’s.6 Perhaps the most striking example is Google’s Project Glass, in which specialized “glasses” allow the user to view Google’s Android interface over their own field of vision, providing views of their digital and physical surroundings simultaneously.7 Examples such as these prove that the digital world is incredibly “real,” and arguably as important as the physical realm, and demonstrate how the two worlds are becoming increasingly intertwined.

The digital age enabled not only new forms of communication, but various types of artistic expression. Digital art entered the art scene upon the advent of the computer as a niche genre, and has since developed into several distinct categories. Software art spans between computer programming and art, and usually involves custom-designed software that is used to create the art or that becomes the art itself. Similarly, net art uses the Internet as its interface, and usually draws heavily on interactivity and social connectivity. Digital installation art covers a wide range of pieces, but it generally relies on some combination of digital and physical interfaces, and like net art generally possesses an interactive component. Virtual reality as an art form is based on the user’s participation in a simulation of a real or fabricated reality. Additionally, music, theatre, and other forms of performance art have begun to incorporate digital elements.

Presently, digital art is coming into its own as an art form; it is becoming increasingly accepted, valued, and appreciated. More and more museums are being proposed or even built solely for digital art. The collection and display of digital art pieces has proven to be an interesting challenge from a curatorial standpoint. While the physical elements of these pieces are reminiscent of traditional art forms, a special level of care must be taken to ensure the proper and intended display of their digital components. Exhibition spaces must be equipped with the necessary technology infrastructure. Digital art also tends to be more interactive than traditional art, and spaces must be designed or arranged to accommodate this extra layer of activity. If screens or projections are involved, lighting is also an important consideration to ensure the optimal visual output.

4 Colin Rowe and Robert Slutzky, Transparency (Basel: Birkhäuser Architecture, 1997).

5 Rebecca Searles, “Online Dating Now Second-Most Common Way for Couples to Meet, Study Says,” Huffington Post, February 7, 2012.http://www.huffingtonpost. com/2012/02/06/online-dating-common-couples-meet_n_1257243.html (accessed November 20, 2012).

6 Josh Halliday, “Digital Downloads Overtake Physical Music Sales in the Us for First Time,” Guardian (London), January 6, 2012.http://www.guardian.co.uk/ media/2012/jan/06/downloads-physical-sales-us (accessed November 20, 2012).

7 Google, “Project Glass: One day...” YouTube. “Online video clip,” http://www.youtube.com/watch?v=9c6W4CCU9M4

12

Architecture continues to cling to its role as the physical and societal symbol of strength and stability. Meanwhile, digital information is becoming increasingly tangible and rapidly merging with the physical. Lines are being blurred between what is real and what is virtual, and the divide between the two is becoming less important. I therefore propose the exploration of dematerialization in architecture through the design of a digital art museum for New Orleans. Through this I will build on the dichotomy between the diminishing physicality of architecture and the increasing reality of digital information through a juxtaposition of the two. I will explore the current state of architecture; increasingly penetrable and transparent yet retaining its place as fundamental human shelter, and by contrast highlight the increasing prevalence of digital media and information. The museum will serve as a tangible symbol of this marriage. A piece of digital art is projected onto a blank wall; the wall gives physical substance to the art, and in a way, becomes the art.

13

1

annotated bibliography

1

Casamonti, Marco Jean Nouvel (minimum, Essential Architecture Library). Milan: Motta, 2009.

This book presents several of its namesake’s key built works, with emphasis on his theory and material execution in each. Among several themes discussed is dematerialization, which is a key factor in many of Nouvel’s works. Also included is the architect’s “Louisiana Manifesto,” which outlines the theoretical basis for his work. The book concludes with some pieces of critical writing on his theory and architecture. Jean Nouvel is a valuable architect to study, as he is well-versed in the areas of transparency and dematerialization, and his projects are useful precedents for designing with these techniques.

Hill, Jonathan. Immaterial Architecture. London: Routledge, 2006.

This book explores architecture’s deep ties to the material, and suggests that it bears an equally important connection to the immaterial. The author begins by tracing the history of architecture in and of itself as well as as architecture as a profession. He discusses the genesis of architecture as a basic means of shelter, and how this lead to an architecture that was physically and effectually solid and stable. He then introduces the concept of immateriality, and its relationship to materiality and architecture. The second half of the book takes the form of an alphabetical index of examples of immateriality in art and architecture. This book is useful in developing an understanding the conceptual and historical basis for dematerialization, and serves as a reference for architectural and artistic precedents.

Casamonti, Marco Jean Nouvel (minimum, Essential Architecture Library). Milan: Motta, 2009.

This book presents several of its namesake’s key built works, with emphasis on his theory and material execution in each. Among several themes discussed is dematerialization, which is a key factor in many of Nouvel’s works. Also included is the architect’s “Louisiana Manifesto,” which outlines the theoretical basis for his work. The book concludes with some pieces of critical writing on his theory and architecture. Jean Nouvel is a valuable architect to study, as he is well-versed in the areas of transparency and dematerialization, and his projects are useful precedents for designing with these techniques.

Paul, Christiane Digital Art. London : Thames & Hudson, 2003.: Thames & Hudson, 2003.

The purpose of this book is to trace the genesis and development of digital art. It provides an overview of digital art, and breaks it down into sub-genres, explaining and providing examples of each. The author also addresses digital art from a curatorial standpoint, and details the various issues and considerations that come along with curating these pieces. This book is useful in gaining a basic understanding of the various types of digital art, and will be helpful in determining how to design spaces for the display of digital art.

Rowe, Colin, and Robert Slutzky. Transparency. Basel: Birkhäuser Architecture, 1997.

In Transparency Colin Rowe responds to Gygory Kepes’ definition of transparency as a pure material quality of unobstructed views. He acknowledges this as one type of transparency, terming it literal transparency, but introduces another, more abstract type called phenomenal transparency. He describes this second type of transparency as bearing spatial, not just visual implications. This he explains as a

16

simultaneous perception of various spatial conditions. The distinction between the two types is vision verses perception; the eye versus the mind, or material versus space. This essay is useful for gaining a comprehensive understanding of transparency, and can be used as a basis for designing using transparency.

Rugg, Judith, and Michele Sedgwick, eds. Issues in Curating Contemporary Art and Performance. Bristol, UK.: Intellect Ltd, 2008.

This book contains a compilation of essays from various authorities in the art world on the intricacies of curating contemporary art.

These range from personal recollections to descriptions of various art forms, to commentaries on the curatorial profession in contemporary society. These pieces together paint a picture of the current state of contemporary art from a curatorial standpoint. This collection offers a view into the “other side� of the art exhibition experience, and will be helpful in the design of gallery spaces for digital art, from a technical to theoretical and sociological standpoint.

17

1

PRECEDENT AS Inspiration 1

20

LABAN DANCE CENTre HERZOG AND DE Meuron

1

Louvre Abu dhabi jean nouvel

2

Hotel aire de bardenas Emiliano lopez monica

3

brick weave house jeanne gang

4

reading between the lines gijs van vaerenbergh

5

signal box herzog and de meuronv

6

DEMATERIALIZATION Dematerialization manifests itself in two ways, formal dematerialization and material dematerialization. These effects can be achieved through using such tools as transparency, spatial and formal manipulation, reflection, layering, and material manipulation. The result is an architecture where the building is less rigidly defined and more part of its surroundings.

21

1

PRECEDENT AS research 1

7

SITE NEW MUSEUM | SANAA SANAA’s New Museum sits on an infill site surrounded by midrise historical buildings. The museum does not directly reference the appearance of its surrounding buildings, but rather adopts their blocky forms and the occasional vertical stepping that occurs. Additionally, the edges of the stacked volumes line up with some of the surrounding roof lines.

24

8

TOD’S OMOTESANDO | TOYO ITO Toyo Ito’s store and offices for Tod’s on the famous Omotesando boulevard does not directly relate to its context, but abstractly mimics the iconic zelkova trees that line the street. With this “branch” pattern, the building’s structural concrete facade takes on an open, airy feel and therefore achieves formal dematerialization.

25

9

Theory SERPENTINE PAVILION | TOYO ITO In his Serpentine Pavilion, Toyo Ito demonstrates the material properties, namely strength, of steel by creating the appearance of large masses of thick structure that meet only at their corners. He achieves this by forming a crisscrossing matrix of plate steel members and infilling the resulting gaps with either steel sheets or glazing.

This is an example of formal dematerialization, in that a seemingly thick and heavy structural skin begins to lose mass and becomes filled with openings.

26

10

GLASS PAVILION AT THE TOLEDO MUSEUM OF ART | SANAA SANAA uses curved glass with no visible joints or mullions to create an interior that appears to be comprised of nothing but the skewed reflections of its inhabitants.

This displays a use of technology and architectural detail to achieve dematerialization through materiality.

27

11

PROGRAM NAI SCHATKAMER | OMA In the NAi Schatkamer, OMA creates curved walls out of translucent plastic curtains to divide space while retaining visual connections and allowing for free circulation throughout the exhibit spaces.

28

12

serv

ice

admi

private

nistr

ation

gallerie

s

Public spaces public

NEW MUSEUM | SANAA SANAA’s New Museum consists of stacked volumes which go from public to private as one travels up the building. This programmatic organization is apparent from the street as the transparency of the volumes decreases from bottom to top.

29

13

MATERIALITY SWISS EMBASSY | STEVEN HOLL Steven Holl uses layering and materiality to achieve both formal and material dematerialization. He uses translucent materials such as traditional glass and channel glass to create a double skin with overlapping openings. The openings in the outer layer are immediately visible, but those in the inner layer only become visible with interior illumination.

30

14

KUNTSHAUS BREGENZ | PETER ZUMTHOR In the Kuntshaus Bregenz, Peter Zumthor rescues glass from the confines of the mullion, and transforms a material generally applied as a plane within a framework into a pixellated matrix of overlapping planes.

31

15

historical CONTEXT NOTRE DAME DU HAUT | LE CORBUSIER Le Corbusier’s Notre Dame du Haut at Ronchamp achieves formal dematerialization through the large windows in its thick concrete walls. These openings not only reveal the thickness of the walls, but are cut at an angle so that the cavities are filled with diffused light.

32

16

KUNSTHAUS BREGENZ | PETER ZUMTHOR The translucent rainscreen on the exterior of the museum allows for vague forms of staircases and floor slabs from inside to be seen from the outside, and they become a part of the facade pattern.

33

1

SITE Analysis

1

figure-ground

streets

composite with museums/galleries

LOCATION: St. Joseph at Camp and St. Charles

Warehouse/Arts District

New Orleans, LA SIZE: 43,000 ft²

36

The proposed site, currently a parking lot, is located in the Warehouse/Arts District of New Orleans. It is situated opposite Lee Circle, adjacent to the Hotel Le Cirque. It lies within walking distance of several museums and art galleries, close to the CBD and the French Quarter. The site footprint is 43,000 sf, which is comparable to that of the neigboring Contemporary Arts Center, which is 48,000 sf. It also features direct access from the St. Charles streetcar line and three different RTA bus lines.

37

1

Program

1

PROGRAM ELEMENT

SF NET

ENTRANCE > lobby > information/membership desk

SF TOTAL 2,000

1,900 100

DINING

4,000 Large dining space accessable by the public and museum patrons. Should have access to outdoor space. > dining hall > kitchen

3,000 1,000

GIFT SHOP

600

> store > back of house

400 200

EXHIBITION SPACE > galleries Flexible spaces to accomodate a range of installations, virtual reality pieces, and mixed-media digital art. Outfitted with all necessary hardware and technological infrastructure.

16,000 5 @ 2,000

> software/net art gallery Gallery dedicated to pieces of art that use the computer and/or the Internet as a means of user interface. Contains computers on which these are displayed. > outdoor gallery terraces Outdoor exhibition spaces. Should be at least partially covered.

SCREENING ROOMS

10,000

2,000

2 @ 2,000

4,000

2 @ 350

700

700

Small rooms to continuously show films and other projection-based pieces.

Includes a projection screen and some seating.

THEATERS

10,000

Theaters to be used for special performances or other events. > large theater Seating for 400. Raked seating. > small theater Seating for 200. > backstage/stage storage Access to both theaters

6,000 3,000 1,000

1

LIBRARY

1,500 Featuring books on digital art, as well as copies of films and electronic music. > front desk/office > stacks > reading area

CLASSROOMS

200 1,000 300 2 @ 500

LEARNING LAB

1,000

1,000

500

500

Computer lab for learning digital art production techniques.

CONCERT PLAZA

12,000

Outdoor space to be used for electronic music concerts, outdoor movie screenings, and small festivals.

ADMINISTRATION > reception > offices > conference rooms > lounge

7,800 24 @ 180 2 @ 800

> kitchen

300 4,320 1,600 250 250

> file/hardware storage

1,080

LOADING

1,700 > loading dock > loading storage

500 1,200

TRASH

300

RESTROOMS SERVICE

1

as req’d by code 35% net

Circulation, mechanical/electrical, walls TOTAL SF

300

20,335

20,335 78,435

1900 100

3000

1000

400 200

2000

2000

2000

2000

2000

2000

2000

350 350

9000

4500

1000

concert plaza

400 200

500

learning lab

1000

classrooms

3000

200 1000 300

4320 24x180

300

800 800 250 250 2501080 1080

500

2000

2000

2000

2000

2000

Galleries

administration

library

gift shop

dining

Entrance

Outdoor gallery terraces

concert plaza

500 500

learning lab

1900 100

classrooms

2000

500 500

filtered/controlled

daylight/views 2000

200 1000 300

library

theaters

screening rooms

Outdoor gallery terraces

software/net art gallery

Galleries

gift shop

dining

Entrance

natural light/outdoor 12,000

2000

Free > Constrained space 2000

2000

2000

1000

400 200

350 350

2000

2000

2000

2000

350 350

4500

Occasional access

Secondary Access 2000

9000

theaters

2000

3000

2000

dining

2000

2000

software/net art gallery

2000

2000

Galleries

Outdoor gallery terraces

concert plaza

Entrance

Primary access 1900 100

2000

screening rooms

2000

gift shop

12,000

1900 100

12,000

3000

1000

400 200

9000

4500

theaters

gift shop

dining

concert plaza

screening rooms

Outdoor gallery terraces

software/net art gallery

Galleries

Entrance

500

12,000

dark/artificial light 2000

350 350

9000

1000

200 1000 300

500 500

500

500 1200

24,880

300

24,880

learning lab

service

classrooms

trash

learning lab 500

800 800 250 250 2501080 1080

300

loading

classrooms 500 500

24x180

administration

library

theaters

200 1000 300

300

500 1200

service

1000

4500

theaters

screening rooms

software/net art gallery

Galleries 4500

24,880

trash

2000

300

service

2000

500 1200

loading

2000

800 800 250 250 2501080 1080

administration

concert plaza

learning lab

classrooms

ed/controlled

000

4320 24x180

300

trash

500 500

loading

00 300

Restricted access

ess

300

4320 24x180

800 800 250 250 2501080 1080

300

24,880

service

administration

library

theaters

500 1200

trash

1000

loading

4500

IMAGE CITATIONS 1. http://www.galiciacad.com/fotos/laban_centre_dance.jpg 2. http://i209.photobucket.com/albums/bb120/myriadz/JeanNouvelLouvreMuseumAbiDhabi1.jpg 3. http://www.superfloor.es/img/referencias_hotel_aire_bardenas_navarra_1_grande.jpg 4. http://www.archdaily.com/65627/brick-weave-house-studio-gang-architects/062493_006/ 5. http://static.dezeen.com/uploads/2011/09/dezeen_Reading-between-the-Lines-by-Gijs-Van-Vaerenbergh_02.jpg 6. http://mattsawasaki.files.wordpress.com/2011/02/central-signal-box.jpg 7. http://www.archicentral.com/wp-content/images/sanaa-museum.jpg 8. http://www.architravel.com/files/buldingsImages/bulding92/Tods_Omotesando_Building_Toyo_Ito_main.jpg 9. http://farm1.staticflickr.com/5/10581144_e6d9accf17_o.jpg

10. http://www.eikongraphia.com/wordpress/wp-content/SANAA%20-%20Toledo%20-%20kazzle%20dazzle%20Flickr%202.jpg 11. http://c1038.r38.cf3.rackcdn.com/group5/building42091/media/qlru_jeremy_de_hoop_1317_forscreen_560x374x90.jpg 12. http://ad009cdnb.archdaily.net/wp-content/uploads/2010/07/1280267440-iwan-baan06.jpg 13. http://www.stevenholl.com/media/files/302/2006822SWSS_-0795---W-PROJE.jpg 14. http://www.architravel.com/files/buldingsImages/bulding1068/Kunsthaus_Bregenz_Zumthor_2.jpg 15. http://mattsawasaki.files.wordpress.com/2011/03/ronchamp2.jpg 16. http://24.media.tumblr.com/8g4T6X6MDmlrcc4hNnCH4huxo1_500.jpg

44

1

design

1

1

project description Architecture, digital art, and dematerialization: Historically, architecture has a sign of stability, strength, and power, an ideology reflected in its form and materiality. However, throughout architectural history, an idea imerged that architecture could take on a dematerialized quality, and begin to appear less solid, both conceptually and physically. As architecture is gradually embracing dematerialization, the digital world is becoming an ever more tangible reality. Digital art exemplifies this shift by bringing ephemeral digital technology into the physical realm.

Museum of digital art: site and design: This museum of digital art is located on half of a city block in the warehouse district of New Orleans between St. Charles and Camp Street, adjacent to the streetcar line and several museums and galleries. In response to the site, the form of the building pinches in toward the center in plan and elevation. A cut through the building connects the streetfront to the courtyard in back. The building’s structure and facade are formed of prefabricated concrete strips, which filter light into the space. These strips wrap around the building, creating the building’s form and envelope, and dividing public and less public spaces.

1

1

site strategy

1

52

53

extrude site

pull back from street edge

slice to connect to courtyard

pinch to reduce height

split to break down scale

shift to create hierarchy

1

program strategy

1

public space

circulation through galleries

1

form strategy

1

10’ 90°

creation of ribbons

60

interior walls

floor plates

structural ribbons

61

1

final product

1

long section

64

second floor plan

third floor plan

first floor plan

65

66

67

1