ARC550: Open Air Museum of Rend Lake: Wood Design Pavilions

OPEN AIR MUSEUM OF REND LAKE: WOOD DESIGN PAVILIONS

ROBERT MUSIAL

OPEN AIR MUSEUM OF REND LAKE: WOOD DESIGN PAVILIONS Regional Graduate Architecture Studio Southern Illinois University – Carbondale ARC 550 Summer 2014 Professors: Chad Schwartz Stewart Wessel Work By: Robert Musial

INTRODUCTION TO THE PROJECT The project started off with readings about regionalism and tectonics.

While investigating regionalism and tectonics we looked into five to seven buildings that had same commonly with each other and those building became part of the building collection.

We

researched each

building to the fullest extend and then bought them all together to compare and contrast each one.

The

next step was to create an open

air museum with these building collection. located in

Lake

Rend Lake, Illinois. While

The site for this project was studying the region of the Rend

and keeping all in mind what we have researched the museum begin to take shape.

CONTENTS RESEARCH ANTHOLOGY 06-09 pages 10-21 pages 22-25

critical readings

pages

building collection program analysis

SITE STRATEGIES site analysis

28-35 pages 36-37 pages

conceptual site design

OPEN AIR MUSEUM concept: statement and diagram site plan floor plan elevations

| sections cuts

renderings energy model

40-41 pages 42-43 pages 44-45 pages 46-47 pages 48-57 pages 58-59 pages

PROJECT SUMMARY integration of research exhibit piece

62-63 pages 64-67 pages

RESEARCH ANTHOLOGY

READING ONE : SIX POINTS FOR AN ARCHITECTURE OF RESISTANCE KENNETH FRAMPTON Kenneth Frampton explains the Six Points for an Architecture of Resistance, which are Culture and Civilization, the Rise and Fall of the Avant-Garde, Critical Regionalism and World Culture, the Resistance of the Place Form, Culture Versus Nature, and the Visual Versus the Tactile. An interesting quote from the Culture Versus Nature section is “building the site” by Mario Botta, building the site means using the context of the site to build the building (Foster, 1983, pp. 29). Another explanation is the materials for the building should come from the region because this preserves the culture in the building. This also leads back to sustainability, the material that is native from the region is more accessible and less energy is expended for transportation to the site. LEED actually identify this as a sustainable accept and rewards the project with LEED credits. Furthermore, the material is a native resource because it was able to be sustained many years of that regions climates which again reinforces how material is part of the culture. To continue, Kenneth Frampton states, “The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness.” which expresses that by constructing a flat topography the designer is making an ordinary site which can be put anywhere in the world and that any ordinary building can be plot on to the site making it “placeless” (Foster, 1983, pp. 29). Also the building loses the culture aspect, by taking away the topography the region is losing a site that has been shape and formed into a unique topography over many years.

To include no human will ever be able to recreate something to its organic shape and size but, instead the designer should take the unique shape and embrace it. A perfect example of this the Nepal farms in the country side and how they are able embrace the mountains and create unique stacking effect of on side of a mountain. This brings back to their culture and how they have always been surrounded by mountains. To show future generations how they have embraced the land. Topography and region of a site is as important as the building itself, by embracing the context of the site the designer is able to meaning back into the community and building. page

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Citations Foster, H. (1983). <i>The Anti-aesthetic: essays on postmodern culture</i>. Port Townsend, Wash.: Bay Press.

critical readings

READING TWO: EVOLUTION AND CRITICAL REGIONALISM HADAS SHADAR To begin, both of these articles were written at a different time period. Six Points for an Architecture of Resistance was written in the 1983 while Evolution and Critical Regionalism was written in 2010. This is a 30-year difference. The Six Points for an Architecture of Resistance focuses on the modern architecture aspect and how regionalism is lost but in Evolution and Critical Regionalism Hadas Shadar focuses on vernacular architecture, modern architecture, critical regionalist architecture, and the evolution of architecture. Also, Hadas Shadar has a specific section about the critical regionalist architecture in Israel. In general, Kenneth Frampton focuses on the past while Hadas Shadar argument is geared more towards the present.

Hadas Shadar places an emphasis on the local architecture. For example Hadas Shadar states, “ Projects cited in the professional literature that are planned as completed products neglect on of the most prominent characteristics of local architecture: the ability to change and adapt to the varying human and culture conditions of the residents using them” (Shadar, H. ). This again reemphasizes the evolution of architecture and how the local culture change existing to architecture into their daily needs.

Hadas Shadar explains this theory by showing different residential complexes in Israel built after World War II and how they have changed in 50 years. For instance, Hadas Shadar explains that, the people did not make major changes to adapt to modernist plans because the plans suited their way of life but, they have changed the structure themselves by adding external spaces (Shadar, H. p.238). This shows how the modern architecture and vernacular architecture can be viewed as evolution into regionalism. In contrast, Kenneth Frampton discusses Jorn Utzon’s Bagsvared Church uses both modern / global design on the exterior, but the interior is more regionalism architecture with the celling being curves of culture (Foster, H. 1983, p2425). This shows that Jorn Utzon was able to build a church that is a globalized design and still apply regionalism architecture all in one time rather than seeing an evolution into regionalism architecture.

To conclude Kenneth Frampton states that, “1960’s have since become progressively overlaid by the two symbiotic instrument of megalopolition development – the freestanding high rise and serpentine freeways” (Foster, H. 1983, p18). In other words, after the 1960’s development was taken over. With this happening there was a lot high-rise buildings being built that were being stamped over and over again to accommodate to the population of 1960. With this development there was repetition of same highways and high rise. While Hadas Shadar stated, “After World War II in Europe there was a need for quick, efficient and cheap housing solution, combined with the need to mend the destruction following the war” (Shadar, H. p. 231). Hadas Shadar also stated, “Europe and isreal, public housing was characterized by reproduction: identical housing structures were laid out with large spaced between them in open areas, creating extensive areas having undefined use and lacking ownership” (Shadar, H. p. 231). This shows that after World War II they were more concentrated on the rebuilding of the city rather than the concentration on the regionalism and culture, which lead to development. With lack of concentration on culture and regionalism, the building complex has evolved and changed in years to the way they lived life by. Hadas Shadar explains multiple times how buildings evolve into the culture of the people and while Kenneth Frampton speaks more of the awareness of regionalism and culture that in the future designers need to be aware of their context. Both articles examine regionalism at different time periods but there are still many similarities between them even though the articles differed in 30 years.

Citations Foster, H. (1983). <i>The Anti-aesthetic: essays on postmodern culture</i>. Port Townsend, Wash.: Bay Press.

Shadar, H. (2010). Evolution and Critical Regionalism.

Journal Of Urban Design, 15(2), 227-242. doi:10.1080/13574801003638137

critical readings

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READING THREE: RAPPEL À L’ORDRE: THE CASE FOR THE TECTONIC KENNETH FRAMPTON Kenneth Frampton explains the meaning of tectonic in architecture and he begins by stating, “The term tectonic to mean pertaining to building or construction in general; constructive used especially in reference to architecture and the kindred arts, is a little reductive to the extent we intend not only the structural component in se but also the formal amplification of its presence in relation to the assembly of which it is a part” (Frampton, 2002).

In other words tectonic is how a building is put together. From how the structure is used in the building to what kind of materials are used. Tectonic has the notion of how the material of building comes together. How to take different aspects of the building and combining them. In a simplified explanation, tectonic is the earthwork, framework and a roof, and the enclosing membrane (Frampton, 2002). Also, while combining them into one piece (one building) the designer needs to make a harmonious piece.

This is where the detail of the construction is an important part of architecture. The designer wants to create a building with different materials to make it as one in the same way as nature, how nature is able to blend altogether as one. To continue, Frascari states, “The joint, that is the fertile detail, is the place where both the construction and the construing of architecture take place” (Frampton, K. 2002). In other words, the detail aspect is not only applied in the design but more importantly the way the construction is done to fully achieve what the designer’s intent is. To conclude, Frascari also states,” the meaning of the original Indo- European root of the word art is joint” (Frampton, 2002). In which means that the construction of the building is also an art. The fine details in architecture and how the way to constructed them is a way of art.

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Citations Frampton, K. (2002). <i>Labour, work and architecture: collected essays on architecture and design</i>. London l: Phaidon Press.

critical readings

READING FOUR: TECTONICS? A CASE STUDY FOR DIGITAL FREE-FORM ARCHITECTURE WAN-PING GAO Rappel à l’Ordre: The Case for the Tectonic by Kenneth Frampton was first published in 1990 while the Tectonics? A Case Study for Digital Free-Form Architecture by Wan-Ping Gao was published in 2004. Both of these articles are fairly new documents compare to other literature. Frampton focuses on the origins and meanings of tectonics and mostly architecture from 19th century. Wan-Ping Gao also focuses on the meaning of tectonics but, he explains architectural tectonics in the information age (present) and future. To continue, Frascari states, “Architecture is an art because it is interested not only in the original need for shelter but also putting together, spaces and material, in a meaningful manner” (Frampton, K. (2002). This shows that even in the past architects were thinking of how materials and spaces go together but without the aid of a computer the chances of making an error were high. On the other hand Wan-Ping Gao states that, “The traditional architecture, with its stagnant interpretation of structural joints and material, can never explain the surface characteristic and dynamic state of digitally spatial form. In a multi-dimensional digital environment, the physics of space, proportion, material quality, etc., do not depend on elements of the real world, such as those involving the use of material, construction, or structural standards” (Gao, W. P. 2004 p. 3-4). With the help of computers the architect’s is able to push the design to the next level. They are able to test different type of scenarios which allows them to push the envelope. To conclude, this also allows for them to perfect the construction because they are able to use how material will be put together on the computer and be able to detail on how to construct them.

form the limits imposed on architecture in the real, a fixed object like joints become freer and more flexible.” (Gao, W. P. 2004 p. 6) This again emphasizes with computer designer are able explore different options which allows them to be more flexible with design and make a unique building. This also stresses how computer help the architect to have their project become more detail orientated.

Frampton stresses the importance of a joint and break of it because it has the meaning of connection and gives attend all form of articulation (Frampton, K. 2002). This again stresses the importance of detail of every aspect of a building. With having the joints in irregular places it gives away from the architecture. In contrasts Wan-Ping Gao states, “Tectonics expresses the unique qualities of material and elements of architecture b means of a meaningfully designed structure. In the digital environment, free

Citations

When speaking about going the next step Frampton describe how new forms of tectonic buildings where expressed. For example, “We have the ethereal dematerialized aspiration of Joseph Paxton’s Crystal Palace, that which Le Corbusier once describe as the victory of light over gravity” stated Frampton (Frampton, K. 2002). This show that the past architects were able to go to the next level without the use of computer. To also restate this show the progression of architecture and the never ending limits.

To continue, Wan-Ping Gao introduces an another statement to discussion, “Digital architecture emphasizes responsiveness to the appearance of spatial form and we could through the special features of digital free-form, conduct our studies” (Gao, W. P. 2004 p. 9). This adds another dimension to architecture and how designer are able to computers for architecture. With responsiveness result designer are more awarded about actual driving factors that could change the design of the building.

Lastly, we can see how digital tectonics and traditional tectonics have already altered each and how computer are aiding us to the future (Gao, W. P. 2004 p. 14)

Frampton, K. (2002). <i>Labour, work and architecture: collected essays on architecture and design</i>. London l: Phaidon Press.

Gao, W. P. (2004). Tectonics? A case study for digital free-form architecture. CAADRIA 2004, 519-534.

critical readings

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PINECOTE PAVILION | FAY JONES PICAYUNE, MISSISSIPPI

FOUR ELEMENTS

1. earthwork - brick pattern express the basic building modules

2.hearth - gathering place for the public 3.framework - five different type of frame structures 4.cladding - a wooden roof structure with skylights

TRANSPARENCY

1. the exposed structure with no wall creates a transparent feel

REGIONALISM

1. the use of column plays off the surrounding forest

TECTONIC

1. the use of five different frame structures 2. the use of three different roof conditions

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building collections

4. CLADDING

3.FRAMEWORK

2. HEARTH 1. EARTHWORK

1. TRANSPARENCY

1. REGIONALISM

2. TECTONIC

1. TECTONIC

building collections

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LANTERN PAVILION | AW P / ATELIER, OSLO SANDNES, NORWAY

FOUR ELEMENTS

1. earthwork - existing square brick surface 2.hearth - meeting place, market hall and concert venue

3.framework - wood grid structure - tree like timber support 4.cladding - glass mounted on the wood grid structure

TRANSPARENCY

1. a grid system of wood members creates a see through object, along with the glass cladding covering the wood grid system.

REGIONALISM

1. iconographic shape of an old wooden house

2. matched existing building heights 3. tree like shape structure creating a micro-climate

TECTONIC

1. modular wooden grid system with glass mounted on wooden grid system

2. timber structure supporting the wooden grid system and glass cladding

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building collections

1. TRANSPARENCY 4. CLADDING

3.FRAMEWORK

3.FRAMEWORK

2. HEARTH 1. EARTHWORK

2. REGIONALISM

1. REGIONALISM 2. TECTONIC 3. REGIONALISM 2. TECTONIC building collections

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LINCOLN PARK ZOO PAVILION | STUDIO GANG CHICAGO, ILLINOIS

FOUR ELEMENTS

1. earthwork - existing wetland 2.hearth - education spaced held for classes 3.framework - glue-laminated wood structure 4.cladding - fiberglass panels

TRANSPARENCY

1. the organic structure creates multiple holes that are covered with fiberglass panels

REGIONALISM

1. the organic structure creates multiple holes that are covered with fiberglass panels

TECTONIC

1. glue-laminated wood structure 2. steel member connecting the wood structure to the ground

3. fiberglass panels

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building collections

4. CLADDING

1. TRANSPARENCY

2. HEARTH

3.FRAMEWORK

1. EARTHWORK

2. TECTONIC 3. TECTONIC 2. REGIONALISM

1. REGIONALISM 1. TECTONIC

building collections

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BOATHOUSE | TRESTYKKER 2012 OSLO, NORWAY

FOUR ELEMENTS

1. earthwork - pier of rocks 2.hearth - small intimate concert stage 3.framework - the three plywood frame 4.cladding - the wooden slat that varies in spacing and the polycarbonate

TRANSPARENCY

1. the variety of wood spacing 2. polycarbonate allowing light to come into the pavilion and also allowing light to come out of the pavilion at night

REGIONALISM

1. captures the cultural tradition of norwayâ&#x20AC;&#x2122;s rich nautical history making the pavilion an icon surrounding new development

TECTONIC

1. 15 three layered plywood frame 2. wood slats of variety held by a wooden grid

3.the use of polycarbonate between the wooden grid and frame

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building collections

4. CLADDING

3.FRAMEWORK

3. TECTONIC

2. HEARTH 1. EARTHWORK

1. REGIONALISM 1. TRANSPARENCY 2. TECTONIC

1. REGIONALISM 1. TECTONIC

building collections

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CADIZ TEMPORARY PAVILION | BREATHNACH DONNELLAN CADIZ, SPAIN

FOUR ELEMENTS

1. earthwork - plywood lumber used for the flooring 2.hearth - artwork of exhibits 3.framework - the columns in the center of the pavilion holding the roof up and lifting the floor off the ground

4.cladding - rope used from the ship yard also creating a transparent feel

TRANSPARENCY

1. the use of the rope creates the sense of transparency while also allowing to create dense area of rope to create a intimate space

REGIONALISM

1. the use of rope off a local ship yard 2. the structure emphasis the boat structure

TECTONIC

1. the use of nominal plywood for roofing and flooring

2. the tying of rope to the structure

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building collections

3.FRAMEWORK

4. CLADDING

1. TRANSPARENCY

2. HEARTH 1. EARTHWORK

1. REGIONALISM 1. TECTONIC

2. REGIONALISM

2. TECTONIC 2. TECTONIC

building collections

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SEALIGHT PAVILION | MONASH UNIVERSITY MELBOURNE, AUSTRALIA

FOUR ELEMENTS

1. earthwork - existing docking port 2.hearth - intimate scale and experience 3.framework - reclaimed wood columns 4.cladding -reclaimed wood spacing to allow light

TRANSPARENCY

1. the spacing of wood creates a transparent feeling and demonstrating the sense of time.

REGIONALISM

1. use the light of sun and light off the sea which amplifies the natural phenomena of the sea and sky

2. creates view into sea

TECTONIC

1. broken into three pre fab modules 2. reclaimed wood

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building collections

4. CLADDING 1. REGIONALISM

3.FRAMEWORK

2. HEARTH

1. EARTHWORK 1. REGIONALISM

1. TECTONIC 1. TRANSPARENCY

2. TECTONIC

2. REGIONALISM

building collections

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Introduction

and

Overview

Rend Lake is located in Franklin and Jefferson Counties near Benton, Illinois. Rend Lake is a southern Illinois reservoir created by the United States Army Corps of Engineers by damming the Big Muddy River. Parts of the Wayne Fitzgerrell State Recreation Area and Rend Lake Area is located next to Rend Lake and is largely concentrated on shoreline recreation, for example: boating, fishing, and picnicking. This project is in proposal to place an open air museum in the Rend Lake area.

The site of the open air museum take parts up 100 acres in the Wayne Fitzgerrell State Recreation Area and Rend Lake Area. Within the open air

Orientation Theater

The orientation theater will accommodate with space to seat up to 100 people at one time. The seating will slanted at an according degree to focus the audience to a platform where an automated projector will be placed.

To include a cinematic projectors and speakers will be include. The platform will also be used for various activates; for example lectures.

Museum Collections

1500 SF

Museum Services Total:

5500 SF

2.0 Administration Director’s Suite

200 SF

The museum collection is a dedicated space used for storing museum objects, natural history specimens and archival materials. It will be an ongoing process of containing, organizing and caring for the collection while storage. The museum collection will be using state of the art water, fire, and natural disasters protection to insure the preservation of the collections.

museum there will also be a building collection that emphasize the wooden design in pavilions all round the world.

The details of tectonics, regionalism,

and transparences of the pavilions will be highlighted though out the design and placement of building collection.

The following open air museum will provided the following features: • Museum • Administration • Public Access Area • Research services • Support services • Operations and Maintenance Services • Site 1.0 Museum Services Exhibit Galleries

The exhibit galleries will hold various detail information and artifacts about wood design in pavilions. There will be several artifacts behind display cases, while at that the same time there will be artifacts that will allow the general public to interact with.

To include there

This area provides the director of the museum with its own personal office. The office is providing in order to denote the director within an organization space, to storage records and files of the museum. The private office should have a desk with file cabinets for storages.

It is a place to speak to someone in private.

200 SF

Conference / Meeting Room

700 SF

This area provides the curator with its own personal office. The office is providing in order to denote the curator within an organization space, to storage records and files of the cemetery. The private office should have a desk with file cabinets for storages.

3000 SF

This conference room area should be accommodated with a rectangle table that is able to seat at least 8 people.

There should be some sort of presentation board to allow a projector and to convey ideas across the room.

The room should have windows with blinds and or

The exhibit galleries

is a large open concept space with partition walls to allow to accommodate the artifacts that are on display.

Curator’s Suite

will be state of the art technology equipment used to accommodate to the future exhibits.

frost windows to allow light and at the same time have privacy.

The room should be fully enclosed.

Administration Services Total: page

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1000 SF

program analysis

1100 SF

3.0 Main Entrance Area Lobby

If at all possible, any member of the general public is to enter the open air museum through the main lobby. The

1000 SF

5.0 Public Access Area Ancillary and Circulation

main lobby will provide a gather area for general public entering the museum.

The lobby will have graphically

Information Kiosk

The information kiosk will be placed in the lobby to assist the general public. The kiosk will provide a space for the receptionist. Shelves will be include with the kiosk to

150 SF

access Cafeteria

provide display for brochure and pamphlets to aid the general public.

Main Entrance Total:

Two built out vendors will be provided. A general public 200 people.

Small Kitchen and Prep Area

The library is a place to storage archive from the Rend Lake, the building collection, open air museum, and future wood design pavilions. The library will be used to serve people information for educational purposes. The library will be accommodating with book shelves, file cabinets, and a desk for a worker.

Educational Class Room/ Workshop

The class room and workshop will provide educational

The Small Kitchen should be an area to keep food warm and cool. To provided that there will be (2) refrigerators and (2) stoves. It will also have cabinets

1500 SF

accessory. It will have an abundance of area of counter space to provided easy preparation of food and the counter space will be remotely close to door for easy transporting of the food.

1000 SF

easy trash disposal and for the catering to having easy access to site without being seen

Storage

The classroom will be a flexible area

The storage will be located near the restroom and kitchen for easy access. The storage will be rectangle

lesson plans.

Easily moveable chairs and tables will be A projector, whiteboard and several outlets

the easy of find an item relevantly easy.

Public Access Area Total:

technology.

Research Services Total:

300 SF

with shelves on both sides to allow organization and

will be placed throughout the room to aid people with

Also to include the

kitchen will be close to the outer border of the site for

to allow as much modification need according to the provide.

300 SF

for storage of utensils and other food preparation

space for the general public that are enroll in classes with the museum.

1500 SF

cafeteria will provide chairs and tables to accommodate

1150 SF

4.0 Research Services Library

500 SF

The Menâ&#x20AC;&#x2122;s and Womenâ&#x20AC;&#x2122;s bath room will be located next to each other. Also to include both bathrooms will be ADA accessible. For the women there will be a total of 7 stalls and 3 sinks. While for the men there will be a total of 3 stalls, 4 urinals, and 3 sinks.

The bathrooms will be located near the lobby for easy

visible signage to guide the general public to destination of intent.

4545 SF

Restroom All circulation will comply with ADA

7145 SF

2500 SF

program analysis

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6.0 Operations and Maintenance Services Museum Production Shop

The museum production will provide a work space, paint shop, exhibit shop, and contractor space to aid the built of future exhibit. This will be located near the loading dock for the ease of moving materials.

Loading Dock

1500 SF

300 SF

The loading dock will provide space of one semi-truck and one trucking van to dock. The loading dock will have best attempt to be hidden from the general public.

To include there will also be designated area for receiving and sending storage near the loading dock.

An

enclosed trash bins will be placed near the loading to provide ease for caretaker needs.

Caretaker’s Workspace/ Storage

The caretaker’s workspace will be located on near the

500 SF

load dock to allow easy of unloading and loading garden equipment.

The Workspace will be an open layout

allowing room of all the garden equipment and shelves for any garden accessory and tools.

The storage will

be located within the workspace to allow easy access for any supply.

To include the mechanic area will also

next door the workspace to allow an easy access for

8.0 Space Allocation (Building) Exhibit Galleries Orientation Theater Museum Collections Director’s Suite Curator’s Suite Conference / Meeting Room Lobby Information Kiosk Library Educational Class Room/ Workshop Ancillary and Circulation Restroom Cafeteria Small Kitchen and Prep Area Storage Museum Production Shop Loading Dock Caretaker’s Workspace/ Storage

the caretaker to tool if for any reason the mechanics is improperly working.

Operations

and

Maintenance Services Total:

7.0 Site Parking

2300 SF

Building Net Square Feet Mechanical Space (10%) Gross Square Feet (building)

The parking will accommodate 250 parking for typical cars and 10 parking for bus / rv’s. 10% of the parking will have handicap accessible.

Pavilion

A pavilion will be placed above all program space of museum. The pavilion will follow the themed of the building collection and tie in the museum. The pavilion will provide area for future venues and gather area

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program analysis

3000 SF 1000 SF 1500 SF 200 SF 200 SF 700 SF 1000 SF 150 SF 1500 SF 1000 SF 4545 SF 500 SF 1500 SF 300 SF 300 SF 1500 SF 300 SF 500 SF 19695 SF 1970 SF 21665 SF

PRODUCTION

OFFICE

Museum Collection

Conference / Meeting Room

Storage

Library

Museum Production Shop

Curator’s Suite

Loading Dock

Director’s Suite

Caretaker’s Workshop

Lobby

Restroom

Classroom / Workshop

Caferteria Exhibit Galleries Classroom / Workshop

Orientation Theater

Library

MUSEUM

GENERAL PUBLIC program analysis

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SITE STRATEGIES

SITE ANALYSIS REND LAKE, ILLINOIS CHICAGO

ST. LOUIS

page

28

site analysis

REND LAKE

DU QUOIN BENTON

WEST FRANKFORT

INTERSTATE

57

BIG MUDDY RIVER

KINKAID LAKE

HERRIN

MURPHYSBORO

CRAB ORCHARD LAKE

MARION

CARBONDALE

MISSISSIPPI RIVER CEDAR LAKE

DEVILS KITCHEN LAKE LITTLE GRASSY LAKE

2 MI

4 MI 8 MI

site analysis

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page

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1250’

2500’

5000’ page

31

page

32 site analysis

INFRASTRUCTURE & BUILDINGS

VIEW 2

VIEWS

VIEW 1

1

2

site analysis page

33

OPEN LAND

TREE DENSITY

WATER

SCALE

LAKE AND RIVERS STUDIES

4 MI 8 MI

REND LAKE | PINECOTE PAVILION

REND LAKE

BIG MUDDY RIVER

KINKAID LAKE

CRAB ORCHARD LAKE

MISSISSIPPI RIVER CEDAR LAKE

DEVILS KITCHEN LAKE LITTLE GRASSY LAKE

2 MI 4 MI

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site analysis

CEDAR LAKE | BOATHOUSE

2 MI 4 MI

CRAB ORCHARD | LANTERN PAVILION

4 MI

LITTLE GRASSY LAKE | CADIZ PAVILION

2 MI

2 MI 4 MI

2 MI 4 MI

site analysis

KINKAID LAKE | LINCOLN ZOO PAVILION

DEVILâ&#x20AC;&#x2122;S KITCHEN LAKE | SEALIGHT PAVILION page

35

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conceptual site design

OPEN AIR MUSEUM

PINECOTE PAVILION

LINCOLN PARK ZOO PAVILION

BOATHOUSE

LANTERN PAVILION

CADIZ PAVILION

SEALIGHT PAVILION conceptual site design

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OPEN AIR MUSEUM

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CONCEPTUAL STATEMENT FOUR ELEMENTS | TRANSPARENCY | REGIONALISM | TECTONICS The Open Air Museum of Rend Lake: Wood Designed Pavilions will provide the community and visitors with re-

mented completely into the museum in its own exclusive way.

nowned architectural pavilions from around the world and a

The element of tectonics will used in the structure and cladding of the museum. The structure alone will use glued lami-

state of the arts museum.

The new Open Air Museum of Rend

nated timer to expose the aspect of innovation in wood design.

Lake: Wood Designed Pavilions will become a vocal point of Southern Illinois. The new museum will promote the research

To continue the cladding of the building resembles the canopy of the existing trees in the area. The sense of transparency will be applied to the cladding of the building. This will allow of the building to blend in with the natural surroundings. The regionalism aspects is applied to the structure, cladding, materials, and placement of the open air museum with the collection.

The structure and cladding are applied to regionalism as they attempt to become as one of the natural surroundings. Any trees destroyed during construction will be used in the building and all building material will be coming from close proximities of the site. The placement of the building collection were generated from the Big Muddy River and its major tributaries lakes.

The site of the museum is on south eastern coastline of Wayne Fitzgerrell State Park. Wayne Fitzgerrell State Park is located in southern Illinois bordering Rend Lake in Whittington, Illinois. The placement of the building collections are off Wayne Fitzgerrell State Park between the bridges of Interstate Highway 57 and Highway 157. By placing these building collection on a man-made island between these two highways it creates a lot of visibility to driver on the highway. This

of innovation in wood design by having exhibit gallery space displaying the tectonic of wood design and also providing educational workshops for the public to allow them to experience different techniques of wood construction.

The museum

by itself will accommodate a pavilion space for the museum and public to use to as a venue space.

The Open Air Museum of Rend Lake: Wood Designed Pavilions building collection consists of the following: • Pinecote Pavilion Fay Jones | Picayune, Mississippi • Lincoln Park Zoo Pavilion

Studio Gang | Chicago, Illinois • Sealight Pavilion | Monash University | Melbourne, Australia • Cadiz Temporary Pavilion Breathnach Donnellan with ESA | Cadiz, Spain • Boathouse TreStykker 2012 | Oslo, Norway • Lantern Pavilion A W P / Atelier, Oslo | Sandnes, Norway

establish an attractions for people passing by and wanting them to stop to see what is in store.

All of these pavilions display a unique and high quality of wood design though out. The architectural documentaries of the building collections will be on exhibit in the museums.

The four architectural elements, transparency, regionalism, and

more people to visiting the museum.

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Overall there is a strong

connection between the building collection and the museum itself.

tectonics are the four essential features that have been captured though out the building collections.

To continue, during the night

the lit pavilion create a reflection off the water which interests

These features are impleconceptual statement

CONCEPTUAL DIAGRAM FOUR ELEMENTS | TRANSPARENCY | REGIONALISM | TECTONICS MAN MADE ISLAND FOR PAVILIONS

VALLEY

MAN MADE LAKE

MAN MADE ISLAND

TRANSITION TO WATER TO LAND TO PAVILION PAVILION

EARTH

WATER

INNOVATION OF WOOD DESIGN

STANDARD 2X4

GLULAM WOOD

CURVED WOOD

conceptual diagram

WOOD CONNECTION WITH GLULAM

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600’ 300’ page

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1200’ site plan

200’ 100’

300’ site plan

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STORAGE

LOADING DOCK

CARE TAKER

14

15

16

726 SF

603 SF

480 SF

MUSEUM PRODUCATION

REST

13 1862 SF

DIRECTORS

CURATOR

6

7

266 SF

266 SF

WORKSHOP

8

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16

32

REST

MUSEUM KITCHEN COLLECTION

11

12

9

10

264 SF

264 SF

480 SF

1408 SF

ORENTATION THEATER 5 1104 SF

CLASSROOM

8

4

760 SF

824 SF

LIBRARY

LOBBY

EXHIBIT GALLERIES

3

1

2

1531 SF

1824 SF

2416 SF

N floor plan

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32

64

N floor plan

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elevation and section cut

8

elevation and section cut

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32

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renderings

renderings

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renderings

renderings

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renderings

renderings

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renderings

renderings

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renderings

renderings

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energy model

energy model

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PROJECT SUMMARY

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FOUR ELEMENTS

1. earthwork - earth to create a man made island 2.hearth - the muesum and pavilion 3.framework - the earthwork around to create transition from water to

3.FRAMEWORK

4. CLADDING

land

4.cladding - glulam wood - wood grid structure

2. HEARTH 1. EARTHWORK

TRANSPARENCY

1. a grid system of wood members creates a see through object to blend in with the forest behind. also the the building itself and how it transitions from water to land to pavilion.

REGIONALISM

1. the lake from the region are all man made lakes. with that being said, the man made island connects back to the man made lake. also by recreating all the man made island

1. REGIONALISM

to match the existing lakes in the region in a smaller scale

TECTONIC

1. innovative design using wood glulam 2. modular wooden grid system

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integration of research

1. TRANSPARENCY

1. TRANSPARENCY

1. TECTONIC

2. TECTONIC

integration of research

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KINKAID LAKE

CRAB ORCHARD LAKE

REND LAKE

CEDAR LAKE

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LITTLE GRASSY LAKE exhibit piece

DEVILS KITCHEN LAKE

10 10 10 3010 10 30 3030 10 20 30 301010 10 10 10 10 1020 50 5050 2010 30 30 3010 1010 101010 2010 10 5050 5070 50 3030 10 303010 1010 20 2020 2050 50 705010 10 3030 30 30303030 2020 205010 10 10 10 303010 10 10 1010 20 20 301010 1010 10 10 40 40 2020 3010 20 20 2010 10 404020 3030 3020 9010 1010 4040 40 30 30 7010 7070 10 4040 2020 50 50 7070 50 40 40 4010 20 50 504010 50 50 50 30 20 4020 4020 2040 20 3010 30 30 303010 2020 20 201010 10 10 10 exhibit piece

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10 10 10 3010 10 30 3030 10 20 30 301010 10 10 10 10 1020 50 5050 2010 30 30 3010 1010 101010 2010 10 5050 5070 50 3030 10 303010 1010 20 2020 2050 50 705010 10 3030 30 30303030 2020 205010 10 10 10 303010 10 10 1010 20 20 301010 1010 10 10 40 40 2020 3010 20 20 2010 10 404020 3030 3020 9010 1010 4040 40 30 30 7010 707010 4040 2020 50 50 7070 50 40 40 4010 20 50 504010 50 50 50 30 20 4020 4020 2040 20 3010 30 30 303010 2020 20 201010 10 10 10 page

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exhibit piece

exhibit piece

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