PORTFOLIO 2013 - 2019
MICHELLE BUNCH M.ARCH CANDIDATE | B.S. ARCH 2016 GEORGIA INSTITUTE OF TECHNOLOGY MBUNCH6@GATECH.EDU
THEMES
MATERIAL
TYPOLOGY
URBANISM
REPRESENTATION
PROJECTS GEORGIA TECH, M.ARCH 2018-2020 S-BUILDING THE MASS OF TIMBER WAITING ROOMS WEIGHT + COUNTERWEIGHT
GEORGIA TECH, B.S. ARCH 2012-2016 ON THE EDGE TWISTED VINE CITY CENTER POBLENOU HOUSING ZERO GRAVITY
GRADUATE WORK
GEORGIA INSTITUTE OF TECHNOLOGY 2-YEAR M.ARCH, 2018 - PRESENT
S-BUILDING
BUCKHEAD TRIANGLE ATLANTA, GA AUG - NOV 2019 CRITIC // JOHN PEPONIS COURSE // M.ARCH D+R STUDIO I
Design and Space Syntax: Interaction Paradigms in the Adjustable Home addresses the influence of new technologies on domestic urban life. S-Building originates from a dual examination of choreographic objects and domestic spaces which stage choreographic intent. How can the ordinary elements of the home be reimagined to encourage movement, curiosity, and surprise? S-Building prompts interaction through the changing relationships between rooms and units at three scales: from the person to the furniture piece, from furniture piece to single unit, and from single unit to other units and the street.
expectations
S-BUILDING // FALL 2019
surprises
texture + detail
the operation
An inverted window brings the outside in. One motion creates a virtual space which is everywhere and nowhere at the same time.
Reality meets virtual reality. “A Spoonful of Sugar” (1964)
What’s that noise? A soft whoosh reveals the source: laughter muffled in a fabric room.
An unexpected loss of agency. “A Spoonful of Sugar” (1964)
A convex drapery contains many mysteries. A concave room embraces and connects. A heavy curtain begs to become a cocoon..
Programmed fluidity. Forsythe, “Black Flags” (2014)
The everyday wraps around a dressing-room. From the inside, the nested hideaway sometimes provides a window to a window.
Hidden treasures. “My Favorite Things” (1965)
S-Building is most simply described in two extremes, open and closed. In reality, it transcends these states to include everything in between.
narrative 01
diagram 01
We see the neighbors in moire. When a balcony door is open...
Secrets are hidden from view. When the window-room is open...
Rooms converse without boundary. When the curtain wall is open ...
Is anyone inside?
When the inner room is open ...
S-BUILDING // FALL 2019
narrative 02
diagram 02
We enter onto a balcony and see across.
... the screen is open. Anticipated audience. An American in Paris (1951)
A moving door reveals a window.
... the screen is closed. Occupancy and vacancy. An American in Paris (1951)
A curtain wall creates an enclave.
... the screen is open. Inhabiting layers. “My Favorite Things” (1965)
Secrets are hidden behind the everyday.
... the screen is closed.
Suspense and suspension. Forsythe, “The Fact of Matter” (2018)
FRONTS AND BACKS AND FRONTS S-Building obscures the distinction between front and back. Its sinusoidal shape maximizes frontage towards two prominent skylines: downtown Atlanta to the southwest, and Buckhead to the northeast. Proximity to adjacent towers and potential tower sites means that what a resident can see out is as important as what neighbors can see in.
S-BUILDING // FALL 2019
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3 Bedroom Apartment | Operable Elements in Two States
Three Bedroom Apartment
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10 ft
10 ft
Operable Elements in Two States
Diagram 01 Piece to screen relationship in the morning.
S-BUILDING // FALL 2019
Diagram 02 Piece to screen relationship in the evening.
Circulation Two offset balconies link front and back.
S-BUILDING // FALL 2019
Circulation One primary loop, two possible entry points.
THE MASS OF TIMBER BUILDING THE CARBON-POSITIVE CITY
SOUTH BOSTON BOSTON, MA JAN - APR 2019 CRITIC // SONIT BAFNA COURSE // M.ARCH ADVANCED STUDIO II
The Spring 2019 Portman Prize Studio deploys the carbon-sequestration potential of engineered mass timber in a combination micro-hotel and urban marketplace at the northern fringes of South Boston. I propose a building that behaves as an extension of the street in two ways, resulting in a building with two distinct parts. The urban marketplace on the lower levels acts as a physical extension of the urban realm, while the hotel mimics the pockets of activity that might be found along a streetscape through shared spaces that are carved out on each floor. Materially, I propose a challenge to the role of wood as a provisional, tectonic material by stacking cross-laminated timber (CLT) punch-outs that have been reclaimed from conventional CLT construction waste. This method results in a wood building with a stereotomic quality akin to that of masonry construction.
SECTION D-D
SECTION C-C
SECTION B-B
FOUNDRY ST.
The building’s shared spaces gradually open to views of Downtown Boston as visitors move from South to North.
W. FOURTH STREET (ABOVE)
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FOUNDRY STREET
FOUNDRY ST. LEVEL THE MASS OF TIMBER // SPRING 2019
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1
16 ft
1 | Entry Plaza / Seasonal Vendors 2 | Farmer’s Market Stall, typ.
3 | Vendor Stall, typ. 4 | Backstock + Cold Storage
5 | Mechanical + Electrical 6 | Loading Area
W. FOURTH STREET
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FOUNDRY STREET
W. FOURTH ST. LEVEL THE MASS OF TIMBER // SPRING 2019
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16 ft
1 | Drop-Off + Pick-Up Area 2 | Hotel Check-In
3 | Stair to Urban Marketplace 4 | Cafe
5 | Seating Area 6 | Outdoor Terrace
SECTION A-A A grid of vertically oriented CLT panels regulates rooms and structures shared spaces.
FOUNDRY ST. ELEVATION Fenestration patterns subtly reveal the thickened wall stacks and embedded structure within the building. THE MASS OF TIMBER // SPRING 2019
16 ft
16 ft
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LEVEL 04
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LEVEL 03
1 | Single-Occupancy Room 2 | Double-Occupancy Room
THE MASS OF TIMBER // SPRING 2019
3 | Stair to Level 04 4 | Stair from Level 03
5 | Shared Breakout Areas 6 | Stair Landing Above
THE MODULE In conventional CLT construction, material is purchased by the panel. Modular doors and windows are then removed, and the punchouts become waste material.
THE STACK 2’-0” x 7’-0” partial door panel + center piece from below
3’-0” x 7’-0” door panels, carved as shown
3’-0” x 7’-0” whole door panel
THE ROOM AS WALL Rather than serving as an element that merely partitions space, the wall is re-imagined as a mass that is carved to contain all functions for adjacent rooms within a single wall.
LEVEL 06
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LEVEL 05
1 | Single-Occupancy Room 2 | Stair from Level 04
THE MASS OF TIMBER // SPRING 2019
3 | Stair to Level 06 4 | Rentable Event Space
5 | Storage Wall 6 | Outdoor Balcony
Level 04 breakout space reveals contrast between corridor and shared spaces
A balcony on Level 06 overlooks the event space on Level 05. Skylights visually extend the stacked wall systems.
5-ply CLT floor panel
Glulam beam Glulam joists 3/4� plywood drop ceiling
Expansion joint fill between stacks + ceiling, typ.
Dowels for vertical stability between stacked panels Clip angle to secure stacks to vertical CLT structure
Reclaimed CLT stacks, ply varies between floors
9-ply CLT structural wall
INTERSECTION STUDY A stereotomic appearance is supported by post and beam construction to supplement the loading of horizontally stacked CLT panels. 1 ft THE MASS OF TIMBER // SPRING 2019
WALL SECTION : 1 2 3 4
| | | |
Roofing membrane on rigid insulation Metal parapet cap w/ flashing Roofing membrane on exterior sheathing 1x charred wood tongue and groove siding, depths to match interior CLT stack height 5 | Wood spacers on vapor barrier on exterior sheathing 6 | Stud framing 7 | CLT roofing panels 8 | Glulam beams 9 | Exterior finish panel to match siding 10 | Curtain wall assembly w/ insulated glazing, structural silicone vertical joints 11 | Sill cap to match siding 12 | Stud framing w/ batt or wood fiber insulation 13 | Interior plywood sheathing 14 | 5 ply CLT flooring system
URBAN THRESHOLDS 1 2
Drop off area and outdoor terrace welcome pedestrian traffic along the W. Fourth Street bridge. The outdoor terrace becomes a canopy for a covered plaza and entry along Foundry Street.
WALL SECTION : 15 | Concrete foundation wall for CLT structure, beyond 16 | Concrete slab on grade 17 | Concrete foundation wall 18 | Rigid insulation, drainage mat, and vapor barrier 19 | Sidewalk slab on grade 20 | Foundation drain
The upper levels offer private and semi-private spaces for guests to work or hold events and engage the experience of the material.
The urban marketplace levels provide extended, panoramic views to Downtown Boston that invite and engage the general public, while
WAITING ROOMS
MARIETTA STREET ARTERY AT MEANS STREET ATLANTA, GEORGIA SEPT. - NOV. 2018 CRITIC // BRIAN BELL COURSE // M.ARCH ADVANCED STUDIO I
A train station along Georgia’s proposed Brain Train route connecting universities from Athens, GA to the planned Multimodal Transit Hub in downtown Atlanta. A connection point for the Atlanta Beltline over the condemned Bankhead Avenue Bridge, now infamous as Atlanta’s “bridge to nowhere.” An attempt to realize principles of design starting from a formgenerative statement, as outlined in Valerio Olgiati and Markus Breitschmind’s Non-Referential Architecture [Simonett & Baer, 2018]. What captures our attention while we wait? A mass that expresses gravity, structured by a void that expresses weightlessness.
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BRIDGE LEVEL PLAN 1 2 3 4 5
Ticketing Cafe Waiting Room (below) Platform Public Square
THE MASS + THE VOID 1 The mass as shown above grade (black) and below grade (red). 2 The void as a circulation system of two nested interior (red) and exterior (blue) loops.
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LOCATION PLAN WAITING ROOMS // FALL 2018
The station differentiates itself from overpass conditions along the Marietta Street Artery by connecting directly into the street network from the Bankhead Avenue bridge.
KEY
EXISTING BELTLINE TRAIL
PROPOSED BELTLINE TRAIL EXTENSION
GEORGIA TECH
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KEY 1 2 3 4 5 6 7 8 9
Atlanta Contemporary Arts Center Carriage Works historic office retrofit Grinnell Warehouse North Avenue Research Area substation Carriage Works office area Student housing (under construction) Post Office Flatiron Building Office Building
LOCAL PLAN WAITING ROOMS // FALL 2018
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The station occupies the site in a way that reconnects and activates the Means Street corridor.
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GROUND FLOOR PLAN 1 Pick-up + drop-off area 2 Main entry + ticketing 3 Public square
WAITING ROOMS // FALL 2018
4 Cafe 5 Vertical access to waiting room 6 Reflecting pool
7 Platform entry + turnstiles 8 Platform
INTEGRATED BRIDGE CONNECTION The Bankhead Avenue bridge diffuses foot traffic into the public square as a way of connecting the bridge directly to the site.
Section axonometric cuts through circulation sequence from main entry and ticketing to the waiting room WAITING ROOMS // FALL 2018
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LOWER LEVEL PLAN 1 Access to entry + ticketing (above) 2 Interior ramp down to waiting room 3 Outdoor ramp down to waiting room
4 Transitional room 5 Main waiting room
Ramps and waiting areas on the lower level create smooth transitions and an environment that celebrates a monumental slowness.
WAITING ROOMS // FALL 2018
6 Ramp up to platform 7 Parking
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PASSAGES + THRESHOLD 1 3
Stair between the transition room and the cafe Passage between the transition and waiting rooms
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Curved wall flows from the ramp into the waiting room Ramp leading up to the platform
MATERIAL + DETAIL An acrylic-bottomed pool and ceiling structure provides strength, seamlessness, and transparency.
Thin granite fins introduce a material contradiction with their impression of transparency.
A continuous reveal along the edge of the floor is filled with crushed stone, giving the wall the appearance of plunging into the earth.
WORM’S EYE
This detachment also allows the floor to appear as a floating plate.
BIRD’S EYE
Solid granite benches arrayed in a grid promote wandering and act as rooms within the room
VIEW 2
VIEW 1
WAITING ROOMS // FALL 2018
THE ROOM
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2 PARALLEL EXPERIENCES The transition room acts as a preview of the experience of the main waiting room. The main waiting room, situated beneath the reflecting pool, evokes feelings of weightlessness while you wait.
SECTION A-A Cuts parallel to the path of the ramps provide opportunities to bring in daylight and elongate the experience of slowness.
SECTION B-B Vertical connections at the waiting areas allow quicker access to the cafe and platform WAITING ROOMS // FALL 2018
WEIGHT + COUNTERWEIGHT A NEW NEXUS FOR THE BELTLINE
NORTH AVENUE BRIDGE ATLANTA, GEORGIA AUG. - SEPT. 2018 CRITIC // BRIAN BELL COURSE // M.ARCH ADVANCED STUDIO I
This new nexus for the Beltline at North Avenue interweaves two distinct grounds – the paths that travel along North Avenue up to the Beltline, and the earthwork that encloses the Beltline’s main path. Two similar spaceframe structures carry and accentuate each ground as they form a loop, which is then connected through the surface of the bridge. The lower structure carries the ground from the street upwards and connects back to North Avenue. The upper structure furthers the continuity of the greenery along the Beltline circuit as it connects diagonally across the bridge surface. The suspension cables that link the two structures partitions the bridge to continue to provide space for viewing the skyline of downtown Atlanta while creating a new space for standing and seating on the east side of the bridge.
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SECTION AXON The stair from North Avenue and the Beltline greenery are starting points for two spaceframe structures that work in tandem.
WEAVE The bridge as experienced from the top down, and from the bottom up.
WEIGHT + COUNTERWEIGHT // FALL 2018
CONNECT In addition to connecting two sides of the Beltline, the two structures of the bridge connect to one another with suspension cables.
UNDERGRADUATE WORK
GEORGIA INSTITUTE OF TECHNOLOGY B.S. ARCHITECTURE, 2012 - 2016
ON THE EDGE
THE DORMER & THE DEFINITION OF SPACE
UNDERGROUND ATLANTA PARKING GARAGE ATLANTA, GEORGIA NOV. - DEC. 2013 CRITIC // JENNIFER BONNER COURSE // ARCH 2011
The final project of ARCH 2011 imagines the roof as a way to activate the upper levels of an existing parking garage, which will be renovated to incorporate a roller derby rink, performance areas, and public meeting space. The theoretical position of the studio is to challenge domestic roof types by deploying residential-scale parameters over a larger area. On the Edge challenges the role of the domestic dormer as solely an exterior surface protrusion. Domestic roof types, including gables, hips, and hybrid types, provide a clear distinction between interior and exterior, and dormers are meant to provide additional interior space. Each of these roof types is a combination of singular pitched surfaces, or shed roofs. When these roofs are deconstructed into singular surfaces with dormers, they can be reoriented and combined into an infinitely expandable fabric, so that dormers can protrude outside, inside, and even reach down to form walls and structural elements.
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SCALE ADAPTATION New functions and a new roof language energizes the urban parking garage 7
THE DOMESTIC DORMER: Singular roof base with an exterior protrusion.
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EXTRUSION
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EXTRUSION 7
THE HYBRID DORMER: Variable pitch shed base. Protrusions fold up, down, or both.
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SWEEP
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FOLD
PLAN Balconies protrude to provide viewing platfor
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PROGRAM 1 2 3 4 5 6
Roller derby rink Ticket checkpoint Cafe + concessions Point of sales + prep area Stage Seating area
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Meeting rooms Flex work area Display area Viewing platforms Entry staircase from L6 Existing stairs + elevators
B-B PINCH
SERIAL SECTIONS Roof undulations + dormers characterize diff ON THE EDGE // FALL 2013
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rms
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C-C EXPAND + CONTRACT
ferent spaces
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D-D SPOTLIGHT
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E-E VAULT
WORK Dormers diffuse light around work areas and backlight display walls
VIEWING PLATFORM Directed towards the state capitol and downtown Atlanta
PRYOR ST.
LEVELS 1 - 6 Lower levels maintain their functionality as parking for the upper levels
LONGITUDINAL SECTION (A-A) A fabric of shed roofs has been sculpted to define each of the three programmatic areas. Dormers reach up or fold down into each of these spaces to complement their functions by diffusing light, creating focal points, and directing views to the surrounding cityscape.
ON THE EDGE // FALL 2013
PERFORM Dormers selectively dif areas and highlight per
M ffuse at seating rformance areas
PLAY Interior dormers dramatize roller derby matches and direct light to the rink
LEVEL 6 Roller derby locker rooms lie below the rink on L6
CENTRAL AVE.
PERSPECTIVE Roof undulations dramatize views to the roller derby rink
TWISTED
ANDALUSIA VISITOR’S CENTER
ANDALUSIA FARM MILLEDGEVILLE, GEORGIA OCT. 2014 CRITIC // JULIE ZOOK COURSE // ARCH 3011
Andalusia Farm, the home of author Flannery O’Connor, exudes Southern Romantic charm, but to a visitor who may be unfamiliar with O’Connor’s work, fails to reveal the darker characteristics of her writing. The proposed visitor’s center considers the encounter of volumes along a path in a study of the connection between volume and the perception of a space. Proportionally similar volumes have been combined in an architectural mimicry of the narrative theory diagrams that can be used to analyze and describe O’Connor’s work. A visitor will proceed along a path that at first emphasizes the ordinary and welcoming qualities of the introductions to O’Connor’s short stories. The path slowly and then suddenly reaches a descent, symbolizing O’Connor’s macabre plot twists before reaching a resolution at the edge of the woods. Scholars who visit the center take a different path of ascent from the main level to the library upstairs.
VOLUME & PATH Still images from a stop-motion animation describing the assemblage of volumes along a path. Colored image denotes the moment the twist occurs.
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ENTRY LEVEL 1 2 3 4
Ticket Sales Gift Shop Lobby Auditorium
TWISTED // FALL 2014
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Outdoor Seating + ADA Entry Stair to Library Stair to Exhibit Area Cafe Seating below
ENTRY HALL The Visitor’s Center directs the visitor’s view from the lobby through the woods and back towards the farmhouse.
AREA MAP 1 2 3 4 5 6
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Visitor’s Center (proposed) Main House Pump House Stable Old Pump House Water Tower
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Nail House Small Barn Milk Processing Shed Main Cow Barn Equipment Shed Hill House
Trees
Meadow
Driveway
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KEY Water
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SECTION A-A 1 2 3 4 5
Ticket Sales Gift Shop Lobby Auditorium Ofܪces
TWISTED // FALL 2014
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Conference Room Storage Stair to Lower Level Ofܪce Mezzanine Exhibition Area
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Covered Cafe Area Cafe Prep Area Outdoor Seating Library & Reading Room
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SECTION B-B A Painted drywall ceiling over engineered wood truss B Painted drywall wall ܪnish C 1x6 Southern pine boards over wood frame construction
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D Vertical 1x4 Southern pine screen E Solid pine ܫooring, clear sealed
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ASCENT The library resides in the uppermost level of the center, representative of an ascent to knowledge and insight.
1 ENTRY
TWISTED // FALL 2014
2 COMMON AREA
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DESCENT The rear staircase represents the sudden, dark plot twists that provide the climax to O’Connor’s short stories
2 COMMON AREA
3 TRANSITION
4 DESCENT
VINE CITY CENTER THE COMMON HOUSE STUDIO
VINE CITY AT MLK JR. DRIVE ATLANTA, GA JAN. - APR. 2015 CRITIC // MICHELLE RINEHART COURSE // ARCH 3012
Based on the mission of the Common House project in New Orleans, the Common House Studio aims to revitalize the Vine City neighborhood by providing a teaching kitchen, library, and educational center for the residents of Vine City and the surrounding communities. The Vine City Center project attempts to create an additional street presence along MLK Jr Drive while also providing an inviting facade to the residential block behind the site. Two buildings, one housing the teaching kitchen and restaurant and the other housing the educational programs, draw on the block occupation and the regular rhythm of the single family homes that dot Vine City to provide a shotgun-like arrangement to the spaces within each building. Each space opens to the side of the building it most intends to connect with - either the neighborhood or the street. Each of these spaces are connected by outdoor or indoor lateral circulation that runs parallel to MLK Jr. Drive in a mimicry of the “stoop culture� of New Orleans or Brooklyn. The back of the project opens up to provide upper and lower plazas adjacent to the residences behind the site. This provides additional space for a community garden and other outdoor activities.
JOSEPH E. LOWERY BLVD
MLK JR. DRIVE
KEY Single Family
Multi-Family
01 Separated, similarly sized residential and commercial spaces
Commercial
02 Single family dwellings with open space in between
Blocks Sampled
03 Large footprint building set back from the street
AREA PLAN Samples of block occupancies of a similar size to the site in question inform how larger programs co-exist with the neighborhood rhythm
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GRIFFIN ST.
JAMES P. BRAWLEY DR.
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SITE PLAN 1 2 3 4
Proposed Community Center Vine City Neighborhood Vine City WalMart Historic Church
VINE CITY CENTER // SPRING 2015
5 Green Space 6 Clark Atlanta University Stadium 7 Clark Atlanta Student Housing
FOCUS 01: THE STREET Two masses are set along the street to provide frontage and turn the corner
FOCUS 02: THE CORNER The masses are cut back at each corner to create additional social spaces at the street
FOCUS 03: THE NEIGHBORHOOD The neighborhood side of the lot is completed with two outdoor spaces to create a friendly facade for the neighborhood
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MAIN LEVEL RESTAURANT & KITCHEN
LIBRARY
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Main Seating Area Bar Seating Main Prep Area & Cookline Dry Storage Refrigerated Prep Area Restaurant Loading Dock
VINE CITY CENTER // SPRING 2015
Shelves & Seating Area Conference Room Main Desk & Book Drop (Outside) Staff Office
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Children’s Area Classroom Public Meeting Room Open Classroom Area
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LOWER LEVEL AUDITORIUM & SERVICE 3A 3B 3C 3D
Auditorium Lobby Auditorium Entry Lobby off Griffin St. Mechanical & Electrical
OUTDOOR AREAS 3E 3F 3G
Reception Hall Dumpsters Main Loading Dock
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Upper Plaza Community Garden Beds Lower Plaza
SECTION A-A A long corridor along MLK Drive activates the street inside and out
SECTION B-B Circulation corridors create distinct bands between programs
SECTION C-C Plazas create a friendly and functional facade to face the neighborhood VINE CITY CENTER // SPRING 2015
TRANSITION A choreographed corridor between the restaurant and the educational spaces connects the social scene of the street with the rear plazas
VINE CITY CENTER // SPRING 2015
ACTIVATION The outward-facing lower level reception hall dramatizes the connection between the lower and upper plazas
POBLENOU HOUSING EXTENDED-STAY HOTEL
C / DE PALLARS + C/ D PERE IV BARCELONA, SPAIN OCT. - DEC. 2015 CRITIC // MARK COTTLE COURSE // ARCH 4011
This project from the Barcelona International Studio addresses the problem of the urban corner where Barcelona’s Eixample meets the pre-Eixample order of Carrer de Pere IV. The one hundred unit extended-stay hotel continues and echoes the urban archetypes of Pere IV and Poblenou - the perimeter block building as wall, and the warehouse structure as roof. At the intersection of the two archetypes, a third structure introduces the contained courtyard. The shared space of the central Eixample block courtyard is reinterpreted for the corner lot with a public entry plaza on grade, and controlled access to an open basement level below. In keeping with the three distinct structures, three room types respond to the focus of their respective locations.
PROVENCA DEL POBLE
EL CLOT
SAGRADA FAMILIA
EL PARC I LA LLACUNA DEL POBLENOU
FORT PIENC
LA VILLA OLIMPICA DEL POBLENOU SITE PLAN POBLENOU HOUSING // FALL 2015
The history of the development along C. de Pere IV continues to leave its mark through the order of the Eixample grid
ALS ENOU DIAGONAL MAR
CARRER DE PERE IV The remnants of the historic road to France
EL POBLENOU
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NEIGHBORHOOD BOUNDARY
LOTS INFLUENCED BY C. DE. PERE IV
SITES CONSIDERED
MASSING
ARCHETYPE 01: WALL Extension of the Eixample perimeter block.
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01 Parting wal
02 ARCHETYPE 02: WAREHOUSE Continuation of the warehouse roof. Registers Carrer de Comptal & Pere IV.
02 Carrer de Co
ARCHETYPE 03: COURTYARD A third piece defies the archetype, acting as an open-air object at the intersection
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03 Existing sm POBLENOU HOUSING // FALL 2015
l suggests extension of the perimeter block
1936 The Eixample begins to absorb existing conditions along Pere IV
omptal retains its alignment to Pere IV
1903 Pre-Eixample industrial construction follows the order of Pere IV
okestack occupies an otherwise clean Eixample corner
2015 Negating the corner produces an inviting entry plaza MAP SOURCE: MUHBA, Carta Historica de Barcelona. [www.cartahistorica.muhba.cat]
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Open corner highlights the relationship between the three buildings and existing smokestack
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Below-grade shared space vertically separates public space from private access areas
POBLENOU HOUSING // FALL 2015
CIRCULATION
01 - ENTRY A single point of controlled access from the object building
03 - VERTICAL Facilitates travel between basement and rooms
02 - DESCENT Open circulation connecting the three buildings
04 - HORIZONTAL Three distinct corridor types correspond to each building
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Plaza Lobby Open to cafe below Secure access to building 2
POBLENOU HOUSING // FALL 2015
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Open-air walkway Room type 01 (ref. Fig. x) Room type 02 (ref. Fig. x)
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BASEMENT LEVEL 1 2 3 4 5
Check-in desk & concierge Cafe Lap pool Office Restrooms
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Housekeeping storage Laundry facilities Gym Seating & flex area
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SECTION A-A
SECTION B-B
POBLENOU HOUSING // FALL 2015
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TYPE 02 SPLIT
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TYPE 01 COMPACT
TYPICAL FLOOR Each of the three buildings houses distinct circulation systems and room types. In the wall building, the emphasis is linear. In the warehouse, a split floor plan navigates between an atrium and outdoor space. In the third building, the emphasis is to the sky.
POBLENOU HOUSING // FALL 2015
PRIVATE Sleeping + Living
SERVICE Kitchen + Bathroom CORRIDOR Single-loaded TYPE 01 COMPACT
PRIVATE Sleeping + Living
SERVICE Bathroom + Dressing SOCIAL Kitchen + Dining CORRIDOR Single-loaded Perimeter TYPE 02 SPLIT
PRIVATE Shower + Patio SERVICE Bathroom + Dressing SOCIAL Kitchen + Dining CORRIDOR Open-air patio TYPE 03 LOFT
TYPE 01 COMPACT 18 m2 per unit 56 total
TYPE 02 SPLIT 18 m2 per unit 35 total
TYPE 03 LOFT 18 m2 per unit 5 total
POBLENOU HOUSING // FALL 2015
ZERO GRAVITY
A RESPONSIVE LIGHT INSTRUMENT
KENNEDY SPACE CENTER VISITOR’S CENTER CAPE CANAVERAL, FLORIDA FEB. - APR. 2016 CRITIC // TRISTAN AL-HADDAD COURSE // ARCH 4012 TEAM // MICHELLE BUNCH JIANGPU MENG CAMERON BRADBERRY
Zero Gravity is a product of the Open Skies Studio, a collaboration between Georgia Tech’s Schools of Architecture and Mechanical Engineering to create a responsive architectural element for NASA’s Kennedy Space Center visitors complex. As the first phase of the $1.6 million project, the aim of the studio was to integrate a piezoelectric paver system to a spatial experience that would connect two disparate pieces of the Vapor Trail, the artery for visitor circulation. As the driving force of life on Earth, the sun serves as a timeless symbolic icon and an inspiration for innovative technologies. We proposed an interactive solar promenade composed of two canopies of telescoping tubes that will visually connect the two pieces of the Vapor Trail. The assembly of tubes reinterprets the oculus, and translates sunlight into a caustic ripple effect based on the movement of visitors underneath, emphasizing the connection between ground and sky. The two canopies are constructed of a field of connected tensegrity structures to appear as though they float in zero gravity.
SCHEMATIC UNITS Nine solar angles were chosen to test the field of tubes. For structural integrity, we propose packaging the tubes into 3 icosahedral tensegrity units, with a pair of tubes for each solar angle.
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CIRCULATION The Kennedy Space Center is an open loop between the vistor’s complex and offsite tours
SITE MAP 1 2 3 4 5 6
Information Entrance / Exit Heroes & Legends Rocket Garden Children’s Play Dome Nature + Technology
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7 Destination Mars 8 Journey to Mars 9 Open Canopy Area 10 Space Shop 11 Bus Tour Entry 12 Bus Tour Turnaround + Exit
13 14 15 16 17 18
Administrative Offices Space Shuttle Atlantis Orbit Cafe IMAX Theater Center for Space Education Astronaut Memorial
DENSITY MAPPING Showing the concentration of people per square foot, revealing pinch points and open areas
KEY BUS PATH WALKING PATH
SITE STRATEGY Two parallel solar canopies, extending the existing circulation path and creating a visual connection through the seating area
ZERO GRAVITY // SPRING 2016
D
C
B
A
A
PIEZOELECTRIC TILE Walking over the tile registers movement on the ground and creates a signal.
C
IRREGULAR GRID Tiles and units; concentrates movement in certain areas to pull visitors away from pinch points
B
SIGNAL Communicates movement to the corresponding set of tubes above
D
RIPPLE EFFECT The actuation of one set of tubes starts a ripple effect of actuation across the canopy
SINGLE ACTIVATION Tubes reach towards a single visitor and produce a ripple effect outwards
MULTIPLE ACTIVATIONS When multiple visitors activate the canopy, movement is concentrated in the areas of highest activity ZERO GRAVITY // SPRING 2016
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D
A
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ABOVE COMPONENTS
A
HOUSING TUBE 4” diameter PVC tube lined with reflective film
D
AIRCRAFT CABLE 3/16” thick coated cable, looped at cap and secured with ferrule at each end.
B
TELESCOPING TUBE 3 5/8” diameter PVC tube lined with reflective film
E
OPEN-BODY TURNBUCKLE Located on select cables to bring the unit into tension
C
TENSEGRITY CAP 10 GA steel, welded, 2 caps per tube
F
STABILIZATION RING Acrylic ring with inset ball bearings to facilitate movement
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Prototype installation as independent u
units suspended from structure of School of Architecture porch
C
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D
F