Arizona State University | Fall 2021 ADE 521 Advanced Architectural Studio I
ARCHITECTURE OF RENEWAL INSTRUCTOR:
Elizabeth McLean
STUDENT TEAMS:
Nilo Exar | Mia Hammerstrom | Mathew Varghese John | Solana Pearson Sheifali Bansal | Lylaine Flores | Goran Rajesh Ojha Radhika Uday Dhande | Brady Hettinger | Austin Lind | Helen Ross Nicholas Kalas-Hernandez | Clara Riess | Jake Rosenberger Miguel Ceniseros | Niharika Kuruvada | Priyanka Nakkella | Purva Pansuriya
Th e E x pa n s i o n G a m e Focus and Structure Of The Course
This studio focuses on architectural expansions as a ‘game’ with a set of rules that allow improvements and innovation. The goal is to learn from previous buildings through new expansions and programs, giving them a second life with a sustainable and bioclimatic approach. The course has four modules:
1 2 3 4
RESEARCH: Make contextual approaches to the overall topic (history, urbanism, technologies, geometries, materials, programs, author’s biography, etc.). RECONSTRUCTION: Reconstruct all plans and relevant information on the existing building.
EXPANSION: Propose a new expansion or renovation with a new program. IMPROVEMENT: Create architectural improvements to the previous constructions.
Architecture Of Renewal Purpose of Proposed Expansions
This studio moves around the following question: What kind of architecture will be necessary to support higher education in the 21st century? When studying a group of unique academic buildings on selected college campuses across the eastern United States, we review the various constraints that were faced during the surge of construction in the post-WWII era to support rapid increase in academic enrollment and space. The goal is to propose expansions, modifications, and new educational and public architecture to philosophically and physically reinvent highereducation to support the 21st century learning landscape.
Case Studies Buildings of Focus for the Course
Ferry House Cooperative Dormitory | Vassar College ARCHITECT: Marcel Breuer YEAR BUILT: 1951 LOCATION: Poughkeepsie, New York STUDENT TEAM: Exar, Hammerstrom, John, Pearson
Burlington Nuclear Laboratories | North Carolina State University ARCHITECT: G. Milton Small, Jr. YEAR BUILT: 1953 LOCATION: Raleigh, North Carolina STUDENT TEAM: Bansal, Flores, Ojha
Boiler Plant | Illinois Institute Of Technology ARCHITECT: Mies Van der Rohe YEAR BUILT: 1950 LOCATION: Chicago, Illinois STUDENT TEAM: Dhande, Hettinger, Lind, Ross
Meredith Hall | Drake University ARCHITECT: Mies Van der Rohe YEAR BUILT: 1965 LOCATION: Des Moines, Iowa STUDENT TEAM: Kalas-Hernandez, Riess, Rosenberger
Art Gallery | Yale University ARCHITECT: Louis Kahn YEAR BUILT: 1953 LOCATION: New Haven, Connecticut STUDENT TEAM: Ceniseros, Kuruvada, Nakkella, Pansuriya
04
Yale University- The Art Gallery
05
63
Ya l e U n i v e r s i t y
Narrative- T h e
Art Gallery
Khan | 1963 | New Haven
Yale University Art Gallery is the oldest university art museum in the Western Hemisphere, it houses a major encyclopedic collection of art in several interconnected buildings on the campus of Yale University in New Haven. The new gallery was designed by Louis Kahn, built in 1953. The building initially included open spaces for the exhibition of art and studio spaces for art and architecture students. Most of the spaces are exhibition spaces with a constantly changing connectivity pattern making us remain highly attentive to the exhibits and the circulation and this could result in museum fatigue. Our proposed expansion is an attempt to break this pattern. The main objective is to design an interactive environment for people’s wellbeing, so that it can help reduce the visual overstimulation and to ensure people experience as little fatigue as possible. In our design, effective steps to address this problem were taken, these include keeping to a designated path, taking breaks and mentally exiting the museum before they become too exhausted while physically still being inside the gallery.
06
5th Year, Masters of Architecture Two Year Program Physical Model, Video Presentation
N i h a r i k a Ku r u va da 5th Year, Masters of Architecture Two Year Program Presentations, Narrative, and Conceptualization
Priyanka Nakkella
3d Model & Renders
P u r v a Pa n s u r i y a 5th Year, Masters of Architecture Two Year Program Research & Line Drawings
07
yale Art Gallery
5th Year, Masters of Architecture Two Year Program
The Students-
Miguel Ceniseros
B u i l d i n g Lo g i c s
3
Active and Passive Space Architectural Differences Movement
Active and Passive Spaces
The most active space in the building is concentrated on the center throughout this building and the old Yale art gallery building with movable walls which alter the connectivity pattern
08
Khan | 1963 | New Haven Architectural Differences
There is a vast difference among the three buildings from the outside, but it might be a little harder to tell where each building meets the next in the interior as they follow a monotonous gallery look.
Movement Public Vs Service
The new gallery has two very linear footprints on the opposite faces of the building’s plan; public and private(service). The main stairway for public is in the center of the public footprint of the New gallery.
09
Pre-Existing Structure In these existing plans, we can clearly notice that most of the areas are exhibition spaces and how they do not have any kind of relaxing area. We want to propose a space for relaxing your visual senses or just a space to take in a deep breath and go to the next segment. Second Floor
Third Floor Longitudinal Section
1”= 80’
Fourth Floor
1”= 80’
1:32
12
10
New Gallery
1”= 80’
Khan | 1963 | New Haven
Site Plan
1:158
North 1”= 80’
East 1”= 80’
11
Old Gallery
Street Hall
Proposed Floor Plans
Site Plan
1:80
12
Khan | 1963 | New Haven
The parts shaded in blue are the proposed expansion. Here we are breaking the continuous open floor plan of the exhibition spaces and providing calm spaces. This is followed in the second, third and fourth plans. The second and third floors, now have exposed facade on the southwest side, for more natural light to get in. It is tucked by aluminum louvers which are at an angle, so that the direct sun light can reflect off them and get into the building. For the fourth floor, we have designed a circular skylight, following the shapes used by Louis Kahn, for natural light and a seamless look which can be very therapeutic for people suffering from fatigue. The trail of our proposed designated path, which follows around the existing building like a parasite attached to a structure can be seen in the proposed site plan. This whole trail is meant to be an interactive design which stimulates your other senses to create a balance.
4th Floor
3rd Floor
2nd Floor
13
1:158
1:158
1:158
63
Th e A r t G a l l e r y
14
15
Th e A d d i t i o n s V i e w s
Classroom view on North East
West Corner View
16
Khan | 1963 | New Haven
North West view
North Corner View
East Side View
South West View
17
18
Wall Detail -Interactive Roof Garden
Th e Wa l l D e t a i l Khan | 1963 | New Haven
The wall sections shows the roof garden area which stimulates the smell. This area is cut into the existing building on the southwest side for more natural light to get into the building as from the mapping we know that the new gallery building blocks most of its natural light with a brick wall on the main facade. With this renovation we allow diffused natural light to go in making the space look more open and more calming for the visitors.
19
Collage Ya l e A r t G a l l e r y
Framework For Design Excellence
1 2
The framework for Design Excellence can be expressed as a set of questions to ask one’s self throughout the design process
Design For Integration
What’s the big idea behind this project? What is its purpose? How do its separate pieces fit together into a coherent whole?
Design For Equitable Community
Who gets to use this building and how does it benefit its users and the community? How has the community been engaged to shape the design? Who is invited in, who is excluded? How does its location and design promote equitable access to its benefits, strengthen its community, and reinforce means of transportation that support health and reduce emissions?
3 4 5 6 7 8 9 10
Design For Ecosystems
How does this project benefit the earth? How does it impact the living systems around it?
Design For Water
How does this project work with and delight in water, and how does it use water wisely?
Design For Economy
How do you provide abundance with an economy of means?
Design For Energy
How does the design work with, rather than fight, local climate to provide a comfortable place for people with the least energy use and carbon emissions?
Design For Well-Being
How does the design promote the health of those who spend time in it?
Design For Resources
Why did you select the materials you did? Where do they come from, what’s their impact (including the pollution and carbon impact of their manufacture), and where will they go after the building is gone?
Design For Change
Why did you select the materials you did? Where do they come from, what’s their impact (including the pollution and carbon impact of their manufacture), and where will they go after the building is gone?
Design For Discovery
How does your design allow the building to learn from its users, and allow its users to learn from the building? What lessons have you learned from the project? Where have you failed, fallen short? What will you carry forward?
Acknowledgements We would like to thank each of the following professionals for volunteering their time and energy for our reviews throughout the duration of the semester:
Robert Cannavino, RA Johanna Collins, RA Kyle Fiano Mikayla Krager, Associate AIA Andrew Marriott, AIA, NCARB Carrie Perrone, AIA, LEED AP Eduardo Robles Whitney Warman, AIA, NCARB We appreciate the many suggestions that were made and realize that you have each contributed to our final designs in one way or another. We would also like to thank the staff at The Design School, including the employees running the design labs, printing services, cafe, cleaning protocols, and the library, for bearing with us and assisting us throughout this semester. Finally, we would like to thank our professor, Elizabeth McLean, for providing countless desk crits, professionals within the community for reviews, an organized framework for the course that kept us all on track, and being there to assist us in the day-to-day operations of the studio.
- Fall 2021 ADE 521 Classmates
Arizona State University | Fall 2021 ADE 521 Advanced Architectural Studio I