W A T E R S H E D
O B S E R V A T O R Y
Project Document N icholas Coates
W A T E R S H E D
O B S E R V A T O R Y
Lo c ati o n : Riversid e Park | Rad ford , Co n text: 3 7 d egrees N or th
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Book I_Preexisting Conditions 1.1 Physical Site: Structures and Spaces The large open area of the site is delineated by several programmatic spaces. A large football field stands in the middle with a basketball field to one side, as well as a playground and pavilion. The parking lots create a view of the entire park from first sight. Other than the river, everything can be experienced from a bird’s eye view. The residential fabric that adjoins the site is placed at the top of the slope as to have the same views as one does from the parking lot.
Residential areas form one of the two long elevations of the site. A pavilion is placed in an area that allows for privacy.
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Playground Basketball Court Field Parking Pavilion Restrooms Boat Ramp Residential
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1.1 Physical Site: Location and Orientation
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Located next to the river and being a part of the New River Valley creates an atmosphere that is probable for wind. The wind is calm approximately 23% of the time. The majority of the wind comes from southeast, yet is fairly calm. Being away from the main downtown area of Radford and the proximity to the water create an atmosphere that is moist and dark at night. The sounds of the water are present with very little being shown visually due to the lack of lighting at night.
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Wind rose shows the wind direction over the course of a year. Wind on the site follows the same pattern as the national average.
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Site image during day with night conditions overlaid
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The day allows for the site to be seen in its entirety. The sun rises over the hill and sets over the river providing beautiful sunsets and ample lighting during the day. The temperature stays in the range of the national average. Given the elevation change from the water to the main ground level, not much temperature variation is attributed to the proximity to water.
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Sun plays a large role on the site during the day until dusk. In the morning, fog often fills the site.
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1.1 Physical Site: Vegetation A lush carpet of green grass consumes the site. Upon approach to the site, one of the first things that is noticed is the large tree canopy that blocks many of the views to the river during summer months. The trees have a large impact on the site, defining space and creating visual interruptions. The trees give way to a tall native grass that thickens the visual separation at eye level and continues to the water down a steep embankment. Once at the water’s edge, the thick tree canopy as well as grasses create privacy that allows nothing to be observed but the river and what is beyond.
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Tree Canopy
Thousands of red insects engulf this one particular tree.
Nicholas Coates
1.1 Physical Site: Contours and Movement of Water The general contour of the land surrounding the site creates movement of water toward the river where it the flows downstream. A large drainage pipe is placed on the southern end of the site with a small channel for water that forms the boundary between the neighboring property. A water treatment plant forms the boundary of the northern edge of the site. A line of infrastructure midway on the slope is shown through sewer covers peeking through the ground. Water from the river is controlled upstream by the Claytor Lake Dam. This allows the movement of water in the river to be fairly constant and controlled.
A steep hill creates a surface for water to continuously flow, before reaching a subtle plane on its journey to the river.
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Nicholas Coates
1.1 Physical Site: Boundaries and Volume The tree canopy starts to form both the mid ground and background, depending on the viewing position. From certain angles, the river becomes visible, showing what is beyond while not letting much be seen. At other times, the trees form a wall that defines the outer boundary of the site. The variation of the perception of trees defines the volume in two ways. One is an expansive site that reaches beyond the boundaries and extends out over the water. The other is very well defined between the trees and the slope, forming a much more enclosed and channel like feeling.
Right: The elevations of the site do not create much variation. Below: Effect of seeing the water beyond the trees.
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1.1 Physical Site: Seeing in Time The site provides opportunities to see layers of time. An old truck parked across from the residential fabric shows the effects of weathering while giving views of what vehicles were like during other time periods. The housing creates another look into the past. Experiencing the water and how it changes day to day is another facet of seeing in time. Water allows for a deeper look into time. The river was around long before the formation of Radford. It has experienced changes, most notably from the damming upstream. Layers on the ground as well as lush open areas across the river allow for envisioning the past.
Right: Mapping and aerial photos from 1891, 1953, and 2007. Below: A glimpse at the past and how water has continued to shape the vehicle over the course of time.
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1.2 Infrastructure: Networks of Distribution The boundaries of Radford are defined by the New River. The river, coupled with interstates, local highways, and a railroad network, creates an area that reaches well beyond the footprint of the city limits. Radford’s army ammunition plant is likely one of the reasons for the immense infrastructure.
Power is generated upstream of the site at the Claytor Lake Dam. The electricity is then distributed throughout the area, including downtown Radford.
Pollution is a major concern due to the distribution networks. The main highways as well as the ammunition plant are located in close proximity to the water and create the potential risk of hazardous runoff.
Water is prominent across multiple scales.
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Railroads Railroads Transportation Network Transportation
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Power Infrastructure Power Infrastructure Sources of Pollution Sources of Pollution Water Water
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Sources of Pollu Water Nicholas Coates
1.3 Zoning and Code Type II-B Construction: Lightweight Steel Frame Unprotected Non-Combustible Occupancy Class: Residences: R-3 Maximum Height: 4 stories Maximum Floor Area: Unlimited Work Facility, Map Room, Library of Water, & Rain Room: B Maximum Height: 4 stories Maximum Floor Area: 37500 sq. ft.
Type II-B Construction: constructed with non-combustible materials, but materials do not contain fire resistance.
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Located in the conservation district, Radford set aside this area in order to protect natural resources and environmentally sensitive areas of the city. For this area, the setback requirements are 35 feet for a front yard, 20 feet for side yards, and 50 feet for a rear yard.
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Book II_Precedent 2.1 Ideational Precedent The Great Wall of China, Ha Ha Wall The Great Wall of China deals with the removal and reuse of the soil in an interesting way. The earth itself is used in the construction of the wall, allowing for construction to be possible on the given terrain. Thinking about how the ground meets the wall led to studies of the ha ha wall. This wall allows for the visual continuity of the ground to be maintained while also creating a barrier to keep occupants from going over.
Close view of the ha ha wall. From distance, the lower portion next to the wall is not perceived.
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Use of the wall itself to frame desired views.
Study to see possible ways the ground meets the wall.
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Earth House - BCHO Architects, Moses Bridge - RO&AD Architecten Subtraction from the earth is something very unique about these two projects. The Earth House creates a large outdoor space that is depressed into the ground. The Moses Bridge rethinks the idea of a bridge and uses the subtraction to allow for a different level of interaction with water.
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Above: Depth and shape of openings allow for views to the bottom to be limited. Below: Effect of having space around the building that is below grade.
The depth of the bridge creates moments for occupants to feel and touch the water while creating this visual line across.
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Water Temple - Tadao Ando Ando stages the architecture in a way that creates mystery about what is to come. The use of weathering, water, and light add to the atmosphere created. The walls are stained from nature and create a connection even when nothing but sky is visible.
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Leaving nature and traveling down into the space allows for a dramatic entry. Turning the corner opens up a new visual world to explore. Movement from a dark area to one with much light adds emphasis to what is beyond.
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The New Museum - SANAA, Glenburn House - Sean Godsell, de Young Museum - Herzog & de Meuron The New Museum is an interesting look at how architecture turns a corner. A simple screen system is spaced off of the main skin slightly to add depth. When the screen approaches a corner, a slight gap is left allowing for a different read than that from a distance. SANAA’s use of the screen allows for openings to be placed without disturbing the volumetric quality of boxes stacked on each other. A very simple screen with powerful light qualities is something achieved by Sean Godsell in the Glenburn House. The screen is uniform throughout, but allows for many variations depending on viewing angle and position of the sun.
Upon closer look, the differences of the facades become apparent.
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Herzog and de Meuron take a different approach than Godsell in creating a facade that has much more variation. Images from trees and nature were abstracted to create a much more dynamic screen. Different sizes of circular openings paired with dents in the sheet metal make the pattern possible.
The screen allows for levels of transparency to be obtained, exposing views of the steel skeleton below.
2.2 Material Precedent Studio Sitges - Tom Kundig, The Pierre - Tom Kundig Tom Kundig explores the nature of concrete by placing it in the midst of a natural rock formation. For Studio Sitges, he studies the combination of two methods of concrete formation and their interaction with cor-ten steel. Through time, the materials form deeper connections through weathering.
Right: The wall for The Pierre intersects a large rock formation, allowing for the space between the wall and the rock to form an entry. Below: Using the same material palette on the interior allows for the effects of nature to be more apparent.
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Hackney Marshes Centre - Stanton Williams Stanton Williams uses the material attributes of cor-ten steel to create a facade that reads as a whole, even though it is composed of many smaller panels. The rusting of the metal allows for the screen elements to be brought together visually with the solid sheets. The use of the screen in the same module allows for more placement to be more subtle and the frame creates a solid nature to the screen panel itself.
Use of parts to create a whole.
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2.3 Methodological Precedent Brion Cemetery - Carlo Scarpa, Fondazione Querini Stampalia - Carlo Scarpa Scarpa’s drawings convey layers upon layers of information when studied. The precise nature of the plan juxtaposed with a sketch of an idea allows for a look inside of the thought process and a deeper level of understanding of the project. This mode of representation is not about creating a final product, but instead creating the final throughout the process. Weathering and water are elements that are apparent in many of his works. The way water changes architecture throughout time is fascinating. Creating spaces that invite water to do so shows forethought about what the architecture will be in the future, and allows for the atmosphere to be constantly shaped and altered.
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Attention to detail allows for the idea to be communicated across multiple scales.
Inviting water into a building during periods of flooding.
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Book III_Project
The program of a watershed observatory allows for a deeper look at what it means to be a watershed observatory as well as how the interaction with water shapes architecture. Clustering programmatic zones in areas with varying levels of interaction with water allows for multiple experiences to be achieved.
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3.1 Order The project is ordered by a series of linear elements brought together. Allowing for a sequence of events to take place led to the changes in the overall form. The site scale was one that allowed for changes to be made to the entire composition.
Linear walls and the subtraction of the ground create a geometric framework at multiple scales.
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Nicholas Coates
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The path throughout the site is the main source of order for the project. Based on a sequence of events, it allows the architecture to be experienced in ways that start to unravel a larger picture. Lighting, views, and what happens when the corner is turned, shape the overall form. The placement of the buildings is derived from areas between pathway wall systems, allowing for a deeper connection between the two.
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3.2 Material Palette Materiality of the composition is a driver of the form. Heavy concrete walls are rooted into the ground, allowing for deep chasms to be carved. Concrete that is board formed and given a rough texture promotes interesting weathering from the cor-ten steel panels. Cor-ten steel allows for the pathways and buildings to be brought together through time due to the stains made on the concrete.
Over time, the architecture will form new layers and continue to develop.
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Interior Unweathered sheet metal forms the floor and allows for the material to be seen in another way. A mesh screen is used for the ceiling to continue the theme and carefully expose and conceal the utilities of the building.
Pathway Coarser concrete is used for the floor to provide traction and areas for water to collect and reflect light. The walls are board formed with the seams between formwork minimized to create a solid plane.
Exterior Cor-ten steel is used for the sheet metal panels that form the outer skin of the buildings as well as the screens that are placed on the outside of the sheet metal skin.
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The wall is the result of studies of light and experience. The areas of intersection between the buildings and the paths, allow opportunities to experience both elements simultaneously. The introduction of the outer skin as a light filtering device adds another layer of depth to the paths and creates a visual break from the long corridor. The final wall assembly allows for multiple reads, most notably the difference between viewing angle and the effect of light. The screen creates a uniform surface that then starts to give glimpses at what is beyond, especially when lit from the interior.
The wall emerged from using multiple parts to find a final assembly at achieved the desired effect.
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3.3 Coordinated Technical Documentation The site is laid out with the main observatory to the left with the public park space to the right. The placement allows for the slope of the hill to be incorporated, the reuse of the soil removed to form a buffer zone from the boat dock, and a park in the area of the existing pavilion and playground facilities. A large open lawn creates an
expansive spatial condition that is different than the more intimate areas surrounding the buildings. A pathway leads throughout the site allowing pieces of the whole to be seen, but not the entire project in a single instance. A sense of mystery and intrigue is used to allow more and more to be discovered.
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Rain Room & Library of Water Touching, feeling, and listening to water are the main attributes of this area of the observatory. With the location next to the river, the interaction of nature and the architecture can be directly studied. The area that is carved out of the earth to create these zones allows for the focus to be placed on water.
Standing over the river with rain falling from the sky, through the overhead plane, and then through the floor back to the river creates an interesting way to experience water. The rain room leaps out from the concrete wall to place emphasis on the large river. The sound from water release in the library of water, the rustling of leaves, and the crash of small waves creates a multitude of sensory perceptions. The below grade construction grants privacy from the main part of the site and allows for water to emerge.
A canal with flowing water separated by a thin strip of land from the river allows the rain room to experience what both have to offer.
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The planar quality of the buildings is expressed most fully in this area of the project.
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The library of water is where the water is released to go back into the river. Occupants are part of the experience as water is pumped from the large pool through pipes and into the ceiling of the building. The water is then released and the screen causes the water to disperse throughout the space before falling through the floor and into the canal of water.
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Relationships between the library of water and rain room as well as the role of the exterior space between the two played a role in development.
Above: The floor, ceiling, and one wall are permeable to allow for the movement of water. Below: Preliminary sketches demonstrate the role of the library of water.
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Map Room & Work Facility An analytical study of water is at the center of the work facility and map room. Whether housing artists or scientists, a precise look at water is a driver for the work.
The work facility and map room are separated into two separate buildings. The work area is that of solitude. It is a place to become one with the work. The work area contains a large wall of water that forms the barrier between the main space and the restrooms. Water can be taken from storage and used. The simple layout allows for the space to be easily adapted to either scientists, artists, or any other individual using the facility. The map room is a supplement to the work performed in the work facility, yet has a tremendous presence of its own. A single large table that is lit from an overhead
The area emerged from seeing the richness of the underground space lit from the courtyard.
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aperture sets the stage for the maps. Maps themselves contain layers and layers of information and need to be given ample space to be observed. The map room creates the opportunity for maps to be expressed and viewed without distraction.
The two buildings are nestled in a courtyard that is inwardly focused. This draws attention to the work and allows for the implementation of observations from other parts of the site.
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Residences The residences are perched in the hillside creating an atmosphere of the subterranean, but allowing for views across the site. Seeing glimpses of other programmatic areas and the release of the water into the river frames a picture for the residents to see.
The idea of a path and turning the corner is explored at a different scale in the residences. Entry is off of one of the main pathways into a courtyard that frames the building. Upon entry, a long corridor lit from above appears with breaks in the wall that lead to the bedrooms and other rooms. At the end of the hall is a open living area with the end open to another courtyard to one side and a view to the river on the other. The windows in the bedrooms are covered by the screen system that composes the facade. This arrangement creates privacy, shading, and an interesting view of the water when it rains and penetrates the screen.
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The long corridor behind the residences allows the space to extend beyond, creating mystery as to what is behind the wall.
Effect of the overhead plane piercing the heavy concrete wall and coming close but stopping just short of the second wall.
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Movement of Water Water is a unifying factor that brings the three programmatic areas together. The layout on the site was derived from how water is viewed and experienced. The resulting arrangement allows the residences to view the water and the observatory. The work facility and map room are nestled beside a large pond that stores water to be collected and tested. The water is then pumped back to the library of water where the building itself is the release mechanism for the water. It then travels down a canal back to the river to complete the cycle.
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Water is brought on to the site to be studied and researched. The architecture is used as an integral part to the overall movement of water.
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Detailed Sections The overhead plane is covered by a screen in order to create the same uniform appearance of the facade. This allows for the skylights to be highlighted at night. The same screen system is used for the outer portion of the buildings. The concrete walls provide the structure for the buildings, with steel beams simply spanning between two walls.
Study of how material can have different appearances on the exterior and interior.
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Lighting The New Museum and the Earth House provide key precedents when studying the effects of artificial lighting. In The New Museum, SANAA uses mesh on the ceiling to slightly conceal the housing of the fluorescent lighting, while allowing the linear strip of light to come to the forefront. In the interior spaces of the watershed observatory, lighting would be achieved in a similar fashion. The location behind the screen allows for a different read when the lights are in use.
The pathways have a slight gap where the floor meets the wall. This space creates an area for water to drain as well as the space to put lighting without disturbing the wall. The combination of the light in the path and the glow of the buildings from the apertures behind the screen system would start to highlight the geometry at night, much like that of the Earth House.
Use of simple techniques creates a powerful lighting condition.
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Roof Section 1”=1’
Interior Lighting
Path Lighting Floor Section 1”=1’
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Works Cited Conley, Ken. “Water Temple - Shingonshu Honpukuji.” Tadao Ando Archives. Web. 06 Sept. 2012. “Earth House.” Byoung Soo Cho Architects. Web. 20 Sept. 2012. Gagliardi, Mario. “Carlo Scarpa: Tomba Brion.” Penccil. Web. 07 Oct. 2012. “Glenburn House.” SGA: Sean Godsell Architects. Web. 13 Sept. 2012. “Great Wall of China.” Beijing Attractions. Web. 1 Nov. 2012. “Hackney Marshes Centre by Stanton Williams.” Dezeen. 27 June 2012. Web. 21 Oct. 2012. Ketcham, Diana, Michael Corbett, Mitchell Schwarzer, and Aaron Betsky. The De Young in the 21st Century: A Museum
by Herzog & De Meuron. London: Thames & Hudson, 2005. Print.
Kundig, Tom. Tom Kundig: Houses 2. New York: Princeton Architectural, 2011. Print. Los, Sergio, Carlo Scarpa, and Klaus Frahm. Carlo Scarpa. Köln: B. Taschen, 1993. Print. “Moses Bridge.” RO&AD Architecten. Web. 08 Oct. 2012. Steyn, Marisa. “Weathered Concrete.” Deviant Art. Web. 14 Oct. 2012. Teil, D. “Fondazione Querini Stampalia.” Flickr. Web. 18 Oct. 2012. “What Is a Ha-Ha Wall.” Founterior. Web. 1 Nov. 2012.
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Nicholas Coates
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, The Magic of the Real
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