MMIV MMIX NICHOLAS TAM SELECTED WORKS 2004-2009
TABLE OF CONTENTS
PROJECT INTRODUCTION LONG BEACH BOATHOUSE STUDENT HOUSING CARTESIAN HOUSE HOLLYWOOD MEDIATHEQUE SUNSET THEATRE FLOATING MACHINE BARHOUSE
MATERIAL & PROCE MATERIAL &
0 2
58
76
BUILDING DETAILS
MATERIALS
10
16
26
38
TYPOLOGY
HOUSING
46
82
TOPIC
ORDER
CONCEPT
YEAR
FIRST YEAR
SECOND YEAR
THIRD YEAR
FOURTH YEAR
ESS I & PROCESS II FIELD STUDIES IN ITALY MATERIAL & PROCESS III
94
COMO LAGO, ITALIA MUSEUM FRAGMENTED INGLEWOOD CORRIDOR
110
130
142
FIELD STUDY
URBAN DEVELOPMENT
FIFTH YEAR
156
THESIS
2009 USC Architectural Guild travelling fellowship finalist Exhibition for prospective students, Los Angeles, California 2008 Commendation for design work Exhibition on ‘Como Lago Redevelopment’, Como, Italy Exhibition on ‘USC Architecture in Italy’, Los Angeles, California 2007 Commendation for design work Exhibition on ‘Materials + Process’, Los Angeles, California Fall project chosen for debut issue of university architecture magazine 2006 Italy study abroad admission 2005 Winner in 4 of 5 award categories for ‘floating machine’ design competition 2004 Commendation for design work Commendation for freshman portfolio
INTRODUCTION How does one go about writing an introduction, a preface, or a summary if you will, of architectural theories or works only five years into the discipline? The most talented and recognized of architects spend entire careers developing processes or manifestos by which they approach their work, so it would be overly presumptuous of me to believe that I may be able to expose an overarching methodology regarding the works herein in any succinct manner. Articulating a consistent approach to architecture, for me, may be audacious at best, but what I can offer is perhaps a glimpse of characters or values distilled from five years of professional schooling which may begin to define what my architecture means for me. I am interested in the purity of geometry and formal language as a method of capturing the relationship between the constructs of man within the providence of nature existing. Such clarity allows for the nature of light, materials, forms, and tectonics speak for themselves instead of having the architect speak on their behalf. The nakedness of architecture exemplifies its beauty in the highest form, for such purity is a purveyor of one’s spirit to make architecture intimately their own. To quote Tadao Ando; “Creating architecture is to express representational aspects of the real world, such as nature, history, tradition and society, in a spatial structure, which is an abstract concept, composed by clear, transparent logic”. Evidently, clear architecture is not always simple. My process attempts to capture the strength of clarity, formal proportions, and the nature of materials as the most unadulterated spirit of man’s relationship with architecture. Architecture should exist in nature’s Zen and not fight with it, as there is enough complexity in the socio-cultural baggage that each visitor brings. As such, I design simplicity for clarity’s sake, not for laziness, because designing clearly is not always simple, and what appears simple may not always be so. For even in the most seemingly simple of details, Mies van der Rohe saw God. This is only the beginning. Enjoy.
NICHOLAS TAM
INTRODUCTION
1
CARTESIAN HOUSE FIRST YEAR | FALL 2004 | 3 WEEKS
X, Y, Z The Cartesian House implements basic strategies of form, organization, and light applied upon a theoretically simple program. The goal is to maintain the geometry of the Cartesian plane within the site (whether implicit or explicit) while defining three distinct programs of function with minimum square footage requirements: an area for gathering, an area for work, and an area for rest. Limitations on the dimensions of stairs, building area, and volume of excavations also factored in the transformation of a simple Cartesian plane into a series of spaces with purposefully designed programmatic and light conditions. The parti utilizes a rotational circulatory path to order the program top to bottom from public to private. The situation of movement around the perimeter emphasizes the three dimensional form of the house as one travels the path. The Cartesian plane is defined not by where walls exist, but rather where planes break or shift. The gathering space on the upper floor is situated on the entry level and consists of large openings to allow for light throughout the day, with access to a roof terrace. The area for work sits on the west side of the house, allowing natural lighting to seep into the space as late into the evening as possible. The private area of rest has only a minimal gap in the upper walls to limit morning light from disturbing the resident during sleep. The circulatory path above the work and rest areas not only organize the programmatic progression from gathering, to work, to rest, but also serves as shade for the semi-private and private spaces from the heat and glare of direct sunlight.
CARTESIAN HOUSE
5
FIRST FLOOR 6
SUB FLOOR
Above: Gathering area above with work space below. Opposite: Cartesian plane in existing site.
LONGITUDINAL SECTION
LATITUDINAL SECTION CARTESIAN HOUSE
7
Opposite Above: View from the southwest. Opposite Below: Entry level and view from the northwest. Below: 3D model of planar geometry.
FORM Z MODEL CARTESIAN HOUSE
9
FLOATING MACHINE
SECOND YEAR | FALL 2005 | 2 WEEKS
AGILE. LIGHTWEIGHT. POWERFUL. The Team SSS entry for the ‘Floating Machine’ competition focuses on speed through the development of weight reduction strategies. Judging emphasizes concept development strategies and final execution of product and performance in relationship to the original concept. Based on the structural makeup of the shark, this floating machine boasts unparalleled speed resulting from its lightweight frame and skin construction. The Team SSS prototype model pushes the benchmark of a minimalist, yet well balanced performance craft. “The internal skeleton of a shark is made of cartilage and connective tissue making the shark very flexible and light. The shark has no ribcage, so when it is on land its own weight can literally crush its body.” Again, we look to mother nature for advice. By researching, understanding, and re-thinking the way things are built, we are able to improve upon it. Creating a hollow frame with corrugated supports enables reduction of weight without the sacrifice of structural rigidity, and -- similar to the biology of a shark -- fins control lateral stability. The frame and skin systems utilize water pressure upon immersion of the craft to support the craft and null the need of additional cross bracing.
Above: Completion of corrugated frame. Below: Application of skin.
FLOATING MACHINE
13
PROTOTYPE MODEL
PRODUCTION CRAFT 14
FLOATING MACHINE
15
LONG BEACH BOATHOUSE SECOND YEAR | FALL 2005 | 11 WEEKS
STROKE... STROKE ...STROKE The Long Beach boathouse project emphasizes the design of small buildings with specific site and programmatic conditions. The focus was to refine the understanding of primary tenets of architecture: structure, movement, spatial quality, human scale, natural light, enclosure, and material systems. The primary method of explorations is a process of research (context of site, programmatic and special requirements demanded by the rituals of rowing or otherwise), analysis, and synthesis. The new rowing facility at Long Beach strives to preserve the openness of sight across the channel through the layering of conceptually transparent spaces. Though the boathouse sits between the site entry points and the water’s edge, a clear view of the waterfront across the length of the site reminds the visitors the reason for which they came. The objective of such decisions is to reinforce the importance of the channel as a site feature which validates the existence of a boathouse at the location. The observation space on the second floor runs parallel to the race channel to provide a breadth of view for the spectators best for enjoying the natural scenery down and across the channel.
LONG BEACH BOATHOUSE
19
UP
UP
SUB FLOOR 0‘
20
8’
16’
32’
64’
Above: The boathouse is an extension of the landscape, cantilevered over the water. Opposite: Overhead of site conditions.
UP
DN.
A
B DN.
FIRST FLOOR LONG BEACH BOATHOUSE
21
SECOND FLOOR 22
Above: Main drive descends along the edge of the water into the storage bay. Opposite: Study of terraced landscaping.
SECTION A
SECTION B LONG BEACH BOATHOUSE
23
CONCEPT RESEARCH SKETCHES 24
Above: Project elevation upon site entry.
VISITORS
STAFF
ATHLETES
PROGRAM ORGANIZATION LONG BEACH BOATHOUSE
25
HOLLYWOOD MEDIATHEQUE SECOND YEAR | SPRING 2006 | 13 WEEKS
DEFINING A TYPOLOGY This project expanded upon the programmatic elements of the previous, challenging the organization of space while embarking upon the rich site and contextual construct that is Hollywood. Perhaps the most vital investigation of this project is the typology of the mediatheque. When venturing into the programmatic layout that is as undiscovered as the mediatheque, one must strive to answer basic questions such as what is a mediatheque and why/how is it different than a library, what purpose does the mediatheque serve in the context of Hollywood Boulevard, and why is the mediatheque important? Through various exercises and means of exploration we discover for ourselves, a definition for the mediatheque in the 21st century. Initial studies include analysis of site conditions, both the tangible and intangible. Exploration includes historical context, natural conditions, demographic analysis, materiality, the surrounding neighborhood, and issues that arise from dealing with an urban infill site. Furthermore, critical thought into social conditions and the digital age assisted heavily into the development of a largely undeveloped typology. A mediatheque is the reinvention of the library for the 21st century. With the transformation in the exchange of information from physical to digital means, it is vital to see how computer technologies affect the way information is processed. The advancing desire to preserve in digital format may lead to the future library being no more than computer stations with access to archives. The cynical vision of the mediatheque leads to the destruction of physical space, where programmatic elements result in no more than a singular computer core where all information is accessed wireless from any location. The importance of this project is to design a mediatheque that acknowledges this newfound interaction through mediated spaces, but also stresses the importance of a physical, social interaction. The mediatheque is a place of gathering for individuals with similar interests to convene for discussion and learning. Various scales of spaces in ranges of gathering formality facilitate a diversity of preferences within a single complex. The mediatheque as a gathering space witnesses the effect of media and digital technology on human lives in both physical and mediated spaces.
HOLLYWOOD MEDIATHEQUE
29
30
CONNECTIVITY/VARIATION An environment linking unique entities to the group. Emphasis is placed on the importance of connections in a social environment which deems the mediatheque a necessary program in the advance of an individualized society. The belief is that a shared appreciation of individual experiences results in a more valuable experience.
Above: Street elevation on the north side of Hollywood Boulevard. Opposite: Location in Hollywood, California.
CONCEPT SKETCHES HOLLYWOOD MEDIATHEQUE
31
Mid-height library bookstacks allow for browsing space on top and unobstructed space.
Small openings in walls limit isolation of individual rooms.
Booths in the lounge.
HOLLYWOOD MEDIATHEQUE
33
6 10 3
8 4
7 8 5
9
2
10
1
SUB FLOOR
FIRST FLOOR
0‘
8’
16’
32’
64’
21 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
21
20
22
lobby/reception cafe magazine library exhibition lounge internet cafe bar restroom food prep service media lab auditorium seminars classroom reading area office area conference storage director’s office processing desk library/film archive outdoor reading
FOURTH FLOOR
21
22 16
15
12
11
2
5
SECTION A 34
16
4
4
9
10
10
SECTION B
4
8
10
19
14
18
13 13
17 8
13
8 16 11
12 15
SECOND FLOOR
THIRD FLOOR
0‘
16’
32’
64’
128’
b
a
a
b
SITE PLAN HOLLYWOOD MEDIATHEQUE
35
PROCESS SKETCHES
CONCEPT MODELS 36
BARHOUSE
THIRD YEAR | FALL 2006 | 5 WEEKS
3 UNIT DWELLING Despite the urban sprawl and car-based lifestyle that characterized the Los Angeles area during its formative years, novel solutions that accommodate increased density and new rail-based transportation systems have become increasingly attractive to long-range planners. The Los Angeles basin has always been a fertile venue for typological experimentation and has nurtured the development of key prototypes in the area of housing. Already known for a progressive spirit that encourages unique single-family residential work, Los Angeles has also inspired domestic innovation through the courtyard housing experiments in the mid-20s, the Case Study program of the 40s, and the single lot, high density projects of the 70s. Each raised important questions about the nature of urban dwellings and the power of housing based interventions to affect the social and/or economic change. As interest in the housing of growing populations intensifies in the 21st century, architects must continue to rethink contemporary practices and offer imaginative possibilities and inventive programmatic combinations that address both the lifestyle and activities of a densely urban, multicultural, and economically diverse population. This housing project introduces the application of city building and zoning codes as it pertains to modern residential design. Extracting its metaphorical composition from the ecology of the nearby beach, vertical and horizontal elements accentuate linear form. Varying textures of landscape are layered longitudinally across the site to give each unit a combination of distinct elements within their plot of the site. Concrete wave-forms pave a circulation path on the exterior, ‘flowing’ to the interior while variations in each wave informing the dimensions of interior spaces and programmatic differences through sectional height differences. Curvilinear forms and the reflecting pool add a dimension of rhythmic sensuality to the project, mimicking the cyclical calm of ocean tides breaking along the shore. Each of the three units is quite simple programmatically, containing a bedroom, living space, and kitchen/dining area. Slight variations mean that no two units are identical though they are all contained within a sleek box. The Barhouse addresses Californian living by considering the design of exterior spaces just as importantly and exciting as interior spaces.
BARHOUSE
41
PLAN 0‘
42
4’
8’
16’
32’
Above: Unit interiors. Opposite: Barhouse viewed from opposite street.
AXONOMETRIC BARHOUSE
43
Concept model.
Study model development.
Final scheme.
44
STUDENT HOUSING THIRD YEAR | FALL 2006 | 7 WEEKS
20 UNIT DWELLING Dwelling units constitute the predominant building form in our communities. Whether standing alone or accumulated into clusters as components of housing developments, they reflect the needs and aspirations of individuals, families, or other groupings and communities. The design of dwelling units reflects the way in which we organize our living environment, interface with nature, and choose to relate to our neighbors. Typically, housing could be considered to be the sizing that holds city fabric together. Considered collectively it is present everywhere serving not only as the physical connective tissues of the city but also as the background against which public buildings express their distinct roles. This particular residential project expands upon codes and requirements of public safety, handicapped accessibility, and parking requirements demanded by a 20 unit medium density housing project. An oasis of space in the dense urban fabric nearby downtown Los Angeles; this student housing development on University Avenue and 30th Street offer a spacious style of living unfamiliar in the surrounding areas. A plaza on the second level offers residents an outdoor community space with an expansive view over the neighboring soccer field. This project celebrates the luxury of pure, open space as an alternative to the congested lifestyle of urbanism. Amenities include a conference room, game room, and an exhibition space for communal use. Each of the four units offers flexibility of space planning to allow for a variety of resident combinations. An abundance of communal spaces and unparalleled openness to the outdoors makes this student housing project a relaxing home away from home.
STUDENT HOUSING
49
SITE PLAN 0‘
50
50’
100’
200’
400’
Above: Student housing between existing apartments and field. Opposite: View north from campus.
1
2 up
up
1. 2. 3. 4.
parkade trash/recycling front desk mail
5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
storage restroom lobby conference room exhibition games laundry covered gathering plaza field
SUB FLOOR 0‘
24’
48’
96’
STUDENT HOUSING
192’
51
10
6
12 5 9
8
7 4
3 up
up
dn.
up
dn.
11
FIRST FLOOR 52
Above: Northwest elevation. Opposite: Southeast elevation.
13
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
up
14
dn.
up
dn.
up
dn.
parkade trash/recycling front desk mail storage restroom lobby conference room exhibition games laundry covered gathering plaza field
up
SECOND FLOOR STUDENT HOUSING
53
1. 2. 3. 4. 5. 6. 7.
5
3
4
2
living kitchen bedroom closet bathroom balcony dining
1
3
4
1
7 5
2
6
UNIT A 673 sq.ft.
UNIT B 710 sq.ft. 0‘
4’
8’
16’
32’
5
2
4 7 7 2 3
3 1
4
1
5
6
UNIT C 940 sq.ft.
UNIT D 1009 sq.ft.
+ 9’4” grade
light
grade population density
circulation
PROGRAM 54
housing
community
private
LIGHT LEVELS
public
UNIT AXONOMETRIC
vehicular
pedestrian
ACCESS
STRUCTURAL GRID STUDENT HOUSING
55
Parking and main entry into residential complex.
Housing units with balconies.
Corner units by secondary exit.
56
Sectional model.
North section.
South section.
STUDENT HOUSING
57
SUNSET THEATRE
THIRD YEAR | SPRING 2007 | 13 WEEKS
‘BOULEVARD OF BROKEN DREAMS’ This 300 seat theatre is located on Sunset Boulevard, a street that stretches from Figueroa Street in downtown Los Angeles to the Pacific Coast Highway along the coast. Approximately 22 miles in length, it supports 4 lanes of traffic at its narrowest points and often congested with traffic that exceeds design capacity. This area in Hollywood is a centre of nightlife in the Los Angeles area, with many attractions located on it, including the landmark Arclight Theatre as well as Amoeba Music, stocking the most diverse collection of music and movies anywhere. Sunset Boulevard has engraved itself in Hollywood legend, often being the inspiration for songs, movies, and television shows. A drive along this street takes you from the gritty, urban streets of downtown to the lush residential avenues of Beverly Hills. The concept behind this theatre was to create a performance arena that was integrative with the rest of the program. It was a goal to not make the theatre a secluded box in the building, but rather a space that can fulfill other needs during times an event is not scheduled. This black box theatre can fulfill multiple entertainment styles. Not only are the seat arrangements flexible, but the backstage access points as well, depending on how the stage is set and audience focal points. Sliding panels and garage doors open up the space to natural daylight from the lobby and workshop, respectively. Seats are designed in such a way that they can be folded into stacks and stowed in the storage area of the shop, opening the theatre into an exhibition hall. With this design, the performance space is able to interact with other spaces of the theatre previously ignored. Not only is it a space for performance now, but also a space to exhibit, a space to build, and a space that can be bathed in light and air.
SUNSET THEATRE
61
CONCEPT SKETCHES 62
Above: Southeast corner from the Arclight Theatre with surrounding Amoeba Music and Los Angeles Film School. Opposite: North face of theatre with Sunset Boulevard behind.
SUNSET THEATRE
63
SECTION A 0‘
64
10’
20’
40’
80’
Above: Balconies overhang main entrance to theatre. Opposite: Elevated corner cafe protrudes from facade.
SECTION B SUNSET THEATRE
65
loading
shop/storage
mechanical
janitorial
backstage
theatre
B
lobby
exhibition
entry
A
FIRST FLOOR 0‘
AUDITORIUM CONFIGURATIONS 66
8’
16’
32’
64’
kitchen
open to below
control booth
electrical
dressing
lounge
cafe
open to below
SECOND FLOOR
STRUCTURAL GRID SUNSET THEATRE
67
large rehearsal
small rehearsal
balcony
small rehearsal
janitorial private rehearsal
balcony
storage
conference
supplies
office
office
workstations
terrace
THIRD FLOOR
service
theatre and support
circulation
performance space
VERTICAL CIRCULATION 68
audience approach
PUBLIC/PRIVATE
break room office
library
outdoor conference
balcony
locker rotation room
main assembly room lobby
rotation room
rotation room balcony
FOURTH FLOOR
occupant density
light
noise
sunset blvd.
POROSITY
to north
LIGHT AND SOUND SUNSET THEATRE
69
NORTH ELEVATION 0‘
16’
32’
64’
EAST ELEVATION
AUDITORIUM
CONCEPT MODELS 70
SOUTH ELEVATION 128’
WEST ELEVATION
PERFORMANCE SPACE: This theatre on Sunset Boulevard redefines the way both people and spaces behave within architecture. Interchangeability is the key concept in this design: The possibility of a single space serving more than one program requirement simultaneously, and/or the exchange of program designations within a singular space. The ‘black box’ setup caters to unlimited demands of a public entertainment venue. Events can include movies, galas, fashion shows, dramas, and exhibits. Fluidity between spaces means maximum flexibility; that spaces can become substitutions or extensions of another. The entirety of the building is not just an entertainment house. It can transform to become almost anything from an extension of the workshop or a showroom. In this venue, the performance space is not an isolated space designated only for entertaining the crowds, but it is a space that is developed by other spaces surrounding it, and in return, it interacts with them. Similarly, the theatre experience is not only summed up by the production of shows, but includes all aspects behind the scenes that mold the spectacle.
Bench seating along runway stage setup.
Seating directly opposite the backdrop.
72
Seating below floor panels can be hidden or utilized depending on need.
Deflector panels direct sound waves towards audience.
Auditorium-wide entry sequence allows for the porous nature of flexible space.
SUNSET THEATRE
73
Detailed development to demonstrate construction methods.
Structural members with interior walls and metal decking.
Primary and secondary structural systems along facade.
74
Lobby as mediation space between street and auditorium.
Further development of facade construction details.
Suspended ceiling and skylights on the top-most floor.
SUNSET THEATRE
75
MATERIAL & PROCESS I FOURTH YEAR | FALL 2007 | 1 WEEK
STUDY This topic studio concerning material and process confronts the conventional concepts behind modern building science and material applications, reapplying the processes of fabrication and methods of construction. It began with precedent studies of existing manufactured processes and materials. Research of these materials and processes built a knowledge base of existing principles. The process encouraged a re-thinking of conventional material development and hands-on experimentation of new methods: A personal investigation of material development through fabrication. The median phase took methods of material development and applied it towards the architectural element of the wall. The final project was a prototype single family housing development and it required the application of our gained knowledge and experimentation of material processes to develop a material sensitivity towards design. By the end, we were to demonstrate a character towards material systems, fabrication, and aggregation with regards to program through a prototype housing design. The first phase of our material investigation began with selecting materials and researching various processes of manipulation per material. This led to a hands-on process of experimenting with material properties and fabrication of test samples. Properties and aggregation of the material were experimented with. Eventually, this experimentation narrowed down to an examination of plastic materials which were banal, household supplies and how specific forms of aggregation may influence the character of such plastics. The idea of phenomenology is vital to this investigation as it is not the common unit which makes the material interesting, but the phenomenon of countless units together. Products of the study reflect an investigation into how light density interacts with these plastic units, and altering methods of aggregation to test the results of varying density, size, depth, surface, and modulation. The goal of this phase was not to create a product with direct architectural applications, but to develop knowledge through experimentation and a character towards material manipulation.
MATERIAL & PROCESS I
79
An assemblage of cut vinyl tube sections form a textured surface .
Straws inserted into a wire mesh wave-form.
Stacks of tiny cups form a landscape of varying opacities.
80
Aggregation of straws form a denser landscape pattern.
Varying heights of straws on a constant surface.
Aggregation of straws of consistent length on a modulating surface.
MATERIAL & PROCESS I
81
MATERIAL & PROCESS II FOURTH YEAR | FALL 2007 | 2 WEEKS
TRANSFORMATION This phase of the investigation takes a specific material of choice (wood) and method of manipulation into an architectural application; the wall. The design of the wall is to be a minimum of 8’ high and 64’ long running east to west, with the southern side facing a moderately busy road and the northern side towards the residential site. The wall is also to engage a domestic ritual of choice (the preparation of nigirizushi) to study material application in response to programmatic intervention. A study into the ritual of making sushi led to an understanding of the process, and allowed for a diagrammatic analysis in determining the method of intervention. The result is a wall which is designed to occupy progressive phases of the ritual and assembled in a fashion that reflects the process. The material of wood is manifested in the aggregation of predominantly 2x2 sticks that are crafted in various methods (dependant upon each phase of the ritual) to form a singular wall.
"There is a sushi restaurant with no name (nothing any good in Japan has a name) where it costs £800 to make a reservation. And when you do get in, a year or so later, it is just you and five others, and the sushi master planes down the hardwood counter afterwards so every meal is eaten off virgin wood." -Gentleman’s Quarterly (UK edition), August 2007
MATERIAL & PROCESS II
85
storage
preparation
0
cooking
10
20
30
40
50
60
70
0.33 cups
rice wine vinegar
1.00 teas poon salt
mix
heat
sushi-zu.
low heat. until sugar dissolves.
cool
3.00 tablespoons sugar
3.00 cups japanese rice
wash
rinse with cold water. repeat until water is clear. drain.
soak + cook
add rice and water to rice cooker let soak for for 30-60 minutes. let the cooked rice steam.
3.25 cups water
ebi
clean
shrimp.
remove head. devein with a bamboo stick.
hotate
clean
ika
clean
scallop. buy fresh.
squid. buy fresh and clear.
use salt water. remove white parts on side.
remove guts, head, legs. peel off skin.
maguro
thread + cook
use a bamboo skewer. boil in salted water. wait a few minutes. cool.
cut
cut
shape
tuna. buy fresh.
trim into a rectangle.
saba
clean
fillet
tako
clean
cut
mackerel. buy extremely fresh.
octopus. buy boiled.
remove guts.
wash well.
rinse
half, horizontally.
open into a flat piece. divide into thirds vertically.
pour boiling water over.
cut
smaller pieces.
slice
smaller rectangular pieces, diagonally.
soak
use rice wine vinegar. wait for 60 minutes.
wipe + peel
use a paper towel.
unagi
storage
86
10
20
slice
small pieces, diagonally.
smaller rectangular pieces, diagonally.
boil
eel. buy prepared.
0
remove
skewer, shell, belly side vein.
mix
cook
use salt water. 0.20 cups sugar. simmer for 10 minutes. wait a few minutes. 0.33 sups soysauce. 3.00 tbsps sake rice win. place eel in pan.
30
preparation
40
slicing
50
60
cooking
70
cooling
80
forming
90
100
110
presentation
120
130
140
chirashi
cool
sprinkle + fold
use a fan.
japanese sushi rice
serves 4-6 people.
sprinkle vinegar over the rice. quickly fold by shamoji. be careful not to smash the rice grains. rice will become shiny.
makizushi
spread
shape
spread rice over sushi-oke (wooden bowl) by shamoji (spatula).
take 2 tbsps of sushi rice. shape into oval mound.
combine
moisten
sushi rice on top of the sushi sashimi. wasabi should be inbetween. press gently. place with sushi rice on the bottom.
wet palms and finger using sushi-zu.
cut
cut along belly. flatten.
nigirizushi ready to serve.
dry
use a paper towel.
dry
dabs
wasabi on the slice of sushi sashimi.
use a paper towel.
narezushi
sushi sashimi keep cool.
oshizushi
cut
smaller rectangular pieces.
80
cooling
90
100
110
forming
120
130
140
presentation
MATERIAL & PROCESS II
87
CONCEPT SKETCHES 88
PROCESS SKETCHES
Above: Striped texture of concrete shelter created by 2x2 formwork. Opposite: Entrance into the program wall directed by framing for bamboo screen.
MATERIAL & PROCESS II
89
ELEVATION
PLAN 90
storage
preparation
slicing
cooking
Above: Presentation space bathed in light and open air. Opposite: A workspace for the cleansing process and application of heat.
cooling
forming
presentation
0‘
2’
4’
8’
16’
MATERIAL & PROCESS II
91
Study model for entrance sequence.
Concrete form surrounding cooking area.
1:1 scale construction of column detail.
92
MATERIAL & PROCESS III FOURTH YEAR | FALL 2007 | 9 WEEKS
PROTOTYPE APPLICATION The prototype housing development on Exposition Boulevard takes the material of steel and injects it into the very bones of the family dwelling unit until it is bled through the skin. The expression of steel construction is a direct reaction to the historic urbanity of south Los Angeles and the cold face of a tarnished neighborhood. However, the delicacy in the assemblage of parts takes the most mundane of steel material and constructs it into a poetic rhythm and motion. The rationalist approach towards a standardization of parts is contrasted by the implementation of a sculptural skin to show that there is space for the human soul within the streets of South Central. This prototype housing development is targeted towards single students at the University of Southern California. Each property is designed to house three students, with on-site parking for one vehicle per occupant. Though this particular development is targeted towards students, the flexibility of the universal program module allows for varying site densities and arrangements for almost any user group. A 16’ x 16’ module was determined in program development to be the ideal size to hold each program within the square module. Every house consists of eight program modules that were determined necessary to satisfy the requirements of a home; one living, one service, three rest, two parking, and one outdoor space. Throughout the nine sites, the minimum program is upheld, and often added to depending on site conditions. Since each 16’ x 16’ module is responsible only for the program and circulation that is necessary for that specific space, modules are free to rotate and connect with any other module, creating limitless options in form and space relationships yet maintaining affordability through a catalog of standardized spaces. The skin breaks away from the rationalist ideals of the standard module and enclosure formation, allowing for a unique personalization of the house. 4” wide steel C-channels running parallel to grade are placed 16” apart to modulate light and views to a greater degree of specificity. Fluorescent tubes can be installed within the C-channels in response to nighttime lighting requirements or for a purely aesthetic sense. While the standardization of steel frame modules and enclosure panels allow for an unlimited amount of interchangeability to maintain affordability, the skin expresses an individualistic quality to make each home unique.
Above: Prototype house 2. Below: Prototype house 3.
MATERIAL & PROCESS III
97
UP
FIRST FLOOR (PROTOTYPE HOUSE 2)
DN.
SECOND FLOOR 98
Above: Double-height atrium overlooking the front yard. Opposite: Entrance into the car park from street facade.
prototype house 2
$
$4668 3 wall A
$11 575
$2072
$31 575
$5120
$43 725
$14 520
$12 278
$5008
$9888
$5116
$4709
$18 564
$113 750
$55 068
1 living series 1 service series 3 rest series
7 concrete slab modules 4 concrete tiled roof modules plumbing
modules
1 wall C 2 wall E 5 wall F
1 wall K
1 wall M 3 wall P
enclosure
total house cost = $168 818
3400 sq. ft. site area
1592 sq. ft.
building footprint
1337 sq. ft.
building floor area
$126
price per square foot
0‘
4’
8’
16’
32’
MATERIAL & PROCESS III
99
SOUTH SECTION
SOUTH ELEVATION 100
Above: Bedrooms line the hall overlooking Exposition Boulevard. Opposite: Rear walk of house.
EAST SECTION
* skin on elevations shown free of supports, and not included in cost analysis
EAST ELEVATION 0‘
4’
8’
16’
32’
MATERIAL & PROCESS III
101
DN.
UP
FIRST FLOOR (PROTOTYPE HOUSE 3) 102
SECOND FLOOR 0‘
4’
8’
16’
32’
Above: C-channels can be installed with fluorescent tubes to light outdoor gathering space. Opposite: Bedrooms cantilever overtop to provide covered parking.
SOUTH SECTION
EAST SECTION 0‘
4’
8’
16’
32’
MATERIAL & PROCESS III
103
prototype house 3
$
$11 575
1 living series
$31 575
1 service series
$43 725
$4668
$7016
$2456
$9888
$20 328
$4709
$6152
$3584
$18 564
$112 072
$52 168
3 rest series
4 concrete slab modules 4 concrete tiled roof modules plumbing 2 grasscrete modules
modules
total house cost = $164 240
3 wall A
1 wall D 7 wall F
2 wall G 3 wall P
* skin on elevations shown free of supports, and not included in cost analysis
enclosure
SOUTH ELEVATION
2480 sq. ft.
site area
1064 sq. ft.
building footprint
1337 sq. ft.
building floor area
$123
price per square foot
NORTH ELEVATION 104
Above: Strip windows along service space and bedrooms control light and views. Opposite: View into atrium from rear yard.
EAST ELEVATION
WEST ELEVATION 0‘
4’
8’
16’
32’
MATERIAL & PROCESS III
105
$6144
steel framing
$3000
electrical wiring and lighting fixtures UP
$895
UP
mechanical
$1536
hardwood flooring
living series
$11 575
per 16’ x 16’ module enclosure not included
L1A
L2A
L2B
S1A
S2A
S3A
R1A
R1B
R2A
R6A
R7A
R8A
A1B
A2A
$6144
steel framing
$3000
electrical wiring and lighting fixtures
$895
mechanical
$1536
hardwood flooring
$20 000
service series
kitchen appliances and cabinetry
$31 575
per 16’ x 16’ module enclosure not included
$6144
steel framing
$3000
electrical wiring and lighting fixtures
$895
mechanical
$1536
hardwood flooring
$3000
rest series
water closet
$14 575
per 16’ x 16’ module enclosure not included
$6144
steel framing
DN.
DN.
$3000
electrical wiring and lighting fixtures
$4000
steel stairs, 15 steps with open risers
$13 144
per 16’ x 16’ module enclosure not included
atrium series
A1A
$3508
6“ deep, reinforced concrete slab
$3508
per 32’ x 16’ module
garage series
G1A
G2A
$2472
concrete tiling roof
$2472
per 16’ x 16’ module
terrace series 106
T1A
T2A
UP
UP
L3A
UP
L3B
L4A
S3B
S4A
S4B
S5A
R2B
R3A
R4A
R5A
R9A
R10A
UP
DN.
DN.
DN.
A2B
A3A
MODULE The 16’ x 16’ steel-framed module holds a single program piece within itself and is the primary structural grid of the house. Square column and I-beam members are erected on site with each module containing a standardized program unit. Because of the consistency of the 16’ x 16’ module, program units can be arranged in any formation in response to site conditions and client preferences. Exterior hardscape and Grasscrete areas of the same module size imply an aggregation of units of varying heights of extrusion. MATERIAL & PROCESS III
107
$2.26 / sf
$1556
galvanized steel siding, 28 guage
$1800
100% opaque 0% transparent 0% door
$11 / sf
1/4” thick tempered glass
96% opaque 4% transparent 0% door
$190
36” x 80” galvanized steel door with impact resistant laminated glass, 24 guage
x4
enclosing structure and glass support
A
B
enclosure series $2560
$2904
82% opaque 18% transparent 0% door
76% opaque 24% transparent 0% door
F
E
$4596
$4600
40% opaque 44% transparent 16% door
47% opaque 53% transparent 0% door
J
I $4709
plumbing for 2-story house
$2472
concrete tiling roof per 16’ x 16’ module
$
$5116
$1754
$6052
38% opaque 62% transparent 0% door
6“ deep, reinforced concrete slab per 16’ x 16’ module
19% opaque 65% transparent 16% door
$1792
grasscrete with grass per 16’ x 16’ module
house costs
M
N
house four house three house one
L1a
S1a
A1a R1a R1b R2a
house two
G1a
G1a
S1a L1a R2a R1b R1a A1a
G1a
S2a L2a
R4a A1b
G1a
R1b R2a
R2a L4a
S2a A3a R3a R2b
UNIT AGGREGATION 108
$2072
ENCLOSURE The wall paneling system is standardized for application on any 4 sides of the steel framed module. Pre-designed options offer a variety of enclosures that can be selected based on requirements for openings, transparency, or specific site conditions. Each panel is individually priced so that the client is fully aware of economic expenditure and may make decisions accordingly. Each panel is fabricated in shop from steel studs so that they may simply be set into the frame once on site. The exterior is clad with galvanized steel for a sheen surface that is protected from the elements.
$2456
84% opaque 0% transparent 16% door
84% opaque 16% transparent 0% door
C
D
$3076
$4596
66% opaque 18% transparent 16% door
40% opaque 44% transparent 16% door
G
H
$5008
$5008
32% opaque 52% transparent 16% door
32% opaque 52% transparent 16% door
K
L
$6188
$6188
19% opaque 81% transparent 0% door
19% opaque 81% transparent 0% door
O
P
house five
R2b
house six
R7a L2a
R10a A1b G2a
S5a
T1a
G1a
house seven
house eight
G2a
R7a S3b L3a R1b
T2a
R2a
T1a
A2b
R2a R2a
G2a R1b G1a
S3a R1a A2a L3b S4b R2b
house nine
T1a L2b
R1a
S4a R2a R1b R4a L2a
A1b
A1a
MATERIAL & PROCESS III
109
FIELD STUDIES IN ITALY FOURTH YEAR | SPRING 2008 | 3 WEEKS
STUDYING ABROAD One of the most important aspects of the building design and construction process is the accumulation of data pertaining to the existing site and building context to understand the external forces that have influenced and directed the form and shape of the architectural response. This entails on-site study of the fundamental spatial, structural and organizational elements of the building and how successfully architecture responds to its functional purposes and appropriately engages the landscape, urban or otherwise. This involves the first hand introduction to formal characteristics and typology of historic building types, from ancient to modern, including comparative studies of significant buildings. Critical to field studies in urbanism is the observation and analysis of the historic growth and formation of urban spaces, their shape, form and containment, surrounding buildings, scale, mass, and other significant physical characteristics. Attention was focused on the prevailing theoretical, cultural, social and political conditions, and constraints. Field studies in technology is the observation, documentation, critical analysis and evaluation of selected technological developments which will enrich the understanding of structure and construction as a means to attain command of the manipulation of tectonic form and meaning. Means and methods of construction and material assembly are studied to understand both historical and current theories and principles.
Previous: Il Colosseo, Rome. Opposite: Santa Maria del Fiore, Florence.
FIELD STUDIES IN ITALY
113
PALAZZO CANCELLERINA, ROME 114
SPANISH STEPS, ROME FIELD STUDIES IN ITALY
115
SANTA MARIA DELLA PACE, ROME 116
SANTA MARIA DELLA PACE, ROME FIELD STUDIES IN ITALY
117
IL PANTEONE, ROME 118
IL PANTEONE, ROME FIELD STUDIES IN ITALY
119
CAMPIDOGLIO, ROME 120
FIELD STUDIES IN ITALY
121
THUMBNAILS OF FLORENCE 122
PALAZZO STROZZI, FLORENCE FIELD STUDIES IN ITALY
123
OSPEDALE DEGLI INNOCENTI, FLORENCE 124
UFFIZI GALLERIA, FLORENCE FIELD STUDIES IN ITALY
125
SAN GIORGIO MAGGIORE, VENICE
VILLA ROTUNDA, VICENZA 126
‘INFERNO’, ROME
BY CARLO LORENZETTI, ROME FIELD STUDIES IN ITALY
127
MICHELANGELO’S DAVID, FLORENCE 128
WINGED VICTORY OF SAMOTHRACE, PARIS FIELD STUDIES IN ITALY
129
COMO LAGO, ITALIA FOURTH YEAR | SPRING 2008 | 10 WEEKS
LAKEFRONT REDEVELOPMENT This development in the city of Como, Italy consists of a hotel and exhibition building where residents and visitors alike can engage within a cultural centre. The linear site runs on axis with the lake, marking the border between the historic Roman city and the contemporary expansion. The concept behind this project enforces the strong circulation of vehicular and pedestrian traffic along the old city walls from the dense city streets to the expansive lakefront. This circulatory pattern then, becomes the spine of the project onto which program is attached. The monumental ramped walk draws the visitor from the cityscape, up to the heavens towards the terminus that seemingly hovers over the waters. Through this narrow passage, nature is revealed to man as a progression from sky, to mountain, to water, until he is confronted with the breadth of landscape at the climax. By this process, man is transported above the clutter of the city and is able to engage in thoughtful dialogue with nature.
COMO LAGO, ITALIA
133
1
existing conditions 1:4000
proposed development 1:4000
1 hotel and cultural centre 2 light rail transit station 3 parking site
134
2 3
1
site plan 1:2000
1 lake como 2 proposed complex 3 duomo
4 piazza verdi 5 casa del fascio 6 teatro sociale
2
5
4
3
6
COMO LAGO, ITALIA
135
y x z
.
UP
UP
DN
museum plans 1:1250
DN.
UP
UP
7 1 2 3 4 5 6 7 8 9
7
outdoor auditorium event space storage lobby bookstore temporary exhibition permanent exhibition roof terrace cafe
6
6
1 UP
UP
UP
DN. DN.
UP
4
UP
UP
8
2 5
DN.
UP
3
level -1 [-4m]
level 0 [1m]
level +1 [5m]
z
136
x
y
9
.
UP
.
DN
UP
.
DN
DN
DN.
7
6
DN.
DN.
DN.
UP
8
DN.
level +2 [9m]
level +3 [13m]
level +3 [15m]
COMO LAGO, ITALIA
137
CONCEPT SKETCHES 138
Above: The concrete ramp sits between the hotel and the museum programs. Opposite: The cafe sits atop the end of the ramp, cantilevered for views over the lake.
COMO LAGO, ITALIA
139
lake como
lake como como nord lago site redevelopment
to switzerland
site redevelopment new terminus
to switzerland
historic centre
como san giovanni
historic centre
como san giovanni
new light-rail system on existing tracks
proposed transfer stations and car park existing parkade
to milano cadorna
to milano centrale
EXISTING INFRASTRUCTURE 140
existing parkade
to milano cadorna
to milano centrale
PROPOSED INFRASTRUCTURE
Massing model of site strategy.
Study model of building form.
Developing model of museum and hotel.
MATERIAL COMO LAGO, & PROCESS ITALIA III 141 00
INGLEWOOD CORRIDOR FIFTH YEAR | FALL 2008 | 15 WEEKS
LAX TO DOWNTOWN The community of Lower Hyde Park Pedestrian District of Los Angeles has a rich history but is still suffering from the loss of business after the 1992 riots. Centrally positioned on the direct rail right of way between LAX and Downtown Los Angeles, this neighborhood may form a nucleus for the rebirth of this otherwise underdeveloped plain. Explorations into densification of neighborhoods and generators of place will address issues of scale, density, hybridization of program, and form. The goal is to develop a dense, active, multifaceted district that integrates public, private, and non-profit development. The vitality of Inglewood within greater Los Angeles County relies on the reinstatement of the rail line as a carrier of activity through the area. The new light rail system running between Downtown and Los Angeles Airport cuts through the fabric of Inglewood that will bring activity into the stagnant area with new developments along the line. As a convergence point of multiple circulation systems, this site is frequented with traffic but must capture the attention of the passer-bys and convert it into local activity. Programmatic elements cater to the local community and the population travelling between Downtown and LAX, integrating user activity and providing an iconic destination for greater Los Angeles. The dispersion of existing circulation along the length of the site enforces the hierarchy of program along the site; from the generic to the most specific. Public program is housed in ‘glass boxes’ situated on a thin strand between Redondo and Florence as a means of displaying activity to capture users. Connectivity and Integration are key concepts in programming and form. Described as a wellness centre within the ‘glass boxes’, amenities stimulate physical and mental health for the local and travelling population. Information and views are products of these concepts that are used as a means to integrate the community within a grander scale of existence.
INGLEWOOD CORRIDOR
145
SITE PLAN 0‘
146
50’
100’
200’
400’
Above: Hotel and conference buildings overlook leisure programs.
SECTION A
SECTION B
a
a
b
b
FIRST FLOOR 0‘
64’
128’
256’
INGLEWOOD CORRIDOR
512’
147
UP
UP
DN.
UP
UP
DN.
UP
FIRST FLOOR 0‘
148
16’
32’
64’
128’
Above: Glass elevation of the hotel is seen behind the cafe and bookstore building. Opposite: Townhouses situated behind the hotel begin the transition into the residential area.
UP
UP
DN.
DN.
DN.
DN.
DN.
SECOND FLOOR
a
b
c
d
INGLEWOOD CORRIDOR
149
SECTION A 0‘
SECTION B 150
16’
32’
64’
128’
Above: Light rail tracks lay opposite the walled barrier from the cafe and park. Opposite: A sectional perspective down the street.
SECTION C
SECTION D INGLEWOOD CORRIDOR
151
CONCEPT The project exists on a linear site that reinforces a ‘corridor of activity’. Program is targeted towards the traveler arriving by light rail between LAX and downtown, but also responds to needs for the local community. Described as a ‘wellness centre for the business traveler’, amenities promote a healthy lifestyle for both body and mind for people on the go. As a response to the nature of the site and the method of enticing the target user group, architectural elements are long and thin, seemingly exposed in longitudinal sections to reveal the activities that take place inside. The concept resolves organization, systems, and materiality via the following: ORGANIZATION Stratification of program and form in response to scale of circulation (longitudinal). Program specificity responds to dispersion due to circulation (latitudinal). SYSTEMS Existing circulation patterns inform designed circulation, a system of dispersing activity through the corridor from generic to specific programs. Building mass responds to space per occupant requirements from group gatherings in the generic program to individual spaces in the specific. MATERIALITY Opacity is a response to publicity of program and desired amount of exposure, which is derived from the organizational method.
Commercial centres in Los Angeles. URBAN STRATEGY The urban strategy informs the concept through the desire to bring visitors into the area of Inglewood with the use of circulation system as well as increasing activity and density in the area by the project’s exposure to the public. The design of the ‘glass box’ elements as housing the most public of program displays what that particular site has to offer with regards to providing services to the local community and the visitor at large. 152
Area of Inglewood along the rail line to be re-developed.
single family housing apartments fitness centre squash facilities spa mediatheque learning centre ramped park
single family housing conference centre park
single family housing hotel cafe bookstore
Facilitation through circulation.
user density / floor area
total users / building volume
user activity
0‘
200’
400’
600’
800’
1000’
1200’
1400’
1600’
1800’
User density through program.
INGLEWOOD CORRIDOR
153
Architectural elements enforce diagonality of the rail line.
Study of existing program stratification and activity surrounding the site.
Program rests longitudinally to reinforce movement along the corridor.
154
MUSEUM FRAGMENTED FIFTH YEAR | SPRING 2009 | 15 WEEKS
THESIS Architecture as both a physical and social intervention can become a catalyst for social change by transforming the undesirable into the desirable, the silenced into the vocal, and the stagnant into the creative. As defined by the International Council of Museums, a museum is a “permanent institution in the service of society and of its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment, for the purposes of education, study, and enjoyment”. A defragmentation of the museum volume (traditionally a single complex visited only through conscious decision) can be of better service to contemporary society through convergence with aspects of everyday life. As such, it becomes more integral to the development of communities by increasing accessibility via confrontation. In Pier Giorgio Di Cicco’s “Municipal Mind: Manifestos for the Creative City”, he outlines the virtues of a creative city, and the values of it as part of civic culture. As a book of manifestos, he outlines how creativity engages citizens with the life of the city, and how a universal care for ones surroundings can benefit the social lifestyle. The book hints at tackling socio-economic differences, issues of crime, and a renewal for urban life. The beauty of a creative city is one that tackles universal problems through the engagement of individuals, and this book challenges the growth of humanity through the development of our cities. The philosophies found in this book are highly applicable to the city of Calgary as it sees a tremendous amount of urban growth and development. It strives to answer the questions “what makes a city worth living in?” and “how can a city capture the hearts of its citizens”. It preaches civic responsibility, diversity, and acceptance as outcomes of the creative attitude which attributes to a healthy city, both physically and emotionally. “In Municipal Mind, Toronto’s Poet Laureate offers a blueprint for building sustainable cities in a global era, predicated on city soul. By weaving bold and savvy strategies for urban creativity and civic prosperity, together with a reasoned appeal for mutual respect, understanding, and interaction among citizens, he persuades us that – in the delicate balancing of universal values and individual needs – cities can do far, far better. Municipal Mind offers up a whole new way of civic being and thinking that puts wonder before commerce and nothing before human encounter”. -Municipal Mind
MUSEUM FRAGMENTED
159
DESIGN PROBLEM Throughout its brief history, the stimulation of Calgary’s growth has been a direct result of its petroleum industry. The oil sector has the greatest relationship with the strength of the economy, providing the most optimistic career fields for greatest success and a high contributor to the employment market. Unprecedented growth in recent years has seen housing markets and urban developments skyrocket, yet the sophistication of the arts and architecture has remained largely underdeveloped in proportion to the city’s growth. How can architecture be the social catalyst which promotes a sensitivity towards creative cultivation in the context of economic-driven growth? Is it possible to influence the attitude of a city where the value for a culture-rich lifestyle isn’t dominated by the desires for economic prowess? In what way can architecture be the catalyst that fosters a city of heart and soul, not just of function? The recent economic boom of Calgary can only be attributed to the increasing value of oil as a non-renewable resource. To put the oil production issue in international perspective: Canada ranks second in containing 13% of Earth’s known oil reserves (behind Saudi Arabia of nearly 20%), with 87% of its oil and natural gas production attributed to oil companies headquartered in Calgary. The city can attribute much of its population and urban growth to the strength of the petroleum of industry. As of 2008, the city of Calgary has 264 high rise buildings, with 42 under construction, 13 approved for construction, and another 63 proposed. This offers multiple opportunities for architecture (as a physical manifestation) to expose creative ideas and values as an integral part of the urban lifestyle. The conduction of a creative atmosphere will see a new architecture challenging for new prototypes and not settle for the generic fabric that is often offered as an immediate solution to rapid growth. As a city is cultured through the hearts of its citizens, its growth should be cultivated by its creativity, not the profits of opportunistic developers. In the midst of a petroleum epicenter, the growing economy and global focus has raised interest in the development of the cityscape; providing an opportunity for architectural sophistication where the generic no longer becomes the conventional option. A new architecture in the context of Calgary must confront the socio-economic issues that arise from the strains of a growing city and support a cultural heart that sustains life in the city proportional to its economic muscles.
160
DOWNTOWN 0‘
400’
800’
1600’
3200’
TOWER BUILDINGS (+350’)
POPULATION DENSITY MUSEUM FRAGMENTED
161
residential
$
commercial
institutional
PROGRAM
oil & gas
financial
PETROLEUM AND FINANCIAL CENTRES
ART MUSEUMS 162
surface
structure
PUBLIC PARKING
+15 ACCESS
LRT PLATFORMS MUSEUM FRAGMENTED
163
PROGRAMMATIC ASPECTS: Expansive over a series of light rail platforms, a redesign of each light rail platform calls for an appropriation of the ‘node’ with its immediate context that creates unique experiential spaces through the network. Metaphorically, the street becomes the ‘exhibition’ wherein each platform becomes an individual ‘object’ of display. The intrinsic character of train platforms as waiting spaces is advantageous in confronting the population when they are more open to engagement than otherwise. Platforms which reflect seasonal changes and demands can more accurately respond to vernacular conditions which, as shelter, can demonstrate a stronger conscious relationship between architecture and user. The platform series is a direct architectural response to the changing of seasons in a region where the protection from heat or cold, sun or snow is highly differential. Each node becomes a thematic extension of its surroundings that extracts interior program to a public outdoor experience, becoming a display of creative extraction within an architectural experience. The hope is that its publicity promotes discussion, thought, and interaction with the creative spirit within the city. The sites consist of four platforms throughout the core. 6th St. SW, 3rd St. SW, Centre Street, and City Hall stops which extend east-west on the southern edge of 7th avenue. These stations are part of the east-bound line through the ‘free-fare zone’ of the core, implemented to facilitate ease of transportation through downtown without increased vehicular congestion. In recent years, the reconstruction of highly frequented platforms has been extended to cover the length of four cars from three to prepare the infrastructure for increased usage due to population growth. Whereas the old platforms measure approximately 250’x18’, newly renovated platforms extend to 300’x18’. Vehicular traffic on this avenue is restricted to light rail transit, public buses, and emergency vehicles which make choreographing simultaneous large-scale changes in the network of platforms advantageous. Stephen (8th) Avenue, parallel to the south, is a pedestrian-only street filled primarily with cafés, restaurants (both casual and fine), stores, and occasionally street performers which characterizes its lively street atmosphere. It is a promenade highly frequented by workers on lunch breaks, shoppers, and tourist activity. The repetitive nature of highly utilized sites (Calgary’s light rail system boasting the highest ridership per capita in North America) aggressively publicizes works of art and architecture while recreating the experience of the ‘waiting platform’ as a potentially exciting moment with individualistic qualities.
01
02
03
04
LRT platform exhibition documents drawings paintings
LRT platform exhibition products objects sculptures
LRT platform exhibition architecture new projects competitions
LRT platform bookstore
01
02
03
04
05
05
rink/pool integration workspace administration storage
PROGRAM FRAGMENTATION 0‘
164
400’
800’
1600’
3200’
weekdays weekends special events
0
0
0
0
0
12
12
12
12
12
24
24
24
24
24
0
0
0
0
0
12
12
12
12
12
24
24
24
24
24
0
0
0
0
0
12
12
12
12
12
24
24
24
24
24
01
02
04
03
05
TIME AND USE
local art display
entry
transition
contemporary 2d media
artist’s studio
01 fashion design
entry
transition projections product design sculpture hall
loading
02 entry
local architecture developments
sketchbook exhibit
international architecture developments
entry
03 entry
transition print media
bookstore
04 PROGRAM SEQUENCING 0‘
25’
50’
100’
MUSEUM FRAGMENTED
200’
165
01
north elevation
[1] local art display display of amateur work to promote sharing of creative ideas within the community even at grassroots level
level 1-2 double-height lobby level 3+ offices entry
entry
entry
[2] +15 connection to contemporary 2d media hall to facilitate traffic between parkade, exhibit, and walk
access points
frequency of use
[3] contemporay 2d media its situation in front of a multi-story parkade allows for larger vertical spaces without a hinderance of the surrounding views while it offers connections between parking and street
local vs international information level 1-4 parking level 1 lobby level 2+ offices
degree of enclosure
[4] artist’s studio a ‘fish tank’ open to public view to exhibit the creative process behind the product
1 3 2 high low 4
local international
exhibition
open air
platform
enclosed
workspace
02
north elevation level 1-3 retail level 4 devonian gardens level 5+ offices
entry
entry
[1] industrial design showcasing the processes behind the production of consumer goods [2] fashion exhibiting works of fashion (whether they are by fashion designers or artists), relating to high-end retail in the area
entry
access points
[3] product design displaying notable products of contemporary design for show and sale
frequency of use
[4] +15 connects the sculpture and product design halls with the neighboring shops
local vs international information
degree of enclosure
1
level 1 retail level 2-3 devonian gardens (double-height space along facade)
[5] sculpture contemporary sculpture for show or sale
2
3
high low
5
4
local international open air
exhibition
enclosed
platform
PROGRAM ANALYSIS 0‘
166
25’
50’
100’
200’
03
north elevation
[1] local architecture a pavillion that displays work regarding new or proposed developments in the city as a means of informing citizens of the ongoing flux in their communities (may be used in conjunction with events in the conference centre)
level 1 hotel lobby level 2 conference rooms level 3+ hotel rooms entry
entry
access points
[2] sketchbook exhibit displays the working process behind architectural thoguht and inspiration as a means to connect the most intimate of ideas with the most public of realizations
level 1 lobby/conference rooms level 2 exhibit hall
frequency of use
local vs international information [3] international architecture connections through a glass facade section of convention centre internalizes an exhibit of international architectural developments with exhibit hall
1
degree of enclosure
2 3 high low local international open air
exhibition
enclosed
platform
04
north elevation
entry
entry
[1] print exhibit photography and print serve to capture a world in motion, situating itself in front of old city hall as an exhibit of past and present occurences as it pertains to our society
entry
access points [2] +15 the existing walkway will join the bookstore in an interior environment with city hall and the central library
frequency of use level 1-4 old city hall
[3] bookstore emphasizing on architecture, art, and design, this specialty bookstore provides one-stop shopping for those specific disciplines and is wedged betwwen city hall and the central library
local vs international information level 1-4 municipal building
degree of enclosure 1
3 high
2
low local international
exhibition
open air
platform
enclosed
bookstore
MUSEUM FRAGMENTED
167
01 architectural concrete concrete construction with smooth surfaces formally wrap around exhibit spaces
double glazing high transparency is possible without too much heat loss through still air insulation between two layers of glass
glass mullions structural glass resists gravitational forces while maintaining minimal visual presence
steel structure framing provides primary structure for the perforated metal skin and supports the concrete forms above perforated metal skin spans between concrete shelters to limit the penetration of sunlight during the summers and reduce the effects of wind chill during the winters
concrete cast in place concrete base with embedded steel grating for traction during the winter and draining of water during the spring
02 architectural concrete its volumetrically subtractive form allows for embedded displays of objects in thicker walls and slit openings allow for a controlled and selective penetration of light upon hilighted objects or spaces
double glazing high transparency is possible without too much heat loss through still air insulation between two layers of glass
concrete cast in place concrete base with embedded steel grating for traction during the winter and draining of water during the spring
concrete structure concrete beams span across lower volumes to support suspended volumes
MATERIAL CONCEPTS 0‘
168
10’
20’
40’
80’
03
connection tube this protrusion from the museum envelope provides a direct walkway from platform and exhibit spaces to existing programs within the convention centre
steel structure structural frame supports the building envelope from the exterior, freeing up structural requirements in the interior and supports a circulation system that is independent of the primary exhibition space envelope
architectural concrete envelope for exhibitions are independent from primary circulation that links entire project, thus freeing up curatorial possibilities concrete cast in place concrete base with embedded steel grating for traction during the winter and draining of water during the spring
04 planted roof aesthetically pleasing to look at (in relationship to nearby park) and provides insulation for space below
sunshading constructed of steel similar to the bookshelves, they suggest a relationship in structure, sunshading, and utilitarian needs
insulation/books books within shelving units sit against a glass wall to provide insulation for the interior space and an interactive facade as the addition or subtraction of books change its visual quality structure/bookshelves shelving units provide both structural and functional use double glazing high transparency is possible without too much heat loss through still air insulation between two layers of glass film lamination onto glass limits transmission of view or light
steel columns stilt structure for bookstore above creates a shaded forest-like space below with the possibility of glass panels to be inserted between a random grid, offering protection against winter winds
concrete cast in place concrete base with embedded steel grating for traction during the winter and draining of water during the spring
MUSEUM FRAGMENTED
169
exhibit e
administration
wc
exhibit d
DN.
SECOND FLOOR
viewing area down to artist’s studio
L
FIRST FLOOR (PLATFORM 1) 170
seating area
K
J
I
H
access to parkade
+15 to office tower
exhibit a exhibit b
exhibit c
access to parkade
museum entrance seating area
DN.
H
Above: Primary museum space straddles the centre of the platform. Opposite: 6th Street West platform with connection up to parkade.
local art exhibit and seating area
G
F
E
D
C
B
0‘
8’
A
16’
32’
MUSEUM FRAGMENTED
64’
171
INFORMATION
SECTION 172
Above: Space for local art displays on the west end of platform one. Opposite: Artist’s studio sits directly under the platform with skylights for views.
0‘
8’
16’
32’
MUSEUM FRAGMENTED
64’
173
A
B
C
D
E
F
G
H
I
J
K
L
LATITUDINAL SECTIONS 0‘
174
5’
10’
20’
40’
exhaust air duct fresh air duct track lighting plumbing concrete slab bituminous seal steel decking steel truss
steel beam with injected foam insulation double glazing
steel structure
titanium facade attachment clip air gap densglass rigid insulation vapour barrier sheetrock
hard wood flooring radiant heating system recessed lighting stainless steel sheathing structural glass
vulcanized rubber
concrete
WALL SECTION 0”
8”
16”
32”
64”
MUSEUM FRAGMENTED
175
elevator access
local architecture exhibit UP
SECOND FLOOR
connection to conference hall
sketchbook exhibit DN.
international architecture exhibition
FIRST FLOOR (PLATFORM 3) 0‘
176
16’
32’
64’
128’
Above: Modular metal sheathing panels control enclosure and exposure between all-glass exhibition spaces. Opposite: Architectural exhibit sits over Centre Street platform and connects with the convention centre.
SECTION
NORTH ELEVATION 0‘
16’
32’
64’
MUSEUM FRAGMENTED
128’
177
fashion
main entry
projected media
sculpture
product design
loading
CONCEPTUAL PLAN (PLATFORM 2) 0‘
SECOND FLOOR
FIRST FLOOR (PLATFORM 3) 178
16’
32’
64’
128’
calgary municipal building
seating area
entry vestibule
old city hall
seating area
photography exhibit
SECOND FLOOR
+15 to city hall
bookstore display
reading area
+15 to library
FIRST FLOOR (PLATFORM 4) 0‘
16’
32’
64’
128’
SECTION
NORTH ELEVATION MUSEUM FRAGMENTED
179
Conceptual model for platform 2.
Study of sunken and cantilevered space relationships on an otherwise banal train platform.
Study model for platform 1.
180
PLEASE DIRECT ALL COMMENTS TO ntam@alumni.usc.edu