CITY TO SEA by Maya St.Juste

CITY TO SEA

MAYA STJUSTE ARCI 411

ABSTRACT The nature of the built context surrounding Te Papa Carpark & Waiting Park is one that is exclusive and disconnecting. This disconnect is obvious when one listens to the broken rhythmic sounds of people traversing the site as they attempt to orient themselves. This project explores the design possibilities for this connection through active cross-programming and deliberate circulation. The user is invited to engage the site through a proposed intervention of â&#x20AC;&#x2DC;workingâ&#x20AC;&#x2122; art gallery and urban farm. The site is activated by the expression of movement (graded paths), events (cross-programming) and views (orientation). The connection of the people to the land and water is explored as a design as research methodology. The design result guides the rhythm of movement and vision of the user through strategically placed events and activities. The initial analysis of sound, which identified the site problem, also subtly informs the design solution through form and material. The cross-programming of the urban farm and art gallery have proved to be more practicable in activating the site than the analysis of sound alone, although further exploration is required to have a more equitable distribution of activity across the site. MOVEMENT ramps/ paths/ terraces EVENTS/PAUSE cross-programming between art gallery and urban farm VIEWS optimal orientation towards water from main gallery, green houses and vegetated barge.

Isolation The resulting is a hybride of the shortest distance experiement overlaid with the node identification. These shapes form the basis of the three-dimensional experiments. It proved quite useful in the genesis of design.

SITE

SITE Southern Park Areas

Intersection The centre point of each route (as per activity) was connected in an effort to observe what would happen if people moved across th site instead of around it.

Nodes A correlation between the major areas of activity and the materials used was noted. Areas of greatest activity, and thus sound, are distinctly at the points of connection between site and surrounding. This is the first appearance of form.

Materials Circulation Path between Te Papa & Waitangi

Materials used on walkways dictate movement and areas of respite. Each of these creating unique sounds underfoot. These sounds are constantly woven with the sound of the wind across the site.

Circulation Aerial Phototograph

NorthEastern View of Waitangi Park

Waitangi Park is the site of many temporary events and activities. At any given time there is a wide crosssection of people using the park and its surrounds. It is striking the sound of the various activities as they . surfaces that exist. These move of the multitude of rhythmic sounds of movement coupled with the sound of the wind as it moves across the site create the basis of the following explorations.

Data Collection & Analysis

Users rarely traverse the site but instead move around it in a concentric manner. Due partly to its history of roads being converted into walkways and change of use, the circulatory pattern is often dijointed where activities and direction are not clearly defined.

Site

The proposed is an intervention that connects people to the site (land & water) by compiling and analysing data on the ephemeral quality of sound. The proposal should orient the user by creating a space forged from the sounds of the various activities on the site.

Context

The site, which sits adjacent to Te Papa Tongarewa on reclaimed land, was once proposed as an area for a multifamily housing development. It also served as the site of the Michael Fowler Hotel before it was transported accross the street to its current location (QT Museum).

S AX I V

W IS at U er A fro L nt

ACCESS n Waterf ro

IAN PEDESTRt

PROGRAMME

• Main (Temporary) Gallery • Gift Shop & Main Stair • Workshop • Loading/Storage • Bar • Urban Farm/Gallery • Curatorial Office • Offices/Services • Staff Room • Studio (for artist in residence)

Wa ita

CC ES S

ngi

climate

URBAN FARM Makes best use of sunlight and prevailing winds

CONCERNS CONSTRAINTS

GALLERIES Main public destination to draw users through site

To maintain the view from cable street to the waterfront.

SOCIAL LANDSCAPE Areas for seating and hanging out. Possibility for outdoor galleries

Orient the user to optimal vantage point(s) of experiencing the waterfront on site and within the building. Future use or alternative uses of the spaces created. For example, storytelling at the undercroft, musical performance within the frames of the urban farm. Areas of overlap for gallery and urban farm, especially where growing medium potentially interacts with works of art.

WORKSHOP & STUDIO

zoning galleries entry & shop

PUBLIC

• Permanent Gallery

RIA NA

ay/

amenities workshop & admin

PRIVATE

• Small Gallery (2#)

E ST

al B

PRIVATE

• Reception/Lobby

fig# final programme circulation iteration (top right)

pedestrian access & and axes of approach

ien t

IS AX

SCHEDULE OF ACCOMMODATION

PED

AL SU a VITe Pap

The proposed intervention consists of a art gallery which house works (in progress) for aspiring artists working in large scale media. This is offset by the programme of the urban fam landscape which is a nod to the current market use of the site. Users will potentially be able to witness making as well as contribute to a making in their own right. The intervention is guided by Ursprung’s principles of flexible but carefully guided experience through space toward a goal or public good.

• Vegetated Lookout/ Platform

ORIENT FORM [of building & landscape]

social landscape urban farm

pedestrian access & axes of approach

pedestrian access

urban farm & outdoor social spaces

Bridging of public private spaces through thethe volume of the Building- BuildingBridging of public private spaces through volume of the main gallery. Landscape/FarmStepping of groundplane plane & form of urban Landscape/FarmStepping of ground &skeletal skeletal form of urban farm elements.

building footprint programme arrangement

CIRCULATION Users are guided through between) buildings Users are guided through (and (and between) buildings towards the water or virtually with visual By moving forward with towards physically the water physically or connection. virtually with visual connection. By moving forward with the street typology, nostalgia and familiarity VIEWS/SIGHT LINES

gallery programme integration

view Main gallery & studio house the optimal views and points to express Main gallery & studio housefrom the views gently and stepping, connection to the water theoptimal land. Landscape user to the vantage point, oriented them towards each points to guiding expressthe connection to the water from the land.

Landscape gently stepping, guiding the user to the vantage point, oriented them towards each programme and ultimately the water.

ori ontal cirulation ertical circulation

Though the programme choices seem unrelated both gallery and farm are connected by the rainfall in Wellington. Each function has PROGRAMMING an opportunity to feed and influence the other, this includes the

Though the programme choices seem unrelated both gallery and farm are connected by the rainfall in Wellington. Each function has an opportunity to feed and influence the other, this includes the expression of spaces etc.

zoning

gallery + landscape circulation

FORM GEN Since sound is intrinsically linked to the movement of people through and across the space, the circulatory experiments played a large part in the spatial arrangement and form generation of this project. The aim of the form generation experiments was to test a series of ‘gallery loop’ typologies against the site constraints to find a feasible solution in which all of the aforementioned elements are equally expressed. These circulatory diagrams were layered with ‘sections’ from the initial modelling . Panels of this form can be added or subtracted to change the character of the space. For example, some panels will be removed to expose the frame system which will potentially house elements of the urban farm. The creative site survey provides diagrams the show how sound is intertwined across the site but has really only furthered a formal exploration. One that is evident in the cross section and in the plan through the arrangement of satellite buildings/spaces. Potentially there are opportunities to use the density of sound to inform the look and feel of the circulatory paths/spaces.

The sectional diagram is repreated along the path of the program block and morphed until a cohesive form is shown. The resulting is a form which houses the program, maintains views and allows for the orientation of the user accross the site.

Diagram sections were created from the models & layed one behind the other to give profile to the extruded profile. Further refinement of the selected sections was necessary as the resulting forms were incongruous. Two sections were selected to drive the development of the current form.

SCHEDULE OF ACCOMMODATION 1. Reception/Lobby 2. Gallery 3. Gallery 4. Gallery 5. Gift Shop & Maian Stair 6. Workshop 7. Loading/Storage 8. Bar 9. Urban Farm/Market 10. Main Gallery 11. Curatorial Office 12. Office/Services 13. Staff Room 14. Studio

EXISTING PLANS

section A

section B

EXISTING SECTIONS

APPROACH

ENTRY

MOVEMENT

EVENTS|PAUSE

O SEA

VIEW

BAR & FARM

APPROACH

Ephemera PUBLICAuditory INTIMACY reconciling people to the land and sea MAYA ST.JUTSE 300451006

PROJECT NAME

PUBLIC INTIMACY JAN SMITHERAM