undergraduate thesis documentation
nicholas coates
N I C H O L A S C O AT E S U N D E R G R A D U AT E T H E S I S BACHELOR OF ARCHITECTURE | 2015 V I R G I N I A P O LY T E C H N I C I N S T I T U T E + S TAT E U N I V E R S I T Y ADVISOR | AKI ISHIDA
A S T U D Y O F PAT H
A special thank you to my parents, colleagues, and professors for your continuous support, even through the many terrible jokes.
PA RT I
ABSTRACT
How can the path be the architecture, not simply points A and B? How can architecture be a journey, a place to lose track of time? How can this journey pull apart our surroundings, carefully reconstructing these fragments as we move through spaces? This thesis is a study of path. The path creates the framework for what we see, experience, and uncover. The site, a cluster of islands in the James River, allows the sequence of arrival to be thoughtfully constructed. Tr a v e l i n g f r o m d o w n t o w n Ly n c h b u r g , a b o x c a r f r a m e s scenes before the visitor, with speed quickly revealing and concealing the woods, river, and pieces of the architectural intervention. An artist residency is spread amongst the site, with the path being the thread tying together these elements. Upon arrival, the site greets as a creative oasis, a place to explore. The result is an architectural proposition itself slowly, one that uses curiosity as movement to discover architecture.
that reveals a driver for
PA RT I I
SITE RESEARCH
MAPPING FORCES
To u n d e r s t a n d t h e s i t e , a m a p w a s c r e a t e d t o s t u d y its physical conditions as well as its history through both photographs and writing. The idea is that the site research is able to be viewed alongside the thesis proposal, allowing a simultaneous read of the two. On the subsequent pages, the map is shown in its original order, a navigation through history and the present. A key below each image marks the location on the map located on page twenty-one.
T
R
E
A
S
U
R
E
IS
.
D A N IE LS IS .
YMCA ISLAND - 1914
B
1
Tr e a s u r e I s l a n d a n d D a n i e l s I s l a n d f o r m t h e s i t e f o r t h e a r t i s t r e s i d e n c y. T h e islands are surrounded immediately by the James River, with Lynchburg and t h e r u r a l V i r g i n i a c o u n t r y s i d e f l a n k i n g t h e p e r i p h e r y. Tr e a s u r e I s l a n d h a s been home to several occupations, most notably by YMCA.
D O W N T O W N LY N C H B U R G - 1 9 6 5
B
3
Lynchburg was named after John Lynch, who, in 1757, at the age of 17, started a ferry service at a ford to cross the James River. This easy method of transportation routed traffic through Lynchburg, allowing it to become the new center of commerce for tobacco trading, followed by iron and steel in the 19th century.H
YMCA ISLAND - 1940S
B
1
A seemingly endless horizon forms the basis for the islands, with a continuo u s f l o w i n g b o d y s h a p i n g t h e p h y s i c a l g e o g r a p h y. To t h e n o r t h , g e n t l e r o l l ing hills lead off into the distance, while the south is surrounded by steep bluffs.
1752
“Jack’s Island” was bequeathed to Christopher Lynch, son of the founder of Lynchburg.
1876
Artist / religious commune of nearly 500 Ukiah Kandler after returning from Milan Leonardo da Vinci. The commune, named meant to spread the word of the end of t
1912
YMCA Island is established serving as a model across the entire U.S. Occupation lasted until 1931.
1930S
1931 1963
established by studying the work of the Leonardos, was he world
Former Orange Railway bridge is disassembled, with concrete piers remaining and excess steel stored (later used for new vehicular bridge) Island occupation by various parties
1963
Purchase of Island. Serv Church and Liberty Univ
Y M C A I s l a n d b y J e r r y F a l l w e l l , r e n a m e d Tr e a s u r e ed as a retreat site for Thomas Road Baptist later athletic programs and student housing for ersity.
1985
Hurricane Juan coupled with an excess of rain caused island to be entirely flooded, with access points washed away by the water. The majority of buildings not ruined by the flood were torched by vandals in 1988.
2015
Vacant islands awaiting new life
MAP LEGEND
overview
context
T h h c
h a a u
e site, a clustering of islands within the James River, s a rich and vibrant history. Over time, many forces ve shaped not only the physical conditions, but the tlural context as well.
Tr e a s u r e I s l a n d , D a n i e l s I s l a n d City of Lynchburg, VA, Amherst Co. Lat: 37.433116, Lon: -79.147063
existing
1 2 3 4 5 6 7 8 9 1 1 1
Tr e a s u r e I s l a n d Daniels Island To D o w n t o w n James River Riverside Park Residential Industrial Former Orange Railroad Scott’s Mill Dam 0 Tr e a s u r e I s l a n d R d . 1 River Rd. 2 Blackwater Creek
proposed
P P P P P P P
1 2 3 4 5 6 7
Exhibition Dining Studios Library Water Room Residential Administration
6
8
P7 1
10 4 P6
5
P5 P3
P4 P1
P2
11 8 2
6
8
9
12 3
O R A N G E R A I L R O A D - E A R LY 1 9 0 0 S
B
| 2003
B
8
The Orange Railroad connected to northern Virginia through Daniels Island. The bridge was deconstructed in the 1930s, with the concrete piers remaining since. Primary entry to the island reconstructs this line via rail, with the exhibition space nestling amongst the dramatic monoliths.
TREASURE ISLAND RD. - 1977
C
| 2014
10
Steel from the Orange Railroad bridge was used to create vehicular access t o Tr e a s u r e I s l a n d . T h e b r i d g e s p a n n e d t h e J a m e s a n d w o u n d i t s w a y t h r o u g h the bluff, connecting to the city at Riverside Park. Remnants of the road still exist on both the mainland and the island, creating opportunities to recreate this path, albeit more intimately at the human scale.
Y M C A P L AY G R O U N D - 1 9 3 1
B
| 1923
B
1
YMCA used the island as a model for the rest of the nation. The planar quality allowed sports facilities to be dispersed throughout, with the magnificent James River never more than a few steps away. YMCA occupation lasted until 1931, when the camp closed. The buildings and infrastructure remained, lasting through several subsequent occupations.
L I B E R T Y U N I V E R S I T Y O C C U PAT I O N - 1 9 8 0 S
D
| 2012
G
1
I n 1 9 6 4 , J e r r y F a l l w e l l o p e n e d Tr e a s u r e I s l a n d , a y o u t h c a m p a n d r e c r e a t i o n facility for Thomas Road Baptist Church. “In its heyday, the island ran two day camps and a residential camp all at the same time, serving more than 2 , 0 0 0 c h i l d re n i n a s i n g l e s u m m e r.� I n t h e 1 9 7 0 s , t h e u s e t ra n s i t i o n e d i n to housing for students at Lynchburg Baptist College (now Liberty University) as well as practice facilities for the football program. In 1985, a flood destroyed all access to the island, with all but a few buildings torched by vandals in 1988.
S I T E I S O L AT I O N - 2 0 1 4
Without the bridge, the filled with site, leaving bluffs on one side of th is isolated in a positive is a place to escape.
10
island has remained vacant since 19 traces of the once bustling island. e James and residential land on the way. It remains in close proximity to
8 5 . Tr e e s h a v e With the large other, the site downtown, yet
A TIME CAPSULE - 2010
F
| 2012
G
1
Due to record rainfall and the remnants of Hurricane Juan, the flood swept through without any notice. Cars and old football equipment fill the land. The site now exists as a time capsule of the past, a place for a new future.
BIBLIOGRAPHY
Derived From: Lynchburg and Vicinity,1864. Congress, Geography and Map Division. Virginia, Map Collection. The Virginia Society. 2015.
A
Cover Map Library of Library of Historical
B
Te a g u e , K i p p . R e t r o w e b V i s u a l H i s t o r y o f Ly n c h b u r g , Virginia. Miller/Webb Photograph Collection. Flickr. 2015.
C
Bible, Mitzi. Liberty removes old bridge from river n e a r Tr e a s u r e I s l a n d . L i b e r t y U n i v e r s i t y N e w s S e r v i c e . 25 Sep. 2012.
D
D u n n , D o n n a . A Tr e a s u r e L o s t . Ly n c h b u r g L i v i n g . 2009.
E
Edison, Thomas. Opening of YMCA Playground. The Edison Kinetogram, Vol. 7. 1912.
F
B a r r y, L i z . Tw e n t y - f i v e y e a r s l a t e r : b a c k o n t h e s c e n e a t Tr e a s u r e I s l a n d . T h e N e w s & A d v a n c e . 2 6 N o v. 2013.
G
7 6 G e m i n i . Tr e a s u r e I s l a n d 2 0 1 2 . F l i c k r. 2 0 1 5 .
H
Lynchburg’s History. Lynchburg Historical Foundation. 2015.
PA RT I I I
P R O J E C T D O C U M E N TAT I O N
CONTENTS
The thesis study is presented through two intersecting journeys, connecting the 8 programmatic areas of the project. A diagram of the trip will be presented, followed by a narrative, images from the in-between, and finally, the programmatic area itself. Each area of the project will be take a deeper look into the early thesis studies, the mechanisms used to delve into the idea before the project commenced. journey a | b
3 3
4
4
5
1 2
2
1 2 3 4 5
Downtown Exhibition Residence A Studios Library
1 2 3 4
Water Room Dining Center Residence B Administration
1
“It’s good to have an end to journey toward; but it’s t h e j o u r n e y t h a t m a t te r s i n t h e e n d .” -Ernest Hemingway
AN ARTIST RESIDENCY
Open to individuals from around the world, the residency has the capacity to house 19 artists, including both short and long-term stays. The aim is to provide a working environment that is stimulating and refreshing, leading to work that is rich not only in its outcome, but also in the processes and methods of formation due to the physical environment of the islands.
exhibition
downtown
10:08
A gentle breeze touches my cheek. The sweet harshness of a horn is filling my ears. Light is making its way around the bend, leading off into unknown. I am off on a new journey; a place so close yet so far removed. 10:15
The train departs. Images of the river start forming a moving picture. Faster and faster. Faster and faster. I sit perpendicular to the movement with a frame perfectly capturing my surroundings. I pass under the highway bridge. Moments before I was making my way across, uncertain about what was to come. I pass a large industrial park. The smell of coal and machinery engulf my nostrils. Finally, a clearing. Before I can make sense of it, the image is replaced by the soft light finding cracks in a lush sea of leaves. Rows and rows of trees are before me, arriving and departing like a myriad of stalks in a field. 10:24
I have crossed the water and am now on new territory. The ritualistic manner in which I arrived has filled every par t of me with anticipation. The trees star t giving way, light penetrating deeper and deeper into the boxcar. 10:28
A translucent wall stands between me and the wilderness. Shadows are dancing with the most graceful of moves. I am confronted by a long corridor, a space flooded by light. Perfectly cut apertures show the flow of the river below, telling me I have reached the extends of the island. I make my way down steps. A new world is before me, allowing me see the image I constructed in my head in a new way.
arriving on island
rapid succession of views from boxcar
entry space
EXHIBITION
An area to explore the work in a different context, one that communicates a vision for all to see. correlated studies | repetitious frame thread
EXHIBITION
overview
The exhibition space is the point of arrival for visitors to the islands as well as a lasting showcase of the phenomenal work produced on site.
contents
1 exhibition space 2 entry by train via former Orange Railroad 3 paths to studios
description
An artist’s work, similar to that of an architect, lives on well beyond its initial formation. The exhibition space is one that is flexible enough to facilitate many types of media without losing any of its richness. A wood framing system was designed and repeated along the line of the existing railway, with the enclosed space set within this frame. This allows for not only a free plan to accommodate exhibitions, but also the stage for shadows to dance across the translucent glazed facade. Tw o e x i s t i n g p i e r s f r o m t h e r a i l r o a d b r i d g e p e n e t r a t e t h e space, offering relief from the line. These two portals, as well as key breaks in the translucency of the facade, allow the visitor to obtain fragments of their surroundings, before gathering the full picture when they travel to the last gallery space.
3
1
2
10
1
1 2 3 4 5 6 7 8 9 10 11
entry by train art + supply li mechanical restroom offices gallery a river overlook gallery b exterior galler riverside path river overlook
2
ft (to/from studios)
a y below b / emergency egress
3
4
4
5
6
11
7
8
9
exhibition | 49
repetitious frame marks movement throughout space
aperture to allow visitor see river + path below
exhibition | 51
roof assembly: standing seam roof 1/2” osb 2x tapered beams rigid insulation 1/2” interior plywood finish clerestory transparent glazing gallery translucent glazing floor assembly: 1/2” tongue and groove flooring 1/2”osb 2x6 floor joists rigid insulation 1/2” osb waterproofing membrane 1/2” exterior plywood finish
1/2:1 mockup of assembly
exhibition | 53
encasing the existing pier in a new layer of concrete allows for the creation of a space within this monumental feature
exhibition | 55
Tw o f o r m s o f m o v e m e n t a r e p r e s e n t i n a d d i t i o n t o f o o t t r a v e l . A b o x c a r takes visitors, artists, supplies, and artwork to the islands from downtown. An interior lined with wood foreshadows of what is to come while the train r e m i n i s c e s t o t h e p a s t . To c o n n e c t t h e e x h i b i t i o n s p a c e t o t h e s t u d i o s , a s well as the studios themselves, a barge moves along two steel tracks and is powered by the river flow.
exhibition | 57
shadows on the glazing during the day
lighting at night
exhibition | 59
The exhibition space stemmed from a study of a frame and thinking about a volume or volumes set within. The key was to create a system that could be broken at positions to capitalize on key moments while maintaining enough regularity to not distract from any artwork on display. The frame allowed the study of path to be explored through taking a deeper look at how to create variety within a singular line as well as how to build upon a series of sequential events, leading to a final revealing moment.
exhibition | 61
FRAME STUDY
A grid of holes drilled into a wooden base permits a series of frames to move, creating differing combinations of linear progression. The study was an attempt to both understand the intrigue from r e p e t i t i o u s f r a m e s , l i k e t h e To r i i p a t h i n Ky o t o , Japan, as well as to understand how to vary the frames to guide movement.
exhibition | 63
THREAD STUDIES
A single line woven through a planar element, a sheet of paper, was the basis of the thread study. Many of the thread paths were derived by creating a singular pattern on one side and allowing for an unknown result on the other. As a result, the study looks into how a journey can have multiple reads, multiple experiences, depending on the direction of travel or how a corner is turned.
exhibition | 65
exhibition | 67
exhibition | 69
process sketches
exhibition | 71
residence a
exhibition
10:45
I make my way down the riverside path. Water stands before me, an expansive sea leading to the countryside beyond. The path slowly turns. A building enters my view. The verticality of the structure impressively marks the corner of the next island. The building dissolves into a sea of planes, slicing my view into millions of fragments. 10:52
As the path straightens, a monumental cantilever proudly confronts me. Its base anchors into the hillside with the opposite end gesturing to my right. I turn my head. I see another concrete structure, receiving this projection, forming an instantaneous connection between the river banks. I walk under the cantilever. The bright light from the sun has been replaced by the strongest of shadows. Water clanks before me, breaking up the underside of this space. I take a step. My firm footing has been replaced by the softness of wood, the slight movement of water. I make my way on the moving platform across the narrow river inlet. The flow of the river softly hits the barge, guiding my eye to the right. I reconnect the pieces of my journey as I see the exhibition space projecting itself out onto the water. 11:08
I make a sharp turn. What was once an endless perspective is now shorter and less clear. I make my way to my house. Endless rows of parallel paths flank either side of me, giving me the opportunity to say hello to other artists. I snake through the entry into my residence. I crash into the bed, staring at the river beyond.
repeating paths through the forest
RESIDENCE A
A 4-6 week private escape, connecting the artist with the river and surrounding landscape. correlated studies | soft concrete yakisugi
RESIDENCE A
overview
This residence is a mirco-housing unit for the short-term stay of an artist. The focus was to tightly package the essentials for living while allowing the connection to the surrounding landscape to be brought to the forefront.
contents
1 residence + outdoor space 2 path to main island road
description
Off of the main island road, a series of repeated paths lead to the fifteen short-term residences. An open frame, with filtered views to the interior space, greets the user as he or she approaches. The thinness of the frame stands in contrast to the heavy concrete slab that forms the base of the residence. The exterior, clad with charred wood, adds a new aroma to the forest, with natural tones of unfinished wood wrapping the interior. The entry sequence is elongated, especially when considering the size of the residence. The occupant steps off of the ground up on to the slab, making an immediate right while continuing to move vertically. A left is made with a small opening giving the user a glance out to the surroundings before continuing on to the conditioned space. The residence is perched above the landscape with its end thrusting itself out over the river, creating a visual connection between the line of entry and the mainland beyond.
1
2
The residence draws the occupant in through its open, yet layered entry. This entry glows at night, sending its light through the forest, amplifying its presence.
plan / section
residence a | 81
interior of bedroom
projection of the residence over the river
residence a | 83
ext
ext
5
4
3
1 2
detail plan of corner
screen
1” yakisugi facade 1” steel angle to form corner 6” steel angle system (see detail on page 212) 1/2” plywood finish
1 2 3 4 5
residence a | 85
2
1
3 7
4 5 6
8
int
ext
ext
ext
11 12
int
ext
13
9
10
wall / roof, e/w facade standing seam roof waterproofing membrane 3/4” osb rigid insulation 2x8 structural member 1/2” plywood interior finish
1 2 3 4 5 6
wall / roof, n/s facade 6” steel angle screen system (see detail on page 212)
7 8
floor / roof, e/w facade
6” concrete slab with radiant heating elements 1” yakisugi facade rigid insulation 2x6 stud wall 1/2” plywood interior finish
9
1 1 1 1
0 1 2 3
residence a | 87
mold for concrete slab | a study of sequencing
unified slab to meet the ground in a more consistent manner
residence a | 89
celebrating rainwater
prints to study water catchment
residence a | 91
M AT E R I A L S T U D I E S
Ya k i s u g i i s a t r a d i t i o n a l J a p a n e s e w o o d c h a r r i n g technique. Burning the outermost layer of the wood not only gives it a rich black finish, but also naturally protects the wood from insects, rot, and fire. Through casting concrete into a linen mold, soft concrete was formed. The texture and undulations from the fabric visually soften the hard material, allowing light and shadows to do incredible things.
residence a | 93
lightly charred, revealing grain beneath
light is captured by the texture creating depth within a planar surface
residence a | 95
W AT E R R O O M
A place to fully engage with water: its qualities, atmospheres, and moods. correlated studies | mountain stream tidal change geyser
W AT E R R O O M
overview
Situated on a small connector island to the two main areas of the site, the water room is a place of retreat from the day-to-day work on the island.
contents
1 2 3 4 5
description
pool a pool b entry via bridge bypass path beach linking to Daniels Island
The water room seeks to provide an area to physically connect with an element that is present in every area of the site. Off of the main island road, the visitor travels through a concrete frame marking the threshold of the river. A bridge that buoyantly sits atop the water leads to the pools. The pools are nestled amongst the water’s edge, using the river but containing its flow. The space winds the visitor below the earth with powerful light wells marking the journey along the way. Digging parts of the water room into the earth allows the excess soil to be used to build up the low-lying area that connects to Daniels Island. Elevating this area above the water’s edge serves two functions. First, it provides a beach area to have easy access to the river. Additionally, it physically connects the two islands, providing a secondary and non-mechanical means of travel between all areas of the site.
3
1 2 4
5
4
7 6
1
2 8
3 5
entry from bridge light wells pool a earth pool water catchment pool b to beach bypass path James River
1 2 3 4 5 6 7 8 9
water room | 101
pool a
pool b
water room | 103
water room | 105
E X E R C I S E 0 1 | M O U N TA I N S T R E A M
Three water exercises were the first attempts to study the ideas of path against architectural spaces. The first is a space that uses a mountain stream and hillside to contemplate the flow of a person against the flow of water. The visitor starts in a wooded area at the top of the hill before making his or her way through the two buildings to finally see the water reconnect with the flowing river below.
water room | 107
A
B
The stre hum the
user doesn’t simply follow the stream to the river. The am is a constant following the topography whereas the an path is elongated, giving time to connect the pieces of journey.
A
B0
B1
water room | 111
EXERCISE 02 | TIDAL CHANGE
What if the to change, change? Th invites the fluctuating
constant from the first exercise started unveiling architecture through this e second exercise is a building that water in, flooding and filling pools, daily with water.
water room | 113
D E T. 0 1 entry door that is buoyant to fluctuate and seal off space in flood
D E T. 0 2
door to automatically close when water reaches desired level
D E T. 0 3
detail at water edge
To s t u d y t h e s p a c e s , a m o d e l w a s c o n s t r u c t e d t o b e p h y s i c a l l y filled with water, showing how rooms are revealed and concealed in the process.
water room | 117
EXERCISE 03 | GEYSER
The third exercise was an attempt to contain an element that didn’t want to be contained, to let water push back and give resistance. Similar to a path that overly defines a user’s movement, the study sought to find that upper limit. The geyser container is placed around the natural wonder, disconnecting the water at eruption from the water falling back to the earth. A new plane is constructed to protect the user beneath the mist and to allow for the water to map it’s path on this surface.
water room | 119
water room | 121
water room
dining
7:32
I have spent the last four days tirelessly obsessing over my work. An island oasis surrounds me, yet its as if I have been purposely neglecting it. To d a y, I a m t a k i n g t h e l o n g w a y t o b r e a k f a s t . A l o n g corridor is before me. Strong bursts of sunlight are illuminating the path midway, with water flowing to either side. I continue to move, slowly taking in my surroundings. The light is getting closer and closer. I reach to my right, my hand studying the texture of the concrete. My mind reminisces to the days when I used to do woodworking, continuously running my fingers over the boards until they were perfectly smooth. The space lets me dream, allowing me to enter into a new world each and every time I visit. 7:58
I turn the corner. Rippling water reflects the soft clouds in the sky. Water leads my eye to a corn stalk. I hear rustling as I continue to take in my surroundings. I move down the path, encountering a set of steps. I glance at them and let my eye wander. The path leads into the field, with an immense clustering of crops traversing their way off into distance. I turn my attention back to the path. I continue to move toward my destination, a building that delicately hovers above the fields. 8:16
I walk below the dining center dipping my fingers into a pool of water. Stillness. I hear my name being called. I travel to the voice, navigating my way into the volume above. A spoon touches my lips, sticking ever so slightly. The sweetness of the honey is contrasted by the ever so slight butteriness on my biscuit. I look out before me. The endless field of crops leads off as far as I can see, traversing the extent of the island. The linearity of the paths marks the fields with a regularity that is reinforced by the crops themselves.
entering into the water room
riverside path
reflection of context
DINING FACILITY
Connecting humans back to the growing process using resources available on the islands. correlated studies | water trough
DINING FACILITY
overview
Harnessi amounts provides facet of
contents
1 2 3 4
description
ng water from the river and utilizing the vast of land available on the site, the dining facility the space needed to bond over a truly magical life, food.
dining + food preparation entry by train via former Orange Railroad crop field path to exhibition + studios
While the artists spend their days away from the facility and receive bagged lunches, breakfast and dinner are two moments that bring the artists together. While in the dining room, occupants gaze over the linearity of the crops and water channels below, providing not only a visually impacting scene, but also a subtle reminder of the source of the food. The space is arranged in a simple bar with one end meeting the railroad and the other leading off into the wilderness.
4
2
1
3
6
2
3
5
9
4
1
2
7
8
train platform path to exhibition space kitchen food storage restroom dining room crop fields water channels crop processing
1 2 3 4 5 6 7 8 9
dining facility | 133
dining facility | 135
process sketches
dining facility | 137
TROUGH STUDY
The trough study was designed to understand the way water leaves its trace on a surface as it flows. Through the study, three rockite casts with steel imbeds were placed below a cast trough, being watered every day for over a month. The trough was cast in a foam mold so that the inside section could have ribbing to let the water to drip more slowly, simulating rainfall.
dining facility | 139
day 1 | day 27
dining facility | 141
mold lateral bracing
use of ribbing to control water flow
dining facility | 143
The result the study, sit for lon misty rain
is a beautiful stain the angle did have ger, creating more r created more weath
left on the rockite surface. Through a significant impact as it let water ust. Additionally, naturally occurring ering than the artificial flow.
dining facility | 145
residence a
studios
1:32
A ru th th ro fo
jolt of energy awakens me. I rush to gather my things, nning down the road. Distant lights are shown through in cracks in the forest. Crickets are chirping, singing eir sweet songs. The soft dirt is replaced by more bust gravel, creating sounds that echo through the rest.
1:35
The glowing light is now much closer, illuminating the island in a way that is new. I make my way into my studio, finding a piece of paper. My pen, softly sitting atop my thumb, is the vehicle for capturing thoughts. Sketch after sketch fills my paper, entering me into a stream of thought that is magical. Soft sounds of flowing water enter the studio as the melodies of the night start to go to sleep. 6:24
The wall before me starts glowing with a crimson and orange hue. Light enters my studio, marking the beginning of a new day. I get through my thoughts, letting them marinate until later. I exit my studio. I cross the narrow walkway and arrive at one of my favorite places. A small nook is carved between the paths, giving just the right amount of space for a tree. The sweet smell of blooming flowers ease me into a trance. I drape my legs over the wooden ledge reminiscing to the times when I was a kid on my grandmother’s porch. The same tree. The same smell. The same whistle in the air. I know I have found my happy place, a moment of escape.
riverside path with studios perched upon the hill
STUDIOS
A collection of unique spaces to facilitate a wide range o f m e d i a t y p e s , b r i n g i n g a r t i s t s a n d t h e i r w o r k t o g e t h e r. correlated studies | magnetic plane rockite paths
STUDIOS
overview
The studios are the center of activity on the islands. Each ar tist gets his or her own residency, with var ying degrees of programmatic specificity defining the spaces.
contents
1 2 3 4 5
description
studios connect main isl path to path to
+ supplementary spaces ion across river + to exhibition via moving barge and road library exhibition + dining or water room
For an artist, it is important to have solidarity to create work but is equally as important to have an audience when desired. Through the design of the studio spaces, artists have the choice to close off their working spaces and be isolated or to open them up and let the work spill out. This creates the possibility for incredible dialogue between the artists. A series of walls define each of the studios. Three types of walls are present, including concrete, wood-framed with wood cladding, and wood-framed with a translucent skin. The framed walls contain clerestories while the concrete walls continue to the roof plane. A path that is elevated two feet from the ground winds through the spaces, with each studio being entered by steps or a ramp. This gentle section change has incredible impacts on the program. As the studio space extends out into the landscape, the path forms a subtle boundar y, containing this space and giving it to the artists. From the path, visitors and artists can sit and observe the work being created, similar to how the front porch entices lingering and community.
4 1
3
2
5 1
2
10
10
8
3 7
1 15
12
11
9
4 14 8 10
10
8
10
10
James River connection via barge to library to main island road to exhibition space to water room
1 2 3 4 5 6
gallery workshops bike parking
7 8 9
studios: all-purpose photography pottery printmaking painting sculpture
5
1 1 1 1 1 1
0 1 2 3 4 5
2
2
15
10
6
15
10
10
10
13
14
8
studios | 155
the studios are atop the hill, interlocking carefully together
elevated path leads through the spaces
studios | 157
1
2
7
3
4
5
6
8
gallery barge pulley James River connection via barge to exhibition space sculpture studio Tr e a s u r e I s l a n d Daniels Island
1 2 3 4 5 6 7 8
studios | 159
studios on treasure island
pottery studio
studios | 161
studio space extending to the outdoors
studios serving as a gallery for visitors
studios | 163
process of studio organization
studios | 165
assembly of six prints to study arrangement patterns
studios | 167
MAGNETIC PLANE STUDY
A sheet of steel sits atop four magnets, hovering gently above the ground. Matteboard walls, with magnetic embeds, cling to the steel, easily shifting with a simple move of the hand. The study focused on how walls define both movement and space.
studios | 169
studios | 171
R O C K I T E PAT H S T U D Y
A formal study to delve into many initial questions of path, the rockite study allowed for many reads. Purposely, the rockite casts were constructed as objects, without a particular human scale attached. This let the casts be studied through multiple scales and orientations, focusing on light, shadow, texture, formwork, edge conditions, and method of movement if it were to be occupied.
studios | 173
mold negative
side a
side b
studios | 175
mold negative
side a
side b
studios | 177
studios | 179
residence b
dining
9:02
I make my way to my house. I travel down the path. A man with a broad-rimmed hat is before me. His hands are covered with white gloves, stained with a crimson hue. My ears come to attention as I hear a gentle thud. The sound repeats itself. I think about the freshness of breakfast as I see the farmer adding strawberries to his bucket. One by one. One by one. I approach the river. I look down. My hand graces the smoothness of a stone weathered by water. I lift the stone, seeing how far I can skip it across gentle s u r f a c e . O n e . Tw o . T h r e e . 9:26
Darkness surrounds me. Water crashes into the ledge at my feet. The interplay of light and shadow captivates my mind. The light is moving in a circular motion, rhythmically grazing the surface of the pulley. As I turn, the dark imagery is replaced by the rivers edge at the end of the platform. I hear the water calling, increasing its auditory presence with each passing moment. 9:38
My house is before me. Its stoic black skin hides the mysteries lurking beneath. I approach. My arm reaches out and slides the door. The entire front moves, heavily marking my threshold. I enter. My studio is before me. The open canister of paint still sits atop the stool, just as I left it in the heat of the night. I move vertically. Light bounces off of my head onto the walls. I peek through a slight crack, taking my eyes on a journey. I lift a steel bar sliding it into its home in the wall. A small niche receives the end. The bar stops moving, locking into place. I grab the end, nestling it in the palm of my hand. I effortlessly turn clockwise, revealing the world above me. I finish the final flight of stairs. Ahhhh. My favorite place. I look atop the trees, off to t h e d i s t a n c e . Tw o m o n t h s a n d t h e v i e w s t i l l a m a z e s .
approach to residence b
RESIDENCE B
Six to eight month residence providing opportunities f o r t h e a r t i s t ’s w o r k a n d l i f e t o c o m e t o g e t h e r. correlated studies | path mediums
RESIDENCE B
overview
A way to study a vertical path, the long-term residence seeks to bring art and living together into a singular space.
contents
1 residence + studio 2 river dock 3 path to main island road
description
For a longer stay on the island, a second type of housing has been developed. The long-term residence includes a private studio, a riverside space, and a rooftop area to look out into the forest. From the main island road, a linear path leads to the residence, with the charred wood facade giving little indication of what is to come. Four sliding doors flank the faces of the residence at ground level, allowing the studio space to spill out into the landscape. The residence is designed around a circulation core. This core focuses on how an occupant moves ver tically, exiting the core to be slowly released into the spaces. Voids are placed within the concrete to give visual reinforcements of the space beyond. Atop the core is a large glazed door controlled by a crank and pulley system that creates a pause before ultimately exiting to the rooftop.
2 1 3
2
3
4
6
5
8
1
7
10
9
entry path path to river pond studio circulation core living room kitchen bathroom bedroom rooftop area 1
1 2 3 4 5 6 7 8 9 0
residence b | 189
creating a variety of spaces in section
vertical interior space
residence b | 191
exploring sectional opportunities
working drawings of the residence
residence b | 193
creating the arrangement of spaces
using proportion to develop the plan
residence b | 195
accessing the rooftop area
a
b
1 e
c
d
2
f
g
1 2
turn handle 90째 to release lock + engage drain plugs pull stop to allow water flow
a b c d e f g
glazed opening top of core door operation holding tank lifting mechanism drain counterweight
water counterweight system
residence b | 197
PAT H M E D I U M S T U D Y
Ta k i n g a d e e p e r l o o k a t h o w a m a t e r i a l e n g a g i n g w i t h the foot influences movement was the basis of this study. A simple elevated platform was constructed so that the inserted medium would be flush, eliminating the variable of a vertical step. Water, sand, dirt, and mud were tested through analyzing video shot at 240 fps.
residence b | 199
the basin caused more of an effect than the water itself due to how it interrupted the normal stride
softer mediums caused the user to slow down slightly, regaining normal movement when back on the wood
residence b | 201
studios
library
11:03
I make my way from the waterfront to the studios. I pass under a concrete threshold and ascend up stairs. An elevated path is before me, gently hovering over the ground. The path snakes around a corner, leading off into the unknown. I find a crevasse in the wall and see the entrance to two studios. I keep going, taking a sharp left along the way. My eyes trickle over a small pond. Reflections from the thin roof plane and surrounding trees occupy the aquatic scene. I make a right. A large wall extends, leading my eye into a studio. The space seamlessly flows from the inside to outside, allowing rays of sunlight to add new layers to the paintings. 3:15
I have been on the island for two weeks, finding hidden t r e a s u r e s e a c h a n d e v e r y d a y. To m y l e f t , s u b t l e w a v e s are crashing along the steps that disappear into the river. Ahead, shadows race across a concrete wall, having made their way through the many layers that make up the library. I sit gazing at the wall, seeing a silhouette alter the shadow. A green glow briefly shows, giving me a hint at what book is being retrieved. I finish the last page of my book on Mies. I push on the left side of the wall, the entire bookcase being the door. I feel the weight in my arms, making it known I am moving into a new space. Layers of steel grating are above me, filtering views to the endless collection of books. What should I read next?
library entry
LIBRARY
Tr a n s f o r m i n g t h e k n o w n t o t h e u n k n o w n , r e d e f i n i n g a space for books and reading. correlated studies | image fragmentation
LIBRARY
overview
What is art without inspiration? Whether researching a topic or finding an escape, the library offers a space to personally and intimately engage with books and other printed media.
contents
1 library 2 exterior reading room 3 path to studios
description
The library serves as a marker at the southernmost tip o f Tr e a s u r e I s l a n d , u s i n g t h e i n t e r s e c t i o n o f t w o g r i d s t o derive its inner spaces. Entry is achieved by following the riverside path from the studios. An angled concrete wall guides the visitor into the space with light signifying that something is around the wall. After turning the corner, the space opens up to a three level reading room with incredible shadows coming through the translucent wall. The space leads to an exterior reading room, a place to read at the water’s edge. From the main reading room, entry to the book cavity is achieved by pushing the back of the bookcase, leading the user into a slim, light-filled space. The library inverts the traditional program by making the act of book retrieval more intimate, offering shadows to bounce off the retrieved books for the occupants in the reading room. The book cavity leads ver tically, taking the user to two more reading spaces, both more private and intimate.
3
2 1
3
1
4
2
5
7
6
8
to studios main reading room exterior reading roof river access book cavity (access through sliding bookshelf) bookshelf (translucent glazing to inside face) vertical circulation / catwalk supplementary reading rooms
1 2 3 4 5 6 7 8
library | 211
use of two grids + section change to lead user through the space
the concrete wall leads visitors to the secluded exterior reading space
library | 213
pulley diagram
a modern interpretation of a double-hung sash window
library | 215
process sketches
creating an intimate space for books
library | 217
I M A G E F R A G M E N TAT I O N S T U D Y
The following pages will transition through a series of fragments of a single image, isolating different parts of the photograph. The study was a means to think about how a user obtains fragments of an experience or their surroundings and pieces them back together as he or she moves through the space. What is the user’s perception of the final image versus the imagined image?
library | 219
library | 221
library | 223
library | 225
administration
residence b
6:58
Light touches my cheek, waking me from a night of dreaming. I rollover. A window to the outside world forms the entirety of the wall adjacent. I look to the trees. A cardinal sits atop a branch with its red feathers bringing out the warmth in the remaining yellow leaves. I continue to stare out at this scene, refusing to leave the coziness of my bed. I look ever deeper, seeing the fog rise off of the river and nestle amongst the forest. 7:26
I make my way to the northernmost part of the island. The fog grows more dense with each passing step. The smell of an early morning fills my nose, being heightened by the moisture in the air. The fog starts to glow, signalling that I am getting closer. The light becomes stronger, penetrating any crevasse it can find. I slowly turn the corner. The road elevates from the ground, leading me forward. The linearity of the forest road has been replaced by a series of buildings perched atop the landscape as gracefully as a crane in a still pond. Their skin reveals their inner structure, with their bones signifying strength beneath a delicate skin. 7:35
I start to climb steps. The outside world is filtered through a soft canvas. Stair after stair I climb. The humidity is subsiding, fog sinking below my feet. The sound of a gentle breeze leads me up the final flight of steps. I exit, following the bridge toward the mainland. I pause for a moment, turning my head over my left shoulder. The rising sun slowly dissolves the lights that dot the landscape below. I continue forward, thinking about how lucky I am. This is the place I now call home.
fog filling the forest
A D M I N I S T R AT I O N
Tu r n i n g t h e n e c e s s a r y p r o g r a m m a t i c s p a c e s i n t o a beautiful transition to and from the island. correlated studies | Light Box
A D M I N I S T R AT I O N
overview
At the northernmost area of the site, the administration facility is situated in a line, connecting the island and mainland through a vertical circulation tower.
contents
1 2 3 4 5
description
mail room laundry facility administration t o w e r | c o n n e c t i o n t o J a m e s R i v e r + Tr e a s u r e I s l a n d R d . to Riverside Park
Before the catastrophic flood in the 80s, a bridge used to c o n n e c t R i v e r s i d e P a r k t o Tr e a s u r e I s l a n d t h r o u g h a r o a d that wound gracefully through the hillside before spanning the railroad and river below. The administration area reconnects this road to the island through a pedestrian bridge, one that lets fragments from throughout the islands come together as the site is seen in its entirety from above. The administration facility is a centralized area for all of the necessities of living. With its situation and access to the mainland, mail, goods, and services can easily enter the islands and continue on the path that turns into the main island road. The buildings and path are elevated three feet, allowing them to sit delicately on the landscape, especially the tower sitting gently atop the water. A translucent screen is used to express the beautiful wood framing and allows the buildings and tower to glow at night signifying entry to the site.
3 4
5
1
2
circulation tower to mainland
administration
to laundry
section
administration | 235
1
2
Tr e a s u r e I s l a n d R o a d James River Aperture to see northern tip of island elevator / structural core water access bridge to island
1 2 3 4 5 6
1
3
4
5
2
6
administration | 237
massing model
subterranean laundry space
administration | 239
5
2
1
4
7
1
6
2
2 5
4
4 3
screen assembly 1 2 3 4 5 6 7
gray fiberglass mesh translucent waterproofing membrane 2x6 stud 2-1”steel channels, holes pre-drilled 1x blocking for stapling at 12” o.c., alternating between layers 1,2 screws at 12” o.c. to attach to stud translucent insulation
1
5
glowing in forest
administration | 241
wall / roof, pavilion 1 2 3 4
standing seam roof 2x10 structural member insect screen wall assembly (see below)
wall / roof, enclosed 1 2 3 4 5 6 7 8 9 10 11
2X8 structural member 1/2” tongue + groove rigid insulation 1/2” osb waterproofing membrane standing seam roof 2x10 eave tail clerestory glazing, columns at mullion separations 2x6 stud wall int / ext screen (see detail on previous page) translucent insulation
floor / wall enclosed 1 2 3 4 5 6 7
1/2” finish floor 1/2” osb 2” steel channels w-section 1” steel channels waterproofing membrane 3/4” tongue and groove exterior finish
administration | 243
preliminary sketches
administration | 245
LIGHT BOX
Utilizing a repeating wood screen, the light box allowed light and sound to pour in while filtering the views to the outside. At night, the box would come to life, showing a volume not seen before. The box studied an open entry at the top with a long set of steps leading to filtered views through the screen.
administration | 247
gridded openings allow light and shadow into the space below
light and shadow leading around the corner
administration | 249
T H O U G H T S O N PAT H
The path, whether physically defined or constructed by the user, connects pieces of architecture. How can we start to think about architecture as not only points A and B, but also the surrounding context? What do we see and experience in these surrounding areas? How does that set the stage for what is to come as we approach our destination?
monoprint line study
Questions about the line emerged early in the study. Three questions will continue to propagate my thoughts due to the many ways in which they presented themselves throughout the year: Where does the line begin? Where is the line going? What happens along the way?
tidal water exercise
I find the work of Carlo Scarpa is so magical because around each corner there is something to discover, something to conjure new thoughts. The question arising from this thesis that has been incredibly difficult to understand is the source for our human curiosity, our desire to want to know more. However, I have learned that it is not so much about the why, but more about the how. How can the architecture entice us to reveal its elements, its carefully crafted moments?
magnetic plane study
I like the idea of arranging the inner structures of my buildings in sequences of rooms that guide us, take us places, but also let us go and seduce us. Architecture is the art of space and it is the art of time as well - between order and freedom, between following a path and discovering a path of our own, wandering, strolling, being seduced. - Peter Zumthor
rockite path study
We should ask ourselves: Am I lost? Did I enjoy that corner I just took? What is overhead? How long to get to the end? What if I turn my eyes back? Will opening and closing,vertical and horizontal depress me or inspire me? - Phillip Johnson
With so much emphasis on turning a corner, what is it that makes a corner special? How is a corner constructed? How does it release us to the other side? What information does it give us about what is to come? What does it deliberately conceal?
exploring through model-making
Through the act of making, the idea within the study slowly revealed itself. Many times throughout the process I wasn’t quite sure why the thesis was pushing me to make a particular model. However, the result from looking at something physical, in real light, allowed me to wade through the unknown and test my ideas against an architectural proposition.
A S T U D Y O F PAT H
BIBLIOGRAPHY
Johnson, Philip. Whence & Whither: The Processional E l e m e n t i n A r c h i t e c t u r e . N e w H a v e n , C T : Ya l e U , School of Art and Architecture, 1965. Print. Z u m t h o r, Pe t e r, M a u r e e n O b e r l i -Tu r n e r, a n d C a t h e r i n e Schelbert. Thinking Architecture. 3rd ed. Basel: Birkh채user, 2006. Print.