Washington University in St. Louis Sam Fox School of Design and Visual Arts Masters of Architecture 2016 Masters of Construction Management 2016 n.elman@wustl.edu 973 727 8797
Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Valerie Greer Fall 2016 Degree Project
Influenced by the idea of the street--both literally and as it denotes the condition of homelessness--this project aims to reduce the notion of “otherness” that threatens an inclusive and evolving society. While we occupy urban spaces that the homeless move through, the homeless often feel a sense of ownership over the streets that we navigate. Homelessness challenges conventional readings of streets: what we use as a means of circulation, another population calls home. The significance here is not the different ways in which streets are used, but the realization that the streets are essential to all of us. Common Ground is an inpatient and outpatient substance abuse facility with an emergency housing shelter in Clayton. Intentionally sited in an affluent St. Louis neighborhood, the building’s location deviates from traditional norms of where similar programs might exist. The program calls attention to the commonality of the struggle with substance abuse by allowing the public to move through the site. The building is inspired by the street, but inverts the typical organization. Ordinarily, roads serve circulation purposes while the median offers a place of safety. Here, therapy and residential spaces occupy the perimeter of the site, while circulation is centralized to encourage community and awareness. This enables sensitive areas of the program to be protected through layers of inside and outside space, as well as operable components of the enclosure system. The sectional quality of the site further allows sensitive spaces to be embedded, while communal gathering areas are more visible both within the site and the larger city context. 2
DOWNTOWN CLAYTON DOWNTOWN CLAYTON
CIRCULATION CIRCULATION PLACE OF REFUGE PLACE OF REFUGE
RESIDENTIAL CLAYTON RESIDENTIAL CLAYTON
SUPPORT SUPPORT RESIDENTIAL RESIDENTIAL
CIRCULATION CIRCULATION PLACE OF REFUGE PLACE OF REFUGE
0’
0’
0’ to 25’
25’
0’
0’
0’ to 25’
25’
LOCAL/RESIDENTIAL CIRCULATION LOCAL/RESIDENTIAL CIRCULATION
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PUBLIC CIRCULATION PUBLIC CIRCULATION
EXTENSION OF STREET
MEDIAN
EXTENSION OF STREET
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C AVE MEREMA SOUTH
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SHAW PARK DRIV FOREST
PARK PA
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ROLINK STATION
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WALINCA DR
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SITE PLAN
ROOF + SITE PLAN 1/1” = 1’ 0”
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6’
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WA LIN CA 0’
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STREET LEVEL PLAN
STREET LEVEL PLAN
1/16” = 1’ 0”
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22’
12’
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UNDERPASS LEVEL PLAN
UNDERPASS LEVEL PLAN
1/16” = 1’ 0”
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22’
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WA LIN CA DR IVE
PARKWAY LEVEL PLAN
32’
PARKWAY
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FOREST PARK
PARKWAY LEVEL PLAN
1/16” = 1’ 0”
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WA LIN CA DR IVE
OVERPASS LEVEL PLAN
45’
PARKWAY
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FOREST PARK
OVERPASS LEVEL PLAN
1/16” = 1’ 0”
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UNFOLDED BRIDGE SECTION
UNFOLDED BRIDGE SECTION
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SECTION A
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SECTION B
SECTION B ; WEST FACING
1/4” = 1’ 0”
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Washington University in St. Louis Sam Fox School of Design and Visual Arts in collaboration with Scott Mitchell Professor Chandler Ahrens Fall 2015 “The term Performance has many meanings that are either quantitative, qualitative, or both simultaneously through a range of design professions. The suggested goal of Performance is an optimistic enhancement to a designed entity or idea and holds the potential to be highly provocative relative to the method it is deployed when arguing for a particular design procedure or effect. The double entendre suggested by the term performance relates to both how the system technologically improves a functional aspect along with a more theatrical act of performing. Design in both architecture and fashion relies on both interpretations to create a multi-dimensional discourse necessary to advance conceptual design investigation.” - Chandler Ahrens Geodesic is an exploration of the intersection between architecture and fashion, inspired by and designed for the ballerina. The garment doubles as a performance costume--a piece with movement and elegance-as well as a physical aid to guide and maintain the ballerina’s posture. A series of studies and iterations exploring the bending force of different materials, as well as the application of geodesic lines to a curved surface, allowed for a final garment that was able to achieve the project’s initial intents. 24
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1/8� TPO (Thermoplastic Polyolefin)
1/16� TPO (Thermoplastic Polyolefin)
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DOWNDOWN
DOWNDOWN
DOWNDOWN
FLAT FLAT
IN
IN
FLAT FLAT
IN UP
OUT OUT
IN
IN
OUT OUT
OUT OUT
BACK BACK BACK
IN ININ
IN ININ
IN
UP
DOWN DOWN DOWN
BACK BACK BACK
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IN
UP
DOWN DOWN DOWN
IN ININ
IN
UP
OUT OUT
DOWNDOWN
IN ININ
FABRICATION 29
SURFACE_BOX MODE
SURFACE_SMOOTH MODE
PLASTIC STRIPS
FRONT
30
SIDE
BACK
Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Elena Canovas Spring 2015 Comprehensive Studio
Barcelona is a city that is commonly associated with tourism, but often for negative reasons. It is a worry of many locals that tourism is overwhelming the city and many question how long they will be able to withstand it. It feels wrong to call this a problem, though, because a city so beautiful, cultural, and historic will always draw such attention, and the locals should be proud, not afraid. It seems that this “problem” does not require a solution but, rather, an acceptance of the intersection of local and tourist culture. This specific site, Parc de la Barceloneta, falls at the apparent intersection of these two distinct realms. On the Northeast and Southwest boundaries of the park there are local conditions: Hospital del Mar and Barceloneta--an older neighborhood that resembles a fisherman’s village. The Northwest and Southeast boundaries feature tourist conditions: Ciutadella Parc and Barceloneta Beach, both of which attract countless visitors in addition to the locals. This art park and gallery decidedly needs to accomplish a few things. For one, it should give comfort and a sense of ownership to the locals by privileging the more local boundaries of the site--that is, to give them the ease of access to the buildings and plazas. Second, it needs to accept the tourist culture by providing a connection through the site, bridging together Barceloneta Beach and Ciutadella Parc. Finally, the project must integrate the local and tourist realms by offering moments of intersection between these groups, giving each one the opportunity to experience and embrace the other. 32
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LOWER LEVEL AND SITE PLAN
EXTENDED SITE PLAN
The landscaping of the project once again refers to the inherent duality of the site. The site is separated into zones of pavers and zones with vegetation, with the only deviation being patches of sand near the intersections of the tourist realm and local realm (near the staircases along the path). The pattern of the pavers become denser to highlight the intended path of circulation through the site and the buildings. The pavers also bleed into Barceloneta’s city blocks to demonstrate that the plaza should be read as an extension of the neighborhood.
UPPER LEVEL PLAN
The buildings are situated at moments of intersection from the initial site studies. The access to these buildings privileges Barceloneta and the Hospital del Mar, but do not completely deny entry from the tourist boundaries of the site. The slightly sunken path bridging Barceloneta Beach and Ciutadella Parc offers an opportunity to come up to grade near the entrances as the path passes underneath each structure. The building platforms are elongated and reach towards both local boundaries, while still presenting views from the exaggerated cantilevers to the even more picturesque tourist boundaries (the beach and the park), as well. The semi-sunken cafe is the only moment of the project that presents equal access to both user groups. The cafe is situated under the cantilever of the more northern building, and has equivalent access from the tourist path and from the hospital.
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TOURIST REFERENCE Our Banner in the Sky Frederick Edwin Church (American)
SPANISH PAINTINGS Guernica Pablo Picasso
Subject: American Civil War
Subject: Spanish Civil War
Baptism of Christ Andrei Rublev (Russian)
Baptism of Christ El Greco
Subject: Baptism of Christ
Subject: Baptism of Christ
Snowstorm Ito Shinsui (Japanese)
The Snowstorm Francisco de Goya
Subject: Snowstorm
Subject: Snowstorm
The Terrible Games Giorgio de Chirico (French)
The Persistence of Memory Salvador Dali
Subject: Dreams, Freudian Influence
Subject: Dreams, Freudian Influence
Theseus and the Labyrinth Sir Edward Burne Jones (English)
Labyrinth Joan Miro
Subject: Labyrinth
Subject: Labyrinth
Immaculate Conception Peter Paul Rubens (German)
Our Lady of the Immaculate Conception
Subject: Immaculate Conception
Subject: Immaculate Conception
La Danse Jules Cheret (French)
Sardana Antoni Tapies
Subject: Whimsical Dancing
Subject: Circle Dance of Catalonia
Bartolome Murillo
In addition to the Tapies sculpture that is between the two buildings and in the Barceloneta plaza, there are fourteen other paintings to be shown in the gallery. In the South building, there are seven paintings, each from a different prominent Spanish painter. In the North building, there are seven paintings, each from a celebrated painter from seven other nations. For each painting in the South building, an analogous painting exists in the North building-be it related in content, style, or art movement. The art is arranged in descending size order, starting at the entrance and wrapping around to the top of the gallery ramp. As the art gets smaller, the space compresses. The experience of the art and the experience of the space are harmonic.
UNWRAPPED GALLERY SECTION 39
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UNFOLDED GALLERY TAMP SECTION 41
The building’s spaces are ever-changing, both expanding and compressing at every sectional moment. The expansion and compression of the spaces are governed by the artwork inside the galley as well as by the drama of the views outside. That is, the building compresses to inspire focus on the art, and expands to evoke drama and awe of the views. While the space compresses with the size of the art, it eventually expands and opens up as you approach the end of the observation platform. It is through circulation and experience that the focus shifts from the artwork, to the structure, to the city. Like the buildings’ general forms, the structure--both the larger ribs and smaller mullion systems--is derived from the initial site studies and consequent patterns. The buildings are comprised of only exposed structure. The reason for this is to evoke transparency through the site from all directions--not to segregate or create boundaries. The only “solid” components of the building are the floor. In addition, the cafe contains some solid walls, but the sunken nature of the building still allow visibility between the roof of the cafe and the floor of the observation platform above. The one other moment of enclosure within the project is the display case for the paintings within each structure. In addition to the paintings, these suspended glass boxes contain dehumidifiers and lighting at the top and bottom. The remainder of the lighting is positioned underneath the floor of the gallery ramp, where it can cast shadows of the structure on the occupiable ground underneath. Consequently, the same lines that inspired the structure of the building will now be projected on the ground at night. 42
Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Stephen Mueller Fall 2013 Focus is a reading room in St. Louis, Missouri designed for the individual who lacks the ability to concentrate. The majority of the program exists discretely underground, with only the social space occupying the above ground urban deck. The deck is integrated into the landscape, with subtle variations in height determined by specific views and activities on the site. Underground, the unfocused individual receives natural light from the directions with less distracting views or activities, while the more distracting views are blocked.
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Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Stephen Mueller Fall 2013
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Camouflage is a research and observations facility located at the quarry of Tyson Research Center in Eureka, Missouri. It is inspired by Eurycea Lucifuga, or Cave Salamander, an amphibian native to the site. The location of the facility within the quarry is determined by moisture and shading studies on the site, while the form of the building and the changes in topography are inspired by the mapping of magnetic orientations--the way in which the blind salamander navigates. The corten steel roof camouflages the building in the landscape, while the structure imitates the natural conditions of the cave, and the building itself peels up from and pushes into the ground in order to become an integral part of the site, not to disturb or scare away the cave salamander.
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MOISTURE LEVEL
NAVIGATION 54
ENVIRO
ONMENT
HABITAT 55
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Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Catty dan Zhang Spring 2014
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This duplex explores the phenomena of vibration and reflection and is home to two ballerinas who share a dance studio. Considering performance is a significant part of being a professional dancer, the duplex is designed in a way that there are no blind spots within the building or on the street. The studio space itself is double height, with the rest of the program existing adjacent to it on either floor so that the inhabitants can always see into the studio from inside their respective apartments. In addition, mirrors in the studio and on the facade are organized on a cable system that react to vibration caused by the dancers’ movement. Regardless of where the dancer is in the studio, the tensioned mirrors will rotate and reflect views to the spaces in the building and on the street that would otherwise be hidden.
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FLOOR PLANS
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Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Philip Holden Fall 2014 AA
Transition is located in Hillsboro, Illinois--a relatively poor and old-fashioned town in which the residents are extremely proud of their community--most prominently the Historic Main Street, the parks, the schools, and the hospital. The main struggle of composing a housing project for Hillsboro is that the people don’t have a reason for staying in or moving into the community due to the poor economy, the lack of attainable jobs, and the nearby prison. So, in order for a housing project to be successful, it must also provide more opportunities for those who choose to move there; that is, a reason for Hillsboro to become or remain home. Transition pairs housing with four additional programs that reference its four proudest programs and locations. It aims to highlight the city’s accomplishments while also offering solutions to its most significant problems: to transition the city using its existing roots, but not to change it. Transition consists of four different buildings along Main Street, each consisting of housing space as well as public space that relates both spatially and programmatically to Hillsboro’s greatest landmarks. As the housing in this town is directly related to the existence of the programmatic additions to the city, the intention of the project is for two separate programs within each building to interact, while still providing the necessary privacy to each distinct user group. 66
CHILDRENS RECREATION + housing MUSEUM AND EVENT SPACE + housing
TRADE SCHOOL + housing
DRUG & ALCOHOL REHAB + housing
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PRIVATE
PRIVATE
PUBLIC
FOURTH FLOOR
SECOND FLOOR
SPATIAL PLANNING
GROUND LEVEL STAFF HOUSING
REHAB
FLOORS 1 +3
HOUSING
HOUSING
FLOORS GROUND LEVEL
70
2, 4 +5
FOURTH FLOOR
ROOF PLAN
SECOND FLOOR
THIRD FLOOR
FOURTH FIFTHFLOOR FLOOR
THIRD FLOOR
FOURTH FLOOR
ROOF PLAN
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DD
CC
CC
SECTION SECTION CC CC SECTION CC
SECTION DD
5’
50’
10’
0’
5’ 0’
20’
SECTION SECTION DD DD
20’
50’
10’
SECTION AA 73
Washington University in St. Louis Sam Fox School of Design and Visual Arts competition entry and installation in collaboration with Jeffrey Lee, Elia Magari and Zachery Reichert Faculty Advisor Lavender Tessmer Spring 2015
As an exhibition and celebration of the graduating class’ work, Framework strives to prioritize the drawings over the gallery itself. Using a lightweight, three-dimensional wooden framework allows for an elegant system that is able to exhibit the projects without distraction. Sizable boards float within eight foot tall frames allowing for an immersive experience and encouraging viewers to roam through the gallery in a variety of possible paths. At the same time, the porous assembly of each module maintains a light and open atmosphere. The multivalent carved joints allow for many possible configurations. A set of rules were established to elect configurations most suitable to the exhibition space: 1. Each drawing is framed on two sides 2. Each module consists of six members 3. Each module displays of six drawings 4. Each module has one aperture for circulation 74
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options which follow rules
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2x
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Module 1
Module 2
Module 3
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clear path optional path opening in structure
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wood members drawings
name tag steel rod
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2”
x 140
2”
x 300lf
1/4”
front
side
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vertical connections
2” wood members
2” socket -
horizontal connections
2” wood members
1/2” socket
1/4” steel rod
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Washington University in St. Louis Sam Fox School of Design and Visual Arts Professor Nanako Umemoto Fall 2015 An airport, often considered one elongated experience, is, rather, a series of smaller, connected experiences mainly characterized by circulation. While other portions of the airport experience are visible and adjacent, the sequence in which one must travel through the space is dictated and regulated. Ambiguous/ Continuous exaggerates and emphasizes this idea of an airport as a space of implied continuity. The exterior form is slightly seperated from the interior volumes. The interior volumes create tension by pushing and pulling towards one another, but never intersecting, The floor plates, again, are slightly seperated from the volumes within which they are situated. A forest of small structural elements connect all the layers of the airport. In plan, the floor plates read as a singular, continuous path, but only specific moments are actually connected and allow access determined by the sequence of the program. In section, the floor plates also read as continuous, when, in fact, they are all seperate. Ultimately, the implied continuity of the airport experience is mimicked by the building’s form, structure, program, and circulation. 84
EXIT FROM PARKING PASSENGER PICK-UP PASSENGER DROP-OFF ENTER PARKING
SITE PLAN ROOF + CIRCULATION PLAN 1/32” = 1’ 0”
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COMMERCIAL
DEPARTURE GATES
THIRD LEVEL PLAN GROUND LEVEL PLAN 2
3
SECURITY
COMMERCIAL
THIRD LEVEL PLAN 1/32” = 1’ 0” 3
GROUND TRANPORTATION
DEPARTURE GATES
5
1
BAGGAGE CLAIM
ARRIVAL HALL
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AIRPORT MAINTENANCE/ STORAGE
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ARRIVAL + DEPARTURE HALLS
AIRSIDE
DEPARTURE GATES COMMERCIAL BAGGAGE + CUSTOMS
LANDSIDE
EXTERIOR VOLUME
INTERIOR VOLUMES
FLOOR PLATES