ARC550: Research Anthology by Robert Musial

OPEN AIR MUSEUM RESEARCH ANTHOLOGY

Regional Graduate Architecture Studio Southern Illinois University - Carbondale ARC 550 Summer 2014 Professors: Chad Schwartz Stewart Wessel Works By: Drew Baldwin Evan Bosecker Steven Dale Kyle Fountain Patrick Londrigan Anthony Michael Brittney Mount Robert Musial Huy Nguyen Chhanya Nidal Meghan Shanahan Stephen Tutka Sean Williamson Michael Young

OPEN AIR MUSEUM RESEARCH ANTHOLOGY The

research in this anthology analyzes the topics of

regionalism and tectonics through a variety of building collections.

Three research tactics are encountered in the collection: critical reading analysis, building analysis, and program analysis.

CRITICAL READINGS

BUILDING ANALYSIS

PROGRAM ANALYSIS

06 Drew Baldwin

36 Drew Baldwin

04 Drew Baldwin

08 Evan Bosecker

38 Evan Bosecker

06 Evan Bosecker

10 Steven Dale

08 Steven Dale

12 Kyle Fountain

10 Kyle Fountain

14 Patrick Londrigan

12 Patrick Londrigan

16 Anthony Michael

14 Anthony Michael

18 Brittney Mount

16 Brittney Mount

20 Robert Musial

18 Robert Musial

22 Huy Nguyen

20 Huy Nguyen

24 Chhanya Nidal

22 Chhanya Nidal

26 Meghan Shanahan

24 Meghan Shanahan

28 Stephen Tutka

26 Stephen Tutka

30 Sean Williamson

28 Sean Williamson

32 Michael Young

30 Michael Young

TABLE OF CONTENTS

CRITICAL READINGS

Critical Readings

Reading One

CRITICAL READINGS

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

After reading the article from Frampton, I was definitely a little overwhelmed with information and vocabulary. I was able to pick up on some points throughout the article though that also began to make more sense as we discussed what was read. In all, almost every section ties back into the third topic (Critical Regionalism and World Culture). In our project, we must think about the context of our site and how we would like to use it to incorporate and display our ‘open air museum.’ It’s almost our duty as designers to stray away from what Frampton talks about as modern society, completely disregarding, a number of design elements: culture, surrounding land/area, place in the site, feel of the spaces. He talks about how in modern architecture, designers, in some ways, seem to be stepping away from creative thought processes and really just abiding by the set needs their client gives them and the budget they are recommended to stay within. It is not their fault they design this way, it’s the way our “post industrial revolution” prefers it. For us, luckily, we don’t have to abide by the clients rules or budgets; therefore, the main focus should be to have a project based around a solid framework of research with our own design ideas to back it. In the fifth and sixth sections, Frampton talked more about the physical aspects of design, he mentions “cultivating” a site or as Mario Botta puts it “building the site” which he states- “… has the capacity to embody, in built form, the prehistory of the place, its archeological past and subsequent cultivation and transformation across time.” In the last section the visual and tactile section, Frampton talks about the feel of a space how proper usage of site and materials can create an experience for the occupant, he mentioned the usage and transition from the brick cladded stairwell to the polished wood floors in Saynatsalo Town hall and how the “chamber asserts its honorific status though sound, smell, and texture…” As designers it should be one of the main priorities to not only create a well thought out building(s) but to also think about how they will be experienced and how through materiality can change everyone’s personal experience.

Citations Frampton, K. Six Points for an Architecture of Resistance. Towards a Critical Regionalism, 32.

To me, humans always have a need to belong to something, whether it be a worldwide trend or phenomenon or even just a family or group of friends and in a way Frampton’s idea of universal civilization, is the

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Pallasmaa, J. Tradition and Modernity: The Feasibility of Regional Architecture in Post-Modern Society. Introduction to “Tradition and Modernity”, 28. Retrieved June 9, 2014.

Pallasmaa, J. Tradition and Modernity: The Feasibility of Regional Architecture in Post-Modern Society. Introduction to “Tradition and Modernity”, 26. Retrieved June 9, 2014.

Citations

Much like Kenneth Frampton, the reading I found by Juhani Pallasmaa talks about post-modern society and the possibilities of regional architecture still being possible. With this project we will have to do exactly what he is talking about in this article, design a space or series of spaces that fit the region in which they are located and try to not completely adhere to the thought of post-modernist architecture. He brings up some points that Frampton also brought up about the universal culture and how it tends to completely disregard past culture and tradition- “The new machines for living in set in space, light, and greenery were to emancipate their inhabitants from their bonds with the past, and to cultivate a New Universal Man.” Pallasma believes that there is a need for regional architecture, driven heavily by the culture of the area because to him it is not right to have a set ‘unified’ culture in which all humans are expected to live. I agree with him in that respect, there is no way that I lead the same life as someone in the middle east or Africa, though there may be similarities here and there in our cultures, the idea of the modern world shaping one culture it believes is what we want is just not ethical. In our project, we will have to deal with the question of whether or not we are properly designing for the region we are in or are we designing based on modern technology and architectural though (flatten the site and plop a building down. In a way, I feel it is important, for this project, to frame our buildings in a way. To use the site to our advantage and fit the architecture to the context which we are given, in some ways. He also mentions how a space can reflect the culture of the area “They are of course reflections of natural, physical, and social realities. They are expressions and experiences of specific nature, geography, landscape, local materials, skills, and cultural patterns.” This goes back to what Frampton wrote about in the visual and tactile section of his article, how materiality can give a certain experience or in this case and sense of belonging to specific area and/or culture; another idea I do want to explore with this project, I don’t want to go completely vernacular with the building I choose to place on the site, but I would like to experiment with local materials to see if they would possibly give a sense of ‘belonging’ to the area.

Introduction to Tradition and Modernity Juhani Pallasmaa

world’s cultures adhering to what they see around them so they have a sense of belonging to something, so they don’t look different or even primitive. Pallasmaa is set on the idea of using regional architecture based almost solely on cultural influences, which could still provide the sense of belonging that we humans need while still allowing for diversity among different area of the world. Using the idea of (critical) regional(ism) architecture with an influence from post modernism is a possible design approach for this project and could lead to various options in the design process.

Reading Two

Reading Three

CRITICAL READINGS

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

In the article Rappel À L’ordre, Kenneth Frampton deals with the tectonic side of architecture, delving into the materiality of a building. He really talks about the fact that the tectonics of older buildings really give a sense of connection with the earth through their materiality, though one may not think of them in that way and that they can evoke a sense of being something- “Indeed, these forms may serve to remind us, after Heidegger, that inanimate object may also evoke ‘being’, and that through this analogy to our own corpus, the body of a building may be perceived as though it were literally a physique.” With this project, it should be important that we think about this through the design process as well as the research phases, not only are the finish materials a large part of the ‘feel’ of the building, but the structural materials as well, maybe even more so than anything else. It is also important to appropriate the finish materials, especially those of the exterior, to both set up and accompany the structural materials of the interior; the shell or body of the building without blending the two together as well. It’s best to distinguish the two while they complement each other, “Bötticher distinguished between the Kernform or nucleus and the Kunstform or decorative cladding, the latter having the purpose of representing and symbolizing the institutional status of the work.” It is also important that one does not try to replicate nature exactly through architecture, though it can serve as a “metaphor” to nature, it is its own art form, different from nature according to Bötticher and Josef von Schelling. IN a way, I do agree with this view, I believe architecture is an art from, one that can relate to nature but not necessarily be able to directly imitate it, nature is just that, natural, architecture was brought about by man; therefore, not a naturally occurring phenomenon. In this project, there may be opportunities to try and incorporate some of the natural surroundings, but not really a need or imitate them, one of the best ways to use them would possibly be to compliment the buildings we decide to place into the site.

Citations Frampton, K. (2002). THE CASE FOR THE TECTONIC. Labour, work and architecture: collected essays on architecture and design (). London l: Phaidon Press. p. 24. Frampton, K. (2002). THE CASE FOR THE TECTONIC. p. 25.

Materiality should not just be something that ends up being put

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AM Pfer, T., & Carpenter, J. (2011). P. 151

Pfer, T., & Carpenter, J. (2011). P. 150.

Pfer, T., & Carpenter, J. (2011). Encoding Digital & Analogue Taxonavigation. Material design: informing architecture by materiality (). Basel: Birkhäuser. P. 148.

Citations

In the reading Material Design, Thomas Schröpfer really talks about the details of modern materiality and how they can be used to “inform architecture” in the future. The need for architects to really start looking towards the future and taking steps in that direction (possibly risky ones at that) is a must at this point in the 21st century, “architects cannot rely solely on the professional standardized conventions, but rather on innovation in design and the application of new techniques and materials,” with such a broad array of materials being produced in several different industries i.e. fashion, civil engineering, automotive and biomedical design. Our cultures fascination with things that are ‘soft’ has led scientists to stray away from their usual studies and instead research and study things that are just that “New areas of exploration are now tentatively opening up, into this transition between phases, a more adapted-adaptive response. Is this perhaps a fourth state of matter? A highly ambiguous state, it provokes attraction and repulsion, sparks irresponsible tactile temptation and hides unexpected depths. Nasty or nice? Softness fascinates us because it is reminiscent of life,” not only has the publics need and want of materials began to shape how designers choose and use materials, but it is also beginning to shape the core research of the scientists developing those materials the designers choose. With this project, from what I’ve gathered from the other readings and now this reading, the choice of material both in the structural sense and the finishes is and can be one of the most powerful and influential parts of both the smaller designed spaces as well as the overall space. Choosing materials that not only define what we choose to break up the spaces, but also to somehow tie everything back together to get a big picture as well. It will be a very challenging thing to do; however, it can really make or break the project as a whole. He also talks about the CSI master format and even though it’s a great way to classify materials, it doesn’t leave any room for experimentation “woven stainless steel conveyor belts would typically be categorized under Conveying Equipment; a category one may not think to explore for the purpose of building facades, doors, or wall structures,” though it has and is still used for these applications. It is almost as if the standards that architects abide by, have the ability to confine their thought and not necessarily allow them to think outside of the pages of these book/manuals.

Material Design Thomas Schröpfer

off till the end when you need something to cover the walls, floors and ceiling, ti is something that should be part of the iterative design process and should be experimented with, especially with our project, there are many possibilities of where we could take the design, that it may be foolish to rule out any material. I feel it is important to always try and do something new and unconventional, it could be a terrible idea or a great idea, and it is up to the design process to determine that. Materials are something that will be ever-changing and evolving and architects/ designers can use that to their advantage to better ‘inform’ there designs with new, possibly more efficient and fitting materials that will benefit the user and the project(s) as a whole. This project should allow us to really explore our options of materials and their uses throughout the design process (both structural and finishing).

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

Paul Ricoeur wrote that “every culture cannot sustain and absorb the shock of modern civilization”. I feel that this thought alone can be evaluated as one of the most central themes in the writing. As this article well demonstrates the evolution of design falls hand in hand with the development of culture and technology. With the advancement of today’s building techniques it has brought forth the possibility of universalized design. However, with these advancements in modern building techniques we lose the cultural and environmental influences of a site’s location. As we saw in the Art Nouveau era the where art was used only for the reason to include art advancements in modern technology have reduced the need of design for function. With this it seems we have reached a period where we design for design’s sake and the emotion and message behind arts has been lost and gravitates toward being entertainment. All of these advancements have led the loss of design dictated by region and led to the aforementioned universalized design. This desire for universalized design has not only come about from the advancement in the technology alone. There is also the cultural aspect which is influenced by users and clients. As Alex Tzonis and Liliane Lefaivre wrote in “The Grid and The Pathway”, “no new architecture can emerge without a new kind of relations between designer and user”. We see this everyday as modernization favors the bulldozing of irregular topography to a condition of absolute placelessness. I think this article can be a used a cautionary tale to avoid the universalized design. This can be achieved by not over relying on modern technology and building systems. Core principles can be as simple topographical design or using passive environmental design.

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

Modern design, building techniques, and technology have increased this “sameness” or “placelessness” pushing for universalized design. I think that Mules article tells the tale of regional/culture centers pushing the feeling of need for this. We as designers have take on Mules recommendation of challenging the normal. One simple way to challenge this is through material. The use of regional materiality is one of the easiest ways to challenge the normal in modern design.

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Paul Ricoeur writes that “every culture cannot sustain and absorb the shock of modern civilization”. So then the question is posed how can these regions being swallowed up oppose the ever growing center. Mules writes about the need to “challenge the original” and a need to “no longer” accept the “original Truth”. So when we no longer accept the movement as truth we have the opportunity to challenge the the normal and “reimagine the future”. We achieve this through experimentation. Through this experimentation we challenge the “sameness” or “placelessness” of modern design techniques. Mules writes that “Normalized experience cannot produce a future other than the one that it already knows.” So we must use our experiences as experimentation in design allowing the sum of our collective knowledge and research challenge the norms for new and innovative design.

TRANSFORMATIONS. (n.d.). TRANSFORMATIONS. Retrieved June 10, 2014, from http://www.transformationsjournal.org/journal/ issue_12/article_03.shtml

This article challenges the power of regional centers claiming “a region owes its existence to power emanating from the center” “as if all knowledge, all power exists originally at the center radiating out to the periphery.” This ideology can be paralleled to the Megalopolitan development of the modern era. The invention of the freestanding highway and serpentine freeway as illustrated by Frampton in “Six points for an architecture of Resistance” is strong evidence for the affirmative of this thought process. Treating the regional centers as life forces for their borders feeding them with lifelines (transportation). In this way edges take on the culture and influence of the center. This is reflected in how people live their lives in the region. They can get swept into the values and priorities of the center. As these edges take on the values of the center, the region expands this expansion continues to grow the region taking in new areas that may have their own set of values.

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

The edges of the earth: critical regionalism as an aesthetics of the singular - Warwick Mules

Citations

Reading Two

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Points for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

I think that this article brings up many good points about how our society has grown through history and where our society is today. In this history, architecture plays a very important role. Before the advances in technology that we use today, architecture was very different. The architecture in different geographical locations was responsive to the climate of the region, the culture, and the historical traditions. The result of this was greatly diverse architecture from region to region and culture to culture. Some of the greatest works of architecture have emerged from this over the years. Now, in the era of technological advancement, we are facing somewhat of a crisis. Essentially any type of building can be built anywhere on this planet, excluding obvious limitations such as water. This is where this division happens. Society as a whole has the intense want and need for constant advancement. This is for the greater good of the planet. However, with this universalism of technological advancement for the greater good comes a price. We are starting to lose some of the diversity of cultures and regions. That is the problem that is emerging today. Do we try to preserve the rich cultures of different regions, or work on advancing civilization as a whole? The information we have today is shared all over the world. I think that the new direction architects and civilization as a whole needs to take is to derive new methods of building that preserves the diverse cultures of the world. Modern architecture, along with many other industries in the world, has become almost entirely about money. Clients want a building that does its job for the cheapest price possible. Anything we can do to maximize efficiency and cut costs is looked highly upon. The result of this is an architecture that has, in a sense, become very bland and similar. This has taken the art out of it.

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

Another point that Frampton brings up in this article is the relationship of the buildings to the site. One simply cannot take a building from one region and put it into a distinctly different region. The light patterns, wind direction and speed, temperatures, tree location, topography, built environment, and local traditions vary between regions. Frampton mentions architect Aalto in this article, who is excellent at integrating the building to its site. He mentions how Aalto layers his buildings into the site and pays attention to the subtleties of light in the region. Frampton states, “Other important factors are his extraordinary sensitivity towards local materials, craft work, and, above all, to the subtleties of local light

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Perspecta, Vol. 20. (1983), pp. 147-162.

Kenneth Frampton

For this analysis, I chose an article very similar to Kenneth Frampton’s “Towards a Critical Regionalism.” Also written by Frampton, this article discusses different examples of regionalism. It is titled “Prospects for a Critical Regionalism.” The article begins by bringing up the argument that being a part of our modern society often means giving up a rich cultural past. In an opening quote from Paul Ricoeur, the author quotes Ricoeur, “But in order to take part in modern civilization, it is necessary at the same time to take part in scientific, technical, and political rationality, something which very often requires the pure and simple abandon of a whole cultural past.” Reading this quote made me think about regional architecture in a different way. In some ways, it is true. Many building and design practices that are deeply embedded in some cultures cannot be combined with the technology and modern building practices we have today. This means that in order for some cultures to modernize they have to give up some of their cultural traditions and regionalism. There are both pros and cons to this. On the negative side, many environmental building practices used by some cultures may have to be abandoned. The development of HVAC systems plays into this greatly. Many cultures have learned to adapt to the climate of their region through their architecture. When HVAC comes into play, these so very things that defined their architecture may be abandoned completely. It is important to realize why certain regions used certain techniques and how we can integrate these into a more modern architecture. This is an important thing to pay attention to, specifically for an open-air museum which will be bringing similar types of buildings from diverse regions.

Prospects for a Critical Regionalism Kenneth Frampton

– his sense for a particular kind of filtration and penetration.” I think this this, especially, is extremely important for the design of an open air museum. When bringing buildings to a specific site from different regions, there are environmental and lighting techniques the architects used to design it for those specific regions. Diagramming the light patterns of these buildings in their natural environment will help us to understand the initial intentions of the architects. A sun diagram of the two separate regions, combined with daylighting diagrams would be a great tool for integrating a building into a new site. Also important in regionalism is paying attention to local traditions. Materiality is a big part of this. Regional architecture depended once on the materials that were locally available. Research into the natural resources of specific regions could prove interesting and useful for an open air museum. Aside from the natural resources of the specific regions the buildings were initially built in, a research component of the region of the museum would be helpful for integrating the buildings into the new site that it will be built on.

Reading Two

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

Frampton begins the article by stating that tectonic form is one thing that gives architecture meaning more than just being scenography. He constantly stresses the art of the joint or connection of the frame of the building. This is something that is often overlooked in modern architecture because a great majority of the time these joints and connections are hidden. Frampton stresses that the very first joint ever created was the knot. This can be translated into architectural joints as well. However, today we have two distinctly different structural types. There are heavy massing walls that seem to form right out of the earth, and dematerialized lightweight frames that seem to defy gravity and shoot to the sky. Of course, there are many examples and ways of integrating these two seamlessly. These two structural types play into the context of the site, and it is important to pay attention to how they do this. Another aspect of this article that got my attention was the breakdown of the word “tectonic.” Throughout history, the derivatives of the word all come back to the same thing, carpenter or carpentry. This is specifically interesting to me because of how the word tekton goes from being solely about carpentry to becoming an aspect of poetry. Frampton continues on later about Semper’s “Theory of Formal Beauty” in which Semper “no longer grouped architecture with painting and sculpture as a plastic art, but with dance and music as a cosmic art, as an ontological worldmaking art rather than as representational form.” I think this connects specifically to making architecture less about scenography and more about a world changing and people moving art form. Frampton later quotes Vittorio Gregotti in his 1983 address to the New York Architectural League. Gregotti places the most importance of building and the tectonic to the site. He states, “Before transforming a support into a column, roof into a tympanum, before placing stone on stone, man placed a stone on the ground to recognize a site in the midst of an unknown universe, in order to take account of it and modify it.” I think this is a really important and powerful thing to keep in mind when designing anything. Nature was here before we were, and we have to respect and take careful consideration to the surroundings.

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

pp.

60-69 -

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Hugh Dutton - Perspecta - Vol. 31 - Issue Reading Structures - 2000 Jstor

For this analysis, I chose an article that is less philosophical and more technical in nature. In “An Integral Approach to Structure and Architecture,” Hugh Dutton thoroughly describes several examples of architectural works which combine the structure and cladding of the building. Dutton begins the article with a bit of history that provides a foundation for the rest of the article. He states, “…historically, structure and cladding were not distinct. The façade of a brick or stone building was both a structural and waterproof skin. As the construction industry developed and the building trades became more specialized, the use of the weatherproof skin became more and more rare.” In our society today, we rarely see a building that uses brick or masonry as both the structural and cladding systems. Even buildings built with a brick façade have some kind of wall cladding with a lightweight steel or wood frame behind it. Dutton thoroughly explains many different examples of ways we can integrate the structure and the skin of the building. He states, “In these cases, surfaces could be both structural and waterproof, and as such are perfect examples of integrated structure and skin. They are natural 3 – D surface structures with very specific forms, which are the result of the optimal passage of loads in surfaces.” I think that this topic is worthy of investigation, as it allows us to create a skin of a building to have three things. First, it eliminates the divide between the façade cladding system and the interior structure by combining them. This, in turn, can reduce costs by using less materials, given the appearance of it is desired. Second, it provides for the most optimal distribution of loads. The result of this is less overall structure which means less material and less cost. Third, it emphasizes the tectonic nature of buildings in general by leaving much of the structure exposed. This way we can as architects as well as the general public and users of the building can see all of the joints and connections throughout the building and appreciate them. As Frampton emphasized in Rappel a O’Lordre, joints and connections are the most basic and upmost important part of the tectonic in general. Dutton explains several examples of these combined systems at work in real built works of architecture. He uses the Inchon International Airport, the Columbia University Lerner Hall glass wall and ramps, and the Osaka Maritime Museum and Societe Generale glazed steel domes to explain these systems. There are a few quotes from the article that,

An Integral Approach to Structure and Architecture Hugh Dutton

in a nutshell, explain what Dutton is talking about. Describing the Inchon Internal Airport, Dutton states, “The spine truss is open and clearly visible, with skylights above to highlight it. The crescent trusses are curved on their lower surfaces following the convex shape of the ceiling as designed by the architects. At each truss, the ceiling surface is cut open giving a full view of the trusses.” Later in the article when describing the Columbia University Lerner Hall, he states, “The articulation of the trusses and steel ramp structures expresses the activity and movement zone of the hub itself; these functional structural components – ramp wind beams, main trellis truss, suspension rods, and cantilever glass support arms – all animate the space.” The third quote I found the most interesting was also from the Columbia University project. Dutton states, “The design in based on the idea that every piece of steel is fully exploited for its structural capacity as well as its role as a support element for secondary finished or cladding items such as handrails, glass support arms, glass floor tiling, etc. There is no distinction between any ‘primary’ and ‘secondary’ structure or framing; everything is ‘primary.’ Glass flooring can be paved directly onto the main structure and has no secondary framing.” All of these quotes from this article show how structure and skin are combined and emphasizes the structure of the building. However, I think the last one is especially good at describing it. This relates back to Frampton’s article where he is talking about the nature of the tectonic. I think that these examples are exceptional examples of how we can emphasize the tectonic nature of buildings. These are all important things to consider when we as designers are constantly trying to hide the structure whether it be with recessed ceilings, column enclosures, or interior framing systems.

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

In chapter five and of Kenneth Frampton’s writing on Critical Regionalism, he explains that a bulldozed flattened site and a building which turns its back to the natural elements of light and sensory removes a site’s sense of place.1 “Critical Regionalism necessarily involves a more directly dialectical relation with nature than the more abstract, formal traditions of modern avant-garde architecture allow. It is selfevident that the tabula rasa tendency of modernization favors the optimum use of earth-moving equipment in as much as a totally flat datum is regarded as the most economic matrix upon which to predicate the rationalization of construction between universal civilization and autochthonous culture.” Now, through economic modernization of fast track, quick turnover projects, the idea of bulldozing a site is very efficient. This is especially true if the architect is able to continue to design while site work is in progress. The inherent problem that seems to be trending is that the less time the architect spends on a conceptual design, the cheaper the project becomes, and therefore has a better chance of being built. It seems that on the road to contextual mastery, the ultimate goal is to define the line of complete seamlessness from interior to exterior through topography, lighting, and shelter from climate. For instance, if a structure follows a steep sites topography too closely, it won’t be accessible. Likewise, if a site is already completely flat, the tendency may be to make the roofs very low in height and pitch, making it very susceptible to leaking. One successful fundamental approach alluded to by Mario Botta is to “build the site”.1 “It is possible to argue that in this last instance the specific culture of the region-that is to say, its history in both a geological and agricultural sense-becomes inscribed into the form and realization of the work.”1 Still, topography is only one variable in a building’s attempt to fit into a site. Today, with modern technology, it is easy to completely close off certain typologies to the environment all together. Buildings designed to hold fragile works of art, are often criticized for turning its back to natural light.1 Fortunately, modernism in the context of present day, is beginning to incorporate natural for museums. One terrific example is the Art Institute in Chicago. This building is a great example of two modern

designs which are opposing in context. The old modern building is completely closed off to the public except through the grand stairs if only during open hours. The “modern wing’ however, utilizes Renzo Piano’s famous double refracted floating light curtain as a way to allow natural diffused light in to the galleries. Likewise there are several means by which to enter the building, even when the galleries are closed.

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

Even colors today are subject to the numbers from a catalog given by two major manufacturers. This is a far cry from utilizing materials which naturally portrayed the feel and hue of its surroundings which Leatherbarrow explains that both Frank Lloyd Wright and Aris Konstantinidis always sought to achieve. The Xenia hotel designed by Konstantinidis on the island of Mykonos was a terrific example of utilizing site, materiality, and color to compose a seamless vantage.2 In chapter five, In and Outside of Architecture, Leatherbarrow refers to topography of a building’s site as a connection to its horizon as well as the “flow” from interior to exterior. Leatherbarrow takes two architects, Frank Lloyd Wright, and Aris Konstantinidis as precedents. Wright and Konstantinidis are both fundamental contextualists, with subtly differing ideas of how a building fits perfectly into a site.2 Still, they both believed that the building should blend into

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In the end, it seems the foundation of why architects and designers began reusing ideas, details, and colors is because “… designers can avoid thinking anew about the basic premises of dwelling experience because that sort of thinking can be assumed to have been done by specialists, the results of which are available on the market in the form of ready-made solutions.”2 Likewise, the flattening of a site is often another example of utilizing an off the shelf idea where civil, landscape, and underground plumbing will be copied from on site to the next.

“Thus, much if not most of what design prescribes for construction comes off the shelf, as do the suits and shoe most people wear. Architects rely on trade literature because without a pressing need it is very hard to find (to budget) the time to study products further, harder still to break the routine or slow the pace of the professional office.2

The harmonious blending of materiality and topography from site to building to horizon differs tremendously from today’s tempting “…tabula rasa tendency of modernization favoring the optimum use of earthmoving equipment in as much as a totally flat datum is regarded as the moss economic matrix upon which to predicate the rationalization of construction.”1

Citations 1. Frampton, Kenneth “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” The Anti-Aesthetic, Essays on Postmodern Culture. (New York: The New Press 1998), 17-35. 2. Leatherbarrow, David, Uncommon Ground: Architecture, Technology, and Topography. (The MIT Press: Cambridge, Massachusetts, London, England 2000), 119-212.

In his writing on Critical Regionalism, Kenneth Frampton explains the importance of selecting materials and designing from scratch in order to attain a tactile and sensory experience.1 When considering the human reaction to a path or place based on a careful material selection as opposed to manufactured mechanical experience, the costs may be similar. Prior to full page ads in architectural magazines and free box seat entertainment from venders, architects designed the furniture, light fixtures, etc. for a given typology based on the tactile feeling they wanted to create. Today, architects not only reuse specifications from project to project, developers often file them into an afterthought budgetary group known as: furniture furnishings and equipment.

“…this does not mean that the patterns and situations by which topographies are known need to manifest themselves in the same materials (as if isohylic), nor be spatially continuous (isotropic), nor given the same shape and profile (isomorphic); instead, they have to accommodate similar performances, each serving as a receptacle and ‘singing’ in its own way…”2

In chapters four and five of his book Uncommon Ground, David Leatherbarrow discusses the miss use of modern design as it pertains to the specification of cataloged details, as well as topographical relation of the building to its site.

Leatherbarrow elaborates on the continuity of the site to building to horizon relationship by explaining that

Uncommon Ground David Leatherbarrow

Reading Two

the site and appear as if it had been there for decades prior.2

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

In his discussion Rappel A L’ Ordre, The Case for the Tectonic, Frampton chooses to eliminate the requirement for skin when considering a building’s presence.1 Two of his profound examinations are found via structural expression and joint, and jointless, or as he calls it the “disjoint” Frampton believes that making details such as the joint visible can have ideological and cultural implications. Still, he warns that these details cannot be a function of the economy or chosen based on commodity, but rather careful selection and artistically placed.1 There are many architectural precedents that fully embrace the idea of expressing the structure as well as harmoniously joining, or in the case of the “dis-joint,” ending one material and commencing with the next. Renzo Piano is one master of the expressive structure and artfully detailed joinery. Although the Pompidou Center was a collaborative design, Piano has most consistently continued his structural and detailed joint expressions throughout his career. A seamless transition from environment to structure to skin is a terrific way to portray a feeling of openness to the public, and surrounding culture. Still, many designs have taken the idea of structural expression to mean move columns and beams from the interior to the exterior. However, Frampton iterates that an emphasis on structure isn’t to promote constructivism or desconstructivism, but to promote the origin of the term tectonic as “belonging to a building”1 In the end, it is important to understand the positive and negative effects a skin of a building may have on the region and context. Likewise, simply moving the structure to the exterior is not a simple exercise in relocation, but that the joining of the structure to themselves as well as the region is also very important. Frampton’s goal through this discussion is to reposition architects from a commodity based designer, to a holistic, critical regionalist.1

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

In early architectural design prior to the analytique graphic analysis of details (early architectural graphic standards), architects wouldn’t put together any detail drawings.2 The details were translated from designer to craftsmen through a vision.2 Today, the contractor requires a drawing on how to build every detail within a building, short of screwing drywall into a stud. I believe this disconnect is one of the reasons architects are selecting off the shelf details to be incorporated into their designs. Contractors today know that the more sketched details the architect gives them, the less responsible they are when something is built poorly. I have had the good fortune of experiencing this first hand. Nearing completion of a project, I was asked to produce a detail sketch of a “floating soffit” above the concierge desk. Only a couple days after I

Citations 1. Frampton, Kenneth “Rappel A L’ Ordre, The Case for the Tectonic.” Architectural Design 60, no.3-4(1990): 19-25. 2. Frascari, Marco, The Tell-The-Tale Detail. VIA7: The building of Architecture (1984): 23-37.

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Today, we can work toward achieving designs that require no addition of good detail, or subtraction of poor detail upon a building’s completion. This will require a proactive collaboration from architect to builder.

In architecture, the use of the word detail has a very contradictory meaning.2 Details are typically defined as a small piece contributing to a larger whole.2 In architecture, details can vary in scale from the joint, the way it is connected to another detail, or a much larger detail as in the way a building is placed on site. A detail can be philosophical, and technical at the same time. For example, if a building is blended into the side of a hill top similar to Frank Lloyd Wright’s Taliesin, as well as protecting the interior from the environmental conditions, it is achieving a great design in two very fundamental details. However, the ability to achieve great details simply based on a vision is quickly fading as did the role of a true craftsman.

Alberti’s theory seems obvious, but all too often we come across a building which conveys an uneasy emotion and lack of careful detail selection. Masonry, for instance, is a common building material that can be incorrectly detailed thousands of different ways.

Through Frascari’s conversation on details I will explore three fundamental ways in which details comprise a masterful piece of architecture through scale, coherence, and selection.

“Alberti sees architecture as the art of the selection of appropriate details whose result is beauty, which is a meaningful goal. He defines beauty as ‘concinnity’ of all the details in the unity to which they belong; in other words, beauty is the skillful joining of parts by a normative by which nothing can be added, subtracted, or altered for the worse.”2

“This is because of the understanding generated by the detail as joint. Architecture is an art because it is interested not only in the original need of shelter but also in putting together spaces and materials in a meaningful manner. This occurs through formal and actual joints. The joint that is the fertile detail is the place where both the construction of the construing and the architecture take place.”2

In his discussion on the Tell-The-Tale Detail, Marco Frascari explains that architecture is as much art as it is a profession.2

Architecture is the manifestation of a multitude of details. Many architects write on the importance of details to produce a coherent composition. For example, Frascari’s homage to Alberti explains the requirement of thoughtful selection of details to produce great architecture.2

The Tell The Tale Detail Marco Frascari

had submitted this sketch, I had arrived on site to realize that it was conceptually built incorrectly, however, it was built according to the detail I had submitted.

Reading Four

READING ONE

CRITICAL READINGS:

READINGS 1 AND 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 SUMMER 2014

One of today’s major problems in architecture, a topic that is hit continuously in the article, is that money controls design. When dealing with clients that have a great deal of money, it gives the architect more room to design. Whether it is designing with green energy for the future or doing more with the building and its façade. When it is a client with a low budget, you receive a more cookie cutter building that can be placed anywhere, with no creativity in the design. Bringing us back to the article with the idea of universalization or the money to do whatever we want wherever we want it. Another great thing that is lost in today’s architecture, that should be continued, is working more with the topography and context of the site. The idea of creating something that can only be seen in that area of the world. To quote the article, “the bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site.” Rather than cutting through the site, work with your surroundings to make a greater and more memorable design. One example for this idea can be seen in Asian farms. The way they are stepped into the hillside make them a great piece of architecture working with its topography and context. Getting back to how money drives design, the way we experience architecture is a design of its own. Which could be walking through the room and the feel of a nice wood floor or rather a cheap tile floor. The transition arriving at your building with the landscape and the façade, or even the aroma of that area could affect your experience. All are ideas that take more money and that you see less of in todays designs. Reiterating the idea that money does control design.

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

Another point, which I mentioned in my first writing, was working more with the topography and context of the site. The idea of creating something that can only be seen in that area of the world. Mentioned here in article two about how the buildings differ from out in the country to in the city. To quote William Morris from the second article, “in passing through the country one sees many examples of thoroughly good ordinary country buildings, built of the mere country materials, very often of the mere stones out of the fields; and it is a very great pleasure to see the skill with which these buildings are constructed. They are very often not pointed at all, but you cannot help noticing the skill with which the mason has picked out his longs and his shorts, and

Morris, W. The Influence of Building Materials on Architecture. Century Guild Hobby Horse, January 1892

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

Citations

In the second article it talks mostly about the exterior building materials to be used in good design. How stone is the best material to use, then follows wood, then after that brick. Stone being the longest lasting and the best looking. Brick not yet being as opular of a building material though the author was still trying to push for it to be used more. He speaks of knowing your surroundings when designing a building. For instance at the time a coal plant was being built and a factory was being built close by. The designers of the factory decided to create the building partly with brick and partly with freestone dressing. The aftermath was the freestone dressing becoming a dirty black and the whole result in whatever architectural design they were going for, being totally destroyed by the dirt. Had the designers prepared and thought the design through further they could have planned for that. Putting brick around the whole exterior so if the dirt did affect it, the whole building would be affected the same making the dirt less noticeable.

Relating this second article to the first in the Culture Versus Nature section. Where as just as the farmer created his building from the site, Mario Botta say’s “building the site.” “It is possible to argue that in this last instance the specific culture of the region – that is to say, its history in both a geological and agricultural sense – becomes inscribed into the form and realization of the work.” Using your topography and context helps you to create great architecture. Not only that, when incorporating the use of correct materials you may also design a great building. Both articles press to know your surroundings and to know the context of your site and you will create a great piece of architecture.

The influence of materials in design is a major part in today’s architecture. Along with the topography and the context being other important areas. These ideas are mentioned in the Six Points for an Architecture of Resistance and are the topic in which I searched to find a related article. That article was The Influence of Building Materials on Architecture. This article dates back to 1892 in London but does relate in ways I enjoy to the first article.

The Influence of Building Matericals on Architecture William Morris

put the thing together with really something, you may say, like rhythm and measurement (his traditional skill that was), and with the best possible results.” This quote reiterates what I said in the first article writeup, using your topography and the context to your benefit, to create a memorable building. The idea of using your context and materials on the site is something you never see in today’s architecture, but is something I find amazing and can truly be defined as architecture.

READING TWO

READING THREE

CRITICAL READINGS:

READINGS 3 AND 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 SUMMER 2014

Tectonic means, pertaining to building or construction in general; constructional, constructive used especially in reference to architecture and the kindred arts. Frampton believes tectonics to have a deeper meaning than just this, where as instead to return the structural unit as the irreducible essence of architectural form. That unit which leads us to believe is the joint. “So much so that the generic joint becomes a point of ontological condensation rather than a mere connection.” One of the first ever joints being the knot. In some of the first homes designed using textiles the knot was the joint that helped them create the tent. The connection between the joint and the knot further proves that the art of building is the joint. “Architecture is an art because it is interested not only in the original need for shelter but also in putting together, spaces and materials, in a meaningful manner. This occurs through formal and actual joints. The joint, that is the fertile detail, is the place where both the construction and the construing of architecture takes place. Furthermore, it is useful t complete our understanding of this essential role of the joint as the place of the process of signification to recall that the meaning of the original Indo-European root of the word art is joint…” You can find art and poetry in the architecture; you just have to look deep enough into the work. Whether it is in the choice of materials or the structure of the building and how it is designed, again leading back to the joint. It is said that you can take the hollow, ducted, brick bastions, and then dematerialize them and you can see them as a comparable discrimination between servant and served spaces. Which then again proves that tectonics cannot concern itself only with structural form.

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

The Professors where then able to break down tectonics, “tectonics should be approached from different angles, due to the composite nature of the concept; in this context also defined as the holder of the dialogue between construction and construing, and secondly due to the

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Also researching the architectural author Marco Frascari, who wrote the essay The Tell-the-tail Detail, opens the idea of construction and construing, the two concepts coming together to provide a meaning in architecture. Taking away from that could be the need to have a meaning behind the structure of your design or to have your construction tell a story. Then this theory directly relates back to the book Tectonic Visions in Architecture by Anne Beim, who said, “The focus will then be on the meaning embedded in the specific construction, as it is interpreted both by the designing architect and the user.”

In both articles everyone concurs that tectonics can and should be broken down to a deeper meaning. Just as Frampton said there is art and poetry in the architecture; you just have to look deep enough into the work. Whether it is in the choice of materials or the structure of the building and how it is designed. Though the Professors found it easier to break it down further into sections using some of the same data as Frampton, both came out with similar data on tectonics. One great similarity was the joint. Frampton believed that the joint was the most important piece of every building or piece of art. While the Professors viewed the joint at a larger scale, not just one singular joint, but the building as a whole and how they are joined together. Citations Semper, Gottfried, 1851. Die Vier Elemente der Baukunst. Ein Beitrag zur Vergleichenden Baukunde. Braunsweig; Friedrich Vieweg und Son. Frascari, Marco, 1984. “The Tell-the-Tale Detail”. In: VIA 7 The Building of Architecture. Architectural Journal of the Graduate school of Fine Arts. Univeristy of Pennsylvania. Bech-Danielsen, C., Beim, A., & Christiansen, K. 2012. Tectonic Thinking in Architecture. , 1-24.

These Professors did their research on many of the same authors that Frampton collected his findings. Gottfried Semper being one of those authors. Taking his theory that first he defines the tectonic as a result of conscious artistic work. Then secondly, he sees the tectonic aspects of the architecture concerning the material properties and the design of constructions, whereas the functional dimensions of architecture are paid less attention. Now knowing that tectonic holds a creative idea and in architecture must include or involve an artistic idea of sorts. Following the second point, by definition tectonic work discusses artistic design based on the structure, instead of focusing on functional aspects of architecture and its everyday use. Now coming to agree with Frampton that architecture is not only built on materials like brick, concrete, glass, and steel. It is also based on ideals and values.

Can tectonic thinking form a basis for new strategies for contemporary sustainable building practices? This was the question asked in the research paper, which was chosen to read for article two. This article, named the Tectonic Thinking in Architecture, was from The Royal Danish Academy of Fine Arts in Denmark and was written by a few of their Professors.

They break tectonics down into three parts, one being the product level focusing on assembly of various elements on building components. Relating back to article one with the joint, but to study how these buildings are joined together as a whole not just in one area. Part two is the system level, focusing on integration of various systems. These systems such as hardware or software must be examined in relation to other similar systems. Part three is the building level, focusing on organization concepts for various building constructions/designs. These are linked to the ideas of construction and construing at all levels and how these are connected to a wider context.

Tectonic Thinking in Architecture Claus Bech-Danielsen

vast and highly complex field of building construction and building industry.”

READING FOUR

Reading One

CRITICAL READING:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

On page 17 of the article by Kenneth Frampton I think that the advance towards a â&#x20AC;&#x153;single societyâ&#x20AC;? is a step down the wrong road. When we advance down this path we lose the great differences that make each culture special and unique, and intern we would create a fairly boring world where everything would be the same know matter where a person would go. This unification would cause people to lose a sense of regional loyalty, and begin to disassociate with the local grown and manufactured goods. However as a whole the knowledge that would be learned from other people and cultures would presumably be able to better our lives, and by joining together as one we would also lose the ideas of separate races. On page 21 of the article Frampton talks about how postmodern architects are feeding the media-society what they want to hear. I think that this is true. And they give in to the whims and ideals of the mass culture, giving them what they want and not necessarily what they need. A majority of the buildings built now are built the way that they are because of how much money that it is not going to cost the client. I think that while saving money is a good idea, it gets way too far in the way of design. On page 27 I could not agree more with the statement about how we need not to look at boundaries as where something ends but rather as where something begins. This speaks to me because I have always been taught that a boundary is where you need to stop, this line is where you can no longer go past. Instead, the boundary needs to be a place that one can go to the edge of and then say form here on is only where I will spend my time. The boundary can also be a place that one can go just past, turn around and say to one self how can I change how this is viewed.

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

Eggener does a case study on one of the most famous Mexican architects Luis Barragan, and uses him as an example of how to pull the historical and regional into architecture. Barragan’s building were “imbued with a feeling for mythic and rooted beginings that was sensual and earthbound.” (Eggener 232). He used local colors and regional building typologies for his Mexican architectural designs. Barragan believed that the architect needed to listen to and pay attention to the nostaligic. However the majority of his work was built and designed

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Eggener, Keith L. 2002. “Placing Resistance: A Critique of Critical Regionalism.” Journal Of Architectural Education 55, no. 4: 228-237. Academic Search Premier, EBSCOhost (accessed June 10, 2014).

Citations

Eggener agrees with Frampton on page 229 about how critical regionalism evolved out of a response to how global modernization is continuously eroding all traditional cultures. The unification of all global trade and the process of creating an international architectural style is killing the localized design. Everyone is always looking at something somewhere else to model their design off of, or using a different building typology to plop right onto their sight. Even if that particular type of building does not even come close to working environmentally or historically within the context of that particular sight. The goal should be to not take that complete building from one sight to the next, but rather meld local techniques with modern technologies and practices in order to create a harmony between the historically regional and the modern global approaches of design. Designers and architects alike need to be able to combine these two dissimilar ideologies and create architecture that is a ”place to be, and architecture that has an ambiance and an atmosphere” (Eggener 231) to it; a place that people would want to come to and place that they would want to stay.

On page 228 Eggener talks about how regionalism is not about using the most available local materials, or about using ancient simple forms of construction, but instead regional forms are those that most closely achieve making the people of the area believe that they are at home within the space. I believe that this is true on the basis that even using local materials and local building techniques if done the wrong way or in a way non pleasing to be in can cause people to shun and stay away from something.

All in all critical regionalism creates a vast paradox of opposing ideologies. Reviewing and analyzing two different papers on regionalism. It brings to the table how does one design for a modern era that is wildly connected through the use of all kinds of technologies; while at the same time designing to meet the needs of the peripheral regions, and the immediate site context itself. I think that regional design should overpower global design. However technologies that can be incorporated into a design should be even if they typically are not from the particular region. Regionalism is a state of mind; it pays attention to the intellectual and cultural landscapes from which it draws its examples from (Eggener 235).

In this analysis Keith Eggener bases his main concepts from those of Kenneth Frampton, however he branches off combing the works of Akexander Tzonis, and Liane Lefaivre.

Placing Resistance: A Critique of Critical Regionalism

for the priviledged people, not for the war torn neighborhoods that encompassed the majority of Mexico at the time. While at the saem time that Barragan was fighting to keep architecture regional, he was also trying even harder to keep the advantaged advantageous, in a modern time that is full of various technologies.

Reading Two

Reading Three

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton In the introduction Frampton argues that the act of building is a tectonic and not a scenographic activity. From the knowledge that I have gained on the subject this means that the act of building is the act of actually creating a work and not just representing or emulating something that exists in nature or within the mind of the designer. In the research that I have conducted I have come to agree with Frampton that the “structural unit as an irreducible essence of architectural form”.

CRITICAL READING:

SIUC ARC 550 Summer 2014

On the third page Frampton talks about the difference between the framework and the mass form; or the tectonic versus the stereotomic. I agree with Frampton that the that the framework seems as though it is always reaching for the heavens and has no mass at all, whereas the mass form always seems rooted to the ground never leaving and always going seemingly deeper and deeper into the ground. I also agree that even in today’s world of highly sophisticated technologies that these complete opposites have a vast influence on the way that a person’s emotions are controlled, or manipulated. On page five Frampton once again reiterates the ideology of how environment should control the design, not the design controlling the environment. He says “The environment is therefore not a system in which to dissolve architecture. On the contrary it is the most important material from which to develop the project.” I believe that this could not be truer. Using this approach one can create a design that not only works the best it can within a site, but a sense of being and placeness is created when one conforms to the context of the geography and the environment.

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

“Where aesthetics went beyond the theory of imitation contained in the tradition of the classical treatise, was in its creation of a difference between ontology and representation.” (Schwarzer). Today many architects get caught up in the pure ideology of creating works that look like something else. Instead of exacltly representing various works, one needs to apply their own thoughts and process to create works that not only look pleasing to the eye but also function. “Botticher’s association of structure and ornament with ontol ogy and representation was new to architectural thinking. Whereas architectural theorists had long recognized differences between structure

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Schwarzer, M. (1993). Ontology and representation in karl bötticher’s theory of tectonics. Journal of the Society of Architectural Historians, 52(3), 267-280. Retrieved from http://search.proquest.com/ docview/55599568?accountid=13864

Citations

“Tectonics was hardly limited to issues of construction. It embodied an integrated study of function, structure, and symbolism. In regard to the explication of building forces through artistic symbols.” (Schwarzer). The study of tectonics is a broad topic that not only deals with the constructed part of a building type. It deals not just with the jointed connections and how materials of dissimilarity meet each other, but tectonics addresses the issues of how the building works, and what the architecture means to the user. These perceptions of space can be changed and manipulated through the use of various tectonic elements; such as in various chapels around the world like the very light and airy Thorncrown Chapel to the very heavy and gothic chapels of Europe.

“Botticher recommended that architects begin a building with an analysis of social and physical forces; the needs that instigate its plan, its roof covering, and its vertical supports, that together result in the creation of architectural form and space.“ (Schwarzer). In order to create architecture that is designed for the user one must first look at the culture that will be using and experiencing this space. What factors influence them and how they view the world that is around them? Then one must look at the physical elements that comprise the region. This draws back onto the works by Kenneth Frampton on regionalism and how that movement causes a loyalty and sense of pride to the people that inhabit the area immediately surrounding the site.

Ontology and Representation in Karl Botticher’s Theory of Tectonics: Mitchel Schwararzer

and ornament, they had never remarked upon their differences in this aesthetic sense. On the importance of artistic signs as a representation of mechanical forces, for example, Botticher wrote: All decorative characteristics of the parts of built structure are perceptible demonstrations of their functions, essence, physiog-nomic beginning, development, turns, conclusions, and connections. In short, art is an explication of the organisms which connects the whole with its parts.” (Schwarzer). The difference between structure and ornament is a challenge for the modern designer I believe. Many of us get caught up or led to believe that the structure of a building needs to be hidden and tucked away from view. When in reality sometimes the structure can play just as big of a role in creating the ambiance of a place that one would want to dwell in for an extended period of time. I believe that the invention of the modular curtain wall has had a major influence on the shift in belief. This new type of wall system is easily changed and moved around to accommodate a wide influx of uses. It fakes the use of a structural wall, while in reality it is mearly a decorative piece to deny access between the public and private spaces of a building.

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

The art of a building is comprised of many things from the land to the roof, but do we really think of the guts of a building, how it stands? The framework of a building is just as big of a part of the art of architecture as the finished product. In Kenneth Frampton’s article, Rappel a L’ordre, the Case for the Tectonic (1990), he discusses the importance of the structural and constructional aspects of a building through the basis of tectonics. He stresses that these different “joints” are the most essential and central pieces to building. These joints, some physical and some metaphorical, create the art form that is a building. Frampton (1990) discusses how a building, what most would view as an inanimate object, should be seen as a “being.” He states, “…the body of a building may be perceived as though it were literally a physique.” (p. 5) The notion of a building becoming a “being” is a fascinating concept, the idea that buildings have life. He continues on to cite Gottfreid Semper’s, Theory of Formal Beauty (1856), where he summarizes Semper’s beliefs of architecture as an art, “…he no longer grouped architecture with painting and sculpture…but with dance and music as a cosmic art…” (p. 6) It makes sense for most people to classify architecture as an artwork on display since a building is a dormant object, but in reality architecture comes alive when we experience it. The spaces created can be manipulated, and they force movement through circulation, in comparison to how music makes us dance.

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

To include Kenneth Frampton states that, “1960’s have since become progressively overlaid by the two symbiotic instrument of megalopolition

Foster, H. (1983). The Anti-aesthetic: essays on postmodern culture. Port Townsend, Wash.: Bay Press. Shadar, H. (2010). Evolution and Critical Regionalism. Journal Of Urban Design, 15(2), 227-242. doi:10.1080/13574801003638137

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Citations

Hadas Shadar emphasis in 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 reemphasis the evolution of architecture and how the local culture changes existing to architecture into their daily needs. Hadas Shadar explains this theory by showing different residential complex 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 plan because the plans suited their way of life but, they have changed the structure them self by adding external spaces(Shadar, H. p.238). This show how the modern architecture and vernacular architecture can be evolution into regionalism. In contrast Kenneth Frampton discusses jorn Utzon’s Bagsvared Church use both modern / global design on the exterior but the interior is more of a regionalism architecture with the celling being curves of culture (Foster, H. 1983, p24-25). This shows that Jorn Utzon was able to build a church that is globalized design and still apply regionalism architecture all in one time rather than seeing an evolution into regionalism architecture.

To begin both of these article 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 different. 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.

Evolution and Critical Regionalism Hadas Shadar

development – the freestanding high rise and serpentine freeways” (Foster, H. 1983, p18). In other words, the after the 1960’s the development was taken over. With this happening there was a lot high rise building begin built that were being stamp 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 rebuilt of the city rather than the concentration on the regionalism and culture which result lead to development. With lack of concentration on culture and regionalism the building complex have evolve and changed in years to the way they lived life by. Hadas Shadar explains multiple times how building evolve into the culture of the people and while Kenneth Frampton speaks more of the awareness of regionalism and culture that in the future designer need to aware of their context. Both articles examine regionalism at different time period but there are still many similar between even though the articles differed in 30 years.

Reading Two

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

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

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Frampton, K. (2002). Labour, work and architecture: collected essays on architecture and design. London l: Phaidon Press. Shih, Chih-Ming. “The Tectonic Complexity of Minimalist Architecture.” JAABE 10.1 (2011): 15-22.

Citations

Frampton (1990) expresses his thoughts on Post-Modern architects need to “re-position themselves given that the predominant tendency today is to reduce all architectural expression to the status of commodity culture.” (p. 3) This meaning architects were doing the same thing to conform to whatever the trend in architecture was at the time. In Chih-Ming Shih’s (2011) article, The Tectonic Complexity of Minimalist Architecture, they compare Mies van der Roe’s representational and Louis Kahn’s ontological approaches to design during the 1930s to 1950s. When explaining Mies’ work the terms ‘simplicity’ and ‘transparency’ were the best way to describe his reasoning for his use of immateriality. “He did not choose stone, reminiscent of architectural tradition; instead he opted to use steel and glass to represent modernism in an immaterial form. In the implementation of materials, Mies avoided traditional decorative effect of carved stone, using instead the simplest form…” (p. 16) Referring back to Frampton’s “commodity culture” phrase, Mies is a prime example of what Frampton is saying not to do. Mies represents the modern style with his use of glass and steel rather than brick and stone. Shih (2011) actually states that, “Mies began an architectural trend in his presentation of transparency and simplicity of form…” (p. 16) In comparison to Mies representational style and Kahn’s ontological

Another similarity between these two articles would be the discussion of materiality and immateriality. Frampton (1990) describes the two, “These gravitational opposites, the immateriality of the frame and materiality of the mass, may be said to symbolize the two cosmological opposites to which they aspire: the sky and the earth.” (p. 5) He had previously stated in the article that the framework would be related to the light of the sky, leaving the mass in the earth. It’s interesting to call the framework and mass polar opposites, when you can’t really have a mass without a framework. When Shih (2011) discusses examples of materiality and immateriality, he talked about how Mies used immateriality while Kahn used materiality, and how the contemporary architects eventually combined both. Can a design truly only have one or the other?

These articles focus on the concept of tectonics in architecture, which is defined in both articles by Frampton (1990) as “pertaining to building or construction in general; constructional, constructive used especially in reference to architecture and the kindred arts.” (p. 3) Both Frampton and Shih stress the importance of the construction of a building, the materiality and the immateriality, and the use of ontological and representational tectonics. Frampton (1990) describes the two as, “The first involves a constructional element, that is it is shaped so as to emphasize its static role and cultural status…The second mode involves the representation of a constructional element which is present, but hidden.” (p. 4) Frampton’s article argues that a building should be ontological by expressing the importance of “joints” in buildings, while Shih (2011) simply gives comparisons of both tectonics through minimalist and contemporary minimalist architects and why they design the way they do.

The Tectonic Complexity of Minimalist Architecture Chih-Ming Shih

style, Shih (2011) also discusses contemporary architect partners Kazuo Sejima and Rye Nishizawa, and Tadao Ando whose styles incorporate a combination of representational and ontological architecture with influences by both Mies and Kahn’s modern styles. Sejima and Nishizawa’s contemporary style implemented an abundance of steel and glass in their designs while also using concrete as their main structural system, but hiding it from the user through a ‘skin’.

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

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.

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

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

Shadar, H. (2010). Evolution and Critical Regionalism. Journal Of Urban Design, 15(2), 227-242. doi:10.1080/13574801003638137

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

Citations

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, p24-25). 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 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 30year 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.

Evolution and Critical Regionalism Hadas Shadar

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.

Reading Two

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

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.

Citations Frampton, K. (2002). Labour,

work and architecture: collected essays on

architecture and design.

London l: Phaidon Press.

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

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

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 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

Citations

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 FreeForm 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.

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)

Tectonics? A Case Study for Digital Free-Form Architecture Wan-Ping Gao

unique building. This also stresses how computer help the architect to have their project become more detail orientated.

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

The advancement of technology, as said by Kenneth Frampton, has limited the creativity of building design that has shaped and defined human culture for thousands of years prior. When human made the move away from rural towns and into cities where land is valued, they began to look for alternatives to build that are more quickly, cheaply, and just enough to serve their purpose. And because of the rapid population growth, it is easier to build a concrete box and give it a facade rather than to give it any kind of regional character. More and more, our planet is dotted with these boxes and one will no longer know the difference between one city from another. There were a few movements in the 19th century that wanted to revive traditional architecture, movements such as Gothic Revival and the Art and Crafts. However, the movements were short lived mainly due to the lack of skilled workers and ultimately money. The Bagsvaerd Church by Jorn Utzon uses universal materials and construction techniques for the exterior but they are manipulated to create a unique interior space. Jorn Utzon was able to create a balance between “universal civilization” and “world culture” by combining the two in his design, it is universally accepted but is sacred to those it serves. Not so much the case when land is bulldozed and flatten to build a concrete box. It is becoming a condition where land has to be flatten in order to build rather than designing a building to fit into the land for the sake of preserving the history. Similarly, artificial light is use in art galleries in an unnatural way that it takes away the full experience of the viewers by limiting their sense capabilities. It is though modern architecture is an idea that focuses on giving what the people want rather than what they need.

Citations Frampton, Kenneth (1983). Towards A Critical Regionalism: Six Points For An Architecture Of Resistance. Seattle, WA: Bay Press.

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Both the centers and districts are to be designed for the people to experience the space and not to walk down a “burolandshaft” cityscape (Frampton). Instead of high rises popping up with no other reason than the availability of land, they should be in the city center. When Frampton talks about the topography of an area and how important it is to build with the natural environment for the sake of preserving history of the land. Sometimes preserving land is not enough to prevent city from spreading. The land that was once inhabited by people who are from the region and was once considered uninhabitable by outsiders are now part of the “universal civilization” through the advancement of technology. From the swamps of Florida to the deserts of Nevada, there are cities in the United States that were built just because it can be built. Not to say that there are no efforts to preserve crucial lands, when demand for growth increases, it becomes a difficult matter. Farmland too, are under threat from urban growth because of their close proximity to major cities that are located in area where land is most fertile.

Calthrope, Peter (2011). The urban footprint. Urbanism in the age of climate change (pp.63-75). Washington, DC: Island Press.

This chapter from “Urbanism: In The Age of Climate Change” by Peter Calthorpe offers an optimistic outlook into the future of urban design. In Kenneth Frampton’s “Towards A Critical Regionalism”, he mentions about new high rises and weaving freeways that are overlaying old cities whereas Peter Calthorpe talks about the prospect of complete streets that allow for both pedestrian, bikes, and vehicles through zoning and planning. He also touches on, what he calls, “the five basic categories” that are needed to create a community, and they are neighborhoods, centers, districts, preserves, and corridors. They are the fundamental concepts that urban designers and planners today use to “become modern and to return to sources” (Frampton). However, technology again plays a dominant role in the ways we interact within this community. As mentioned, kids and adults alike are attached to their electronics, whether they be personal computers or cellular phones, that they are becoming less likely to interact on a more personal level. They are more likely to use technology to communicate with one another rather than talking face to face.

Citations

The Urban Footprint Peter Calthorpe

Reading Two

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

In the opening sentence of this article, Frampton talks about how architecture is becoming more of an “sign” that is built for the sake of being a building. It is turning in a performance prop, a scenography, where the designs of building focus more on the universal aesthetic rather than integrating architectural and structural systems. An example would be the ‘duck” and the “decorated shed”, as coined by Robert Venturi. A “duck” is a type of building that often blurs between the line of building and sculpture. They represent their intentions by their exterior of what to expect in the interior. A “decorated shed” is a generic building that cannot be identifiable without some sort of sign in the front. Uniqueness is not always a good thing. Therefore, it is of increased importance that tectonics be an integral part of design. Frampton considers the “Greek sense of poesis as an act of making and revealing”, he is supporting the idea that structures of a building should be part of the design and not to be covered up, he calls that representational tectonic. Structures should not be an afterthought, rather it should go hand and hand with technology. In the past, where structures were from wood, brick, or stones, they became part of the identity of which buildings they support. And what they support is most likely the roof, or sky, as they are part of the body that is supported by a foundation, or earth; an idea that is called ontological. As one of these parts differentiates itself from the next, they needs to be a separator, or a joint. A building may be covered on the outside, but it can still give gestures to the structural system within by having joints where structures meet. Frank Lloyd Wright’s Larkin Building is a great example of having joints to divide between servant and served spaces. However, there is a difference between a joint and a break, or he rather calls it the “dis-joint”. A break signifies and end while a joint connects.

Citations Frampton, Kenneth (1990). Rappel A L’Ordre, The Case For The Tectonic. Architectural Design 60, no 3-4: 19-25.

The last of the three modes is reciprocity. Here, building and landscape have a dependent to each other in a sense that one can influence

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Rainey, Reuben M. (1988). Architecture and Landscape: Three Modes of Relationship. Berkeley, CA: Places Journal.

The second mode is merger, this is when a building integrates itself to the natural environment. Just as what Kenneth Frampton says when a building should be built onto the site and not have the land flatten to make the building fit. This is not to say that it is an easy task. Something that is built by man, such as a building, is the opposite of what is created by nature. A building can blend into an urban environment because is it part of the built. But in order for human to continue living on earth, he must respect this planet and be harmonious with nature instead of destroying and depleting it. Many mountains have been flatten, rivers diverted, forests cleared, lakes dried to make way for man and his interests. The works of Frank Lloyd Wright’s Fallingwater and Fay Jones and Associates’ Thorncrown Chapel are great examples of how man and nature can exist in a harmonious way.

Frampton, Kenneth (1990). Rappel A L’Ordre, The Case For The Tectonic. Architectural Design 60, no 3-4: 19-25.

The first of the three modes is contrast, a stark opposite with the built against the natural environment. There is no transition between the building and the landscape thus creating a powerful juxtaposition. Central Park in New York City, an oasis of trees, plants, and pastoral that is boxed in by super high rises of one of the most densely populated cities in the world. There is an understanding that nature should be untouched, that it is a “realm apart”; however, some can argue that man is a product of nature and what man makes is nature.

Citations

In essence, architecture includes indoor and outdoor space, building and parks, plazas and parkways; therefore architecture and landscape have a relationship between the two. Landscape is one of the first challenges, or opportunities, presented to a designer. Aside from designing for their clients, they must also address the fundamental cultural values of the land. There are three modes of relationship between architecture and landscape: contrast, merger, and reciprocity. Often these modes combine with each other because of the variables that come with design. However, the combinations of these modes will only better the design and give it more meaning. Ultimately, it depends on how well man can get along with nature. This relationship is similar to Kenneth Frampton’s view of tectonic when he makes a connection between the earth, the structure, and the sky.

Architecture and Landscape: Three Modes of Relationship Reuben M. Rainey

the other. By using these three modes, a designer can then formulate strategies for designing any style from any period within the confine of architecture. However, it is important that the proper understanding of nature be realized by the designer to make the relationship between architecture and landscape.

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 3

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

In Towards a Critical Regionalism: Six points for an architecture of resistance, According to Frampton’s proposal, critical regionalism should adopt modern architecture, critically, for its universal progressive qualities but at the same time value should be placed on the geographical context of the building. Emphasis, Frampton says, should be on topography, climate, light; on tectonic form rather than on scenography and should be on the sense of touch rather than visual sense. Frampton cited with various examples and explanation of various theorist and architects. Through the example of Aalto’s SŠynatsalo Town Hall of 1952 by Alvar Aalto where he describes the use a tactile surface’s ability to make legible the architecture. This became prototype of critical regionalism architecture. Aalto blended his modernist building in the surrounding forest. He introduced brick elements, wood floors, stairs and smooth irregular surfaces. For the project of this object he used models taken directly from nature, as well as local materials. Aalto, when creating his town hall, was guided by the principle of critical regionalism – honesty of the material and the design. Another important issue for Frampton is the tectonic and rather than scenography. “Tektonik” referred not just to the activity of making the materially requisite construction. . . but rather to the activity that raises this construction to an art form. . . . The functionally adequate form must be adapted so as to give expression to its function. The sense of bearing provided by the entasis of Greek columns became the touchstone of this concept of Tektonik. The tectonic remains to us today as a potential means for distilling play between material, craftwork and gravity, so as to yield a component which is in fact a condensation of the entire structure. Tectonics is primarily concerned with the making of architecture in a modem world. Its value is seen as being a partial strategy for an architecture rooted in time and place, as well as an architecture of “depth .

Citations The Anti-Asthetic: Essay on Postmodern Culture edited and introduced by Hal Foster books.google.com/books?isbn=0745300030

In the article, Rappel a L’ Ordre, the case for the tectonic, the writer Frampton tries to sort out the importance of tectonics and methods of construction and its relationship with architecture.

Citations

Frampton’s theory of tectonics has three important aspects. He views tectonics as a central topic in architecture, which essence should be the structural unit. With that structural unit at the core of architecture, tectonics should be about the poetic manifestation of it. Second is the fact that Frampton distinguishes two forms of tectonic objects: representational and ontological tectonic objects. The last aspect is the joint, which Frampton sees the joint as the element that creates the bond around which the building articulates itself as a presence. Modern architecture is as much about structures and constructions as it is about space and abstract forms. The understanding of tectonics as

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Frampton emphasized importance of tectonics in architecture with suggestion of art and poetry in construction of building with emergence of writings of Karl Botticher and Gottfried Semper. He uses Semper a lot to articulate points before suggesting clear ideas himself here, particularly in introducing the joint.

books.google.com/books?isbn=0262061732

Theorist tend to emphasize structural system of building when referring to its tectonics. He begins with a dictionary definition of tectonics, which is “…pertaining to building or construction in general; constructional, constructive used in especially in reference to architecture and the kindred arts. (p. 2).

kennethe Frampton

Various writers and essays are being taken into account to relate each other basically the tectonic forms. This essay gives a specific interpretation of tectonics by bringing together the history of tectonics and phenomenological theories. It attempts to find the meaning in different modes of thoughts.

Studies in Tectonic Culture: The poetics of construction in Nineteenth and Twentieth Century Architecture

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

employed by Frampton focuses on architecture as constructional craft and yes the tectonic being defined axiomatically as “Poetics of Construction”.

Reading Three

Reading Four

CRITICAL READINGS:

Readings 4

Towards New Architecture Le Corbusier

SIUC ARC 550 Summer 2014

The essay I chose an article fourth, is Toward an Architecture which is commonly known as Towards a New Architecture. It was written as a treatise for the architecture of the modern times with a clear message being communicated to architects globally .It is a collection of seven “essays”, which talks about Mass, Surface, plan, regulating lines and mass production of houses using many examples including liners, airplanes and automobiles, as well as a closer look at Roman architecture. Much of Le Corbusier’s manifesto toward new Architecture (1923) is dedicated to promoting the architectural virtues of the machine. Often misunderstood, his famous declaration, ‘The house is a machine for living in,’ meant that the guiding principle for architects should be to make the house as well suited to its purpose as was a machine. This reiterated the argument that functionalism was more important than appearance. In order to progress, he believed, it was necessary for architects to abandon the notion of traditional styles and decorative effects: ‘Architecture has nothing to do with the various ‘styles’ [they are] sometimes pretty, though not always; and never anything more.’ This implies that he saw the aesthetic, not as just another style, but as the very substance of architecture. Instead, he drew parallels between architecture and the ‘Engineer’s Aesthetic’, arguing that engineers were to be praised for their use of functionalism and mathematical order. As a consequence, architects were encouraged to emulate engineers and adopt these principles in order to attain harmony and logic in their designs. Le Corbusier further proceeds to talk about the three tools that architects are blessed with and reiterates their importance. Architecture as he describes it is the “masterly, correct and magnificent play of masses brought together in light” and its real beauty is seen only if the masses are in their pure forms. Cubes, cones, spheres, cylinders or pyramids are the great primary forms that create beautiful architecture as they are clearly legible. Mass is the element by which our senses perceive and measure and are most fully affected. Surface is another point he discusses with a strict rejections for ‘styles’ in architecture as he argues they are merely ‘sometimes pretty, though not always; and never anything more.’ His ideal of the modern aesthetic transcends these boundaries and reaches for an inherent beauty. The

mass is enveloped in its surface, a surface which is divided up according to the directing and generating lines of the mass and this gives the mass its individuality. Mass and surface are the elements by which architecture manifests itself and this two reminders mass and surface are determined by the plan. The plan holds in itself the essence of sensation. . One of the most famous statements of Corbusier is ‘the plan is the generator.’ He acknowledges that the plan may not be drawn for being the most beautiful thing but as work of a mathematician with references to proportions, scale and rhythm. The plan is the generator without which one might have lack of order and willfulness. The great problems of tomorrow, dictated by collective necessities, put the question of ‘plan’ in a new form. Modern life demands, and is waiting for, a new kind of plan, both for the house and for the city. The plan eventually is that which determines everything. Another inevitable element of architecture is regulating line which is the necessity for order and brings satisfaction to understanding. The choice of regulating line is one of the decisive moments of inspiration, it is one of the vital operations of architecture. The best about the book I like is the open end. The last chapter titled “Architecture or Revolution” questions the future of architecture and whether we are moving too fast for ourselves to keep up (revolution) and our awareness of architecture and surroundings. For me, towards new architecture has been a source of exploring modern architecture in which mass, surface and plan is with the hearth, the embodiment of space to give a sensation how the space is experienced. This has eventually led to a healthy evolution of architecture for the times to come.

Citations Towards new architecture Le Corbusier, 1887-1965 1920 Le Corbusier: Towards a new architecture: guiding principles

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

In Kenneth Frampton’s Towards a Critical Regionalism he discusses “six points for an architecture of resistance” Which can be perceived as six point of the history, creation, construction, meaning, and reason for architectural projects. The article broke down these six categories to try and get closer to a proper way to create critical regionalism. It is very important to see the see that the world around us is ever changing and that though we may want to fall in to the temptations of using technology to simply mass produce and loose the culture and uniqueness and beauty that goes along with architecture. But instead it becomes universal and you can decrease costs. Loosing the culture is not the only thing that can hurt regionalism though, it also relies on the reality that when creating a new project you must look at your site as a starting point. It is sitting on that site, but you also have to respect what is surrounding the site and look at the boundary, and not become isolated to what is around it. You can create amazing architecture but you need to learn to respect and use the surroundings and natural settings and use those to your benefit. If you respect the land and its surroundings, an example being the topography, it is so easy to just flatten the land, but you then have changed and can ruin the natural effects that the world had created for it. Where as instead you can work with the land to create something that intensify its surroundings. Another important factor is to pay attention to the element that affects the site and how to use all the natural elements to your advantage. Lighting can be very powerful part of a site, you can completely block it from the indoors, or use light maybe finding restrictions, such as louvers or blinds, that will help to control the natural light, but in the end will ad great value and beauty to the architecture itself.

Citations Foster, H., & Frampton, K. (1983). Towards a Critical Regionalism. The Anti-aesthetic: essays on postmodern culture (). Port Townsend, Wash.: Bay Press.

He uses Mies Van der Rohe’s apartment building at 860 Lake Shore Drive, Chicago, as an example of how to solve a lot of these issues addressed about. Also explains that he solves the issues to show vertical or horizontal qualities in a skyscraper, for as Mies emphasizes neither,

Roudolph, P. (1952). Regionalism in Architecture. Perspecta (). New Haven, Conn.: Schools of Architecture & Design, Yale University. Published by: The MIT Press on behalf of Perspecta. Stable URL: http:// www.jstor.org/stable/1566852

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Citations

Rudolph goes on to explain that we have seven regional expressions that we must follow. These were things like; industrialization, travel, communication, cost of materials, laborers, architectural press, popularity, conformity, do it yourself ideas, and abstract qualities in new spaces. According to Rudolph all of these need to be addressed when working on any project and without them you will loose the “regional expressionism.” All of these all have to do with that regions particular issues, this is what can make the architecture so person and unique to that area. It takes the beauty of the area, and uses the material and natural elements of that area to create great possibilities for that particular region, and when this is complete they can follow that same model answering the same questions for another region to continue more and more magnificent architectural beauties.

He continues by explaining that he have lost “basic principles of architecture”, which are essential to the creation of this great architecture and that rather then focusing on them we are more focused on just “making it work and meeting the budget”. We are so focused on that that we loose the idea of regionalism and it has become misunderstood.

Rudolph does question if there should be a standard for these qualities, or if something should be put in place to help fix some of these current problems, and then also questions, if there is already a group for this, but they are not successfully accomplishing it. Is there something that can be done to address these pressing issues? All of the seven issues that Rudolph has have been addressed individually and also solved individually by great architects. But a lot these have not grasped more then a couple of the seven essential regional expressions to create the magnificent cities that he has hoped for.

In Paul Rudolph’s Regionalism in America, he discusses the importance of regionalism and why he believes that it is a struggle to maintain. But he is not hopeless that we will not be able to maintain regionalism. Rudolph starts be explaining his view of regionalism, the way he explains regionalism is in such a way that it is almost like a mass production of architecture, but then you change different features or element about the architecture to that region. This way it has it’s own uniqueness, but is does not loose the mass production and cost reduction factors. He explains that he believes this is the key to “create magnificent cities”, but then he also says that it has not been successfully completed yet.

Regionalism in America

but instead he makes a cage having both qualities, making one no more important then the other. He continues to by looking at Louis Sullivan’s work and examined his use of natural element such as light, wind, and climate. He has not successfully found a solution but rather has helped others to continue researching for a solution to the problem. Le Corbusier does however find a solution for sun, wind and sight, but orientation does not have any influence over these solutions. He uses Robert Maillart;s Geneva Bridge as a perfect example of how to find the right material and laborers for the region, and also stresses the importance of it’s surfaces, where as others have not made that an important feature in there architecture.

Reading Two

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

Rappel A L’Ordre, The Case of the tectonic In Kenneth Frampton’s Rappel A L’Ordre, The Case of the tectonic, he starts by discussing the importance of tectonics and how he feels as though they are being lost or replaced by scenography. Frampton feels as though this is just making it easier for people rather then challenging the architecture, they are taking the easy, and cheaper way to solve the problem. But because they have done this they loose the importance of the tectonics themselves. Frampton looks at the avant- garde art, and in an essay called “AvantGarde and Continuity” he explains that he believes that the movement at that time was to to much for architecture, and the “ism’s” were only looked at as a second thought rather than a main focus. He believes that then have less focus on the architecture of the project and have focused more on the “structural unit.” He looks at the idea of “polis” to be the explanation of what is happening in this time period. “Polis” is “an act of making a revealing,” so all that we have been creating is just put on like a show rather then trying to create to with meaning behind it. Tectonic is “building or construction in general; constructional, constructive used especially in reference to architecture and the kindred arts” so when we look at modernism which construction first, they follow a similar pattern. But we can not forget to make sure that tectonic remains together with technological and because of that we can identify three different “distinct conditions” that follow them, “technological object”, “scenographic object” and “tectonic object.” From these you can recognize the static, cultural role, the constructional element, and the then they can also be recognized together.

Citations Frampton, K. Rappel A L’Ordre, The Case of the tectonic. Architectural Design.

Architects are always trying to create an amazing projects, that the engineers do not always appreciate, because the architects can be more extravagant and creative where as the engineer is more reality driven. But together the cans still create a solution to the project. Collin believes

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Even though Zevi has confused the two professions, the engineer is more focused on the structural aspects of the design, where as the architect is trying to find the “very character of the composition itself.” During the Modern Movement, engineers were viewed as scientists creating basic structure. The architects would then take the engineers work and “adapt, proportion, and refine in accordance with the requirements of the program.” Which if you really think about all of the qualities, which would be described as design. Though now days it may have been done in a different order.

Citations Collins, P. Tectonics. Journal of Architectural Education, 15, 31-33. Retrieved June 10, 2014, http://www.jstor.org/stable/1424135

An example of the interchange in the professions is with Bruno Zevi discusses architecture and interchanges Henri Labrouste for an engineer when in fact he was trained for art in two distinguished schools. Zevi also says that Robert Maillart a bridge designer is an architect when in reality is focused on the engineering of the bridges he designs.

Collins then introduces the close collaboration of a civil engineer and a civil architect, which he says are almost “fundamentally identical.” But who an architect would work with the closest would be a structural engineer, who can almost be described as a “structural designer” because he is “not acting as an engineer at all in the oldest and truest sense of the word.” The structural engineer works in a way with the architect to try and keep the design that has been constructed already but adds in the structure, to support it. This idea of a structural designer that is not completely acting as an engineer but also not acting as an architect is new and exciting. Collins believes that this can be its own profession, he believes that it is a strong enough to stand as it’s own profession that he would call “Tectonics.” It would be aspects of engineering mixed with the architectural design principles and would be able to eliminate the confusion and struggle between the architect and engineer. There would not be separate professions trying to work in peace, but rather a group that was able to face all aspects at once.

In Peter Collins article Tectonics he shows the importance of architects and of engineers on any given project. Collins explains that they are two different groups that contribute vast amounts to a project, but can also be confused with their role in the project. In the enlightenment period, theorists try to deny that there is a separation between the two disciplines. But there is a distinct line between the two, the architect “the artist who attended to the planning of the buildings,” where as the engineer would be occupied more “with construction and the more utilitarian class of work.” But since these two professions do work closely together there is a feel that the two should be combined into almost a greater power. But then it makes you wonder if that is just to much for a person to handle, and if the combination of the two persons or groups is a nice way to set checks and balances to ensure safety and stability of a project.

Tectonic

that the architects need to be more understanding of the realities that the engineers face when they look at a project. He believes that there should be two things done to help the collaboration between the architect and the engineer become a smoother transition. First being that architecture schools should enforce that structural systems must be “proven in practice.” Second is that engineers should combine the “long span” and “short span” and also give courses on these in architecture school.

Reading Four

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

Kenneth Frampton provokes a lot of thought with his article Toward a Critical Regionalism: Six points for an architecture of resistance (1993). The preface makes a strong critique of universalization stating that it is a subtle destruction of traditional cultures and eventually the advent of a mediocre civilization (Frampton, 1993, p. 17). This idea is strongly supported by socio trends and architectural tendencies that are cited throughout the article. Two sociocultural aspects are strongly supported early in this article where Clement Greenberg states we are a part of a “living culture” (Frampton, 1993, p. 20) and Hannah Arendt makes the observation that the evolution of train of thought from ‘in order to’ to ‘for the sake of’ generates meaninglessness (Frampton, 1993, p. 19). However, the architectural application of these thoughts requires much more balance. Throughout this article a concept of balance continues to appear. Early on Frampton (1993) discusses a balance of traditional cultures and modernization and how one can easily be lost in the other (p. 18). Similarly, when Frampton (1993) uses the concept of Critical Regionalism he depicts a balance of universal civilization and world culture (p. 23). However, I do not believe that this concept can be simplified to such a level. I do agree with Frampton (1993) that architecture should take a step away from Populism (p. 23) and take a more critical approach to architecture that is more regional but there are more factors that add into the balancing act of architecture. Many good points are made throughout this article of how certain modernizations and diluting of traditional building techniques and considerations have evolved meaningless, placeless buildings and that is the more important balancing act in my opinion. Architectural considerations are complex taking many tectonic, sociocultural, traditional, modern, and many other important factors into consideration. Critical regionalism is balancing act working toward better architectural thinking. This thinking is what produces architectural discussion and, eventually, evolves better architecture.

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

Imaah (2006) goes on to explain that architects at the time took either technology or emotion into consideration in their design (p. 63). The idea of balance occurs in both articles but Frampton (1993) believes the balance relies more heavily on world culture and universal civilization in regard to critical regionalism (p. 23). A point of congruence between these articles is a conflict between technology and aesthetic. Frampton (1993) takes a stance that architecture must “remove itself from both the optimization of advanced technology

Architecture can be used to solve problems, bring cultures together, and provide an understanding and to both reflect history and allow growth. Architecture is the built environment and a direct projection of our cultures and society. Citations Frampton, K. (1993). 20 Toward a Critical Regionalism: Six points for an architecture of resistance. Postmodernism: a reader, 268. Imaah, N. (2006). SYNERGY AND DIALOGUE: INFLUENCE OF SOCIETY ON ARCHITECTURE. Dialogue & Universalism, 16(11/12), 57-67.

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The concept of unity in architectural composition is neither equivalent to a mathematical oneness nor a summation of a multitude of individual quantities; it is a reduction of the plurality of individual unities into a harmonious whole for the sole purpose of solving set aesthetic problems (p. 63)

Modern architects reacted against the architectural philosophies of the 19th century which they felt borrowed too heavily from the past. They found this architecture either oppressively bound to past styles or frivolously picturesque or eclectic. As the 20th century began, modern architects believed it was necessary to invent an architecture that expressed the spirit of a new age in order to surpass the styles, materials, and technologies of earlier architecture. This unifying purpose did not mean that their buildings were similar in appearance, or that the architects agreed on all other issues, but there was unity in their diversity (p. 63).

This idea of universalism is opposite that of Frampton (1993) where he describes universalism as a subtle destruction of traditional cultures and ideas (p. 17). However, the concept of the destruction of tradition can be found in Imaah (2006) where he states:

I would like to believe that synergy in architecture could lead to a world peace or universalism in the sense that Imaah describes. Architecture must not rely on any one piece but as the holistic perspective that it exists in. Every piece should function on its own and within the whole, and not only within the whole of itself but within the whole of its context. Imaah (2006) says it best:

In the language of universalism, change require constant adjustment, analysis and synthesis of all form of thought into the formation of the new world unity; where in the minor and major views in aesthetics, philosophies and ideologies merge in harmony, in spite of dissimilarities; and not only in homogeneity but in heterogeneity as unity in diversity.

“The world, through the concepts of Architecture and the precepts of Philosophy, could harmonize current discordant tunes through mutually beneficial global synergy and universal dialogue; in the unity of opposites or unity in diversity” (Imaah, 2006, p. 67). This is the concluding sentence of Imaah’s work that sums up a key factor; synergy of architecture. Architecture must bring many parts and factors into one composition that allows those parts to fulfill their individual objective while contributing to a larger whole. Imaah (2006) explains:

Synergy and Dialogue: Influence of Society on Architecture Napoleon Ono Imaah

and the ever-present tendency to regress into nostalgic historicism or the glibly decorative” (p. 22). On the other hand, Imaah (2006) claims “the history of modern architecture also covers the architects who designed those buildings, the stylistic movements, and the technology and materials that made the new architecture possible” (p. 62). Shortly after this point, the work of Frank Lloyd Wright and many European architects are listed stating that “modern architecture, which originated contemporaneously in Europe and the United States, continues to wax as well as wane throughout the rest of the world at varying cadence of dominance or decadence” (Imaah, 2006, p. 62). What this means is that Western architecture was spread worldwide as a symbol of power and luxurious self-indulgence. Frank Lloyd Write used Eastern influence on his American prairie style home but the more avant-garde European designers such as Gropius or le Corbusier were purely Western in design. The idea of placeless buildings began with the development of new technologies and programs.

Reading Two

Reading Three

CRITICAL READINGS:

Readings 3 and 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 Summer 2014

Semantics. This article is full of semantics. The introduction to Rappel a l’ordre, the Case for the Tectonic by Kenneth Frampton accomplishes the task of summarizing the key points made by the author. I must agree with some of the polemic tones adopted by the introduction. Yes, I believe that tectonics is not well defined by the dictionary as Frampton states in the third page of his essay. However, I do not believe that tectonics are astylistic nor mythical. Tectonics are, as Frampton states, internal to the discipline of architecture and, in my opinion, carry a level of metaphysical response. The way in which a building is constructed however, is not mythical and every joint or stereotomic expression has a style or form to it. The semantics in this article do peak my interest when it comes to the etymology of the word architect. Starting from tekton for builder and working toward the Greek definition of archi (a person of authority) and tekton (a craftsman or builder) (Frampton, 1990, the word architect evolves in definition in the very next paragraph. For my own interest I continued my research into the etymology of the word architect. As defined by Dictionary.com architect means “1. A person who engages in the profession of architecture, 3. The deviser, maker, or creator of anything, 4. To plan, organize, or structure as an architect” (2014). Frampton explained architect was defined in 1850 German “rater rudely as ‘A series of arts which form and perfect vessels, implements, dwellings and places of assembly’” (1990). By these definitions the term ‘architect’ can be interpreted and defined in many different ways. The semantics of the word itself can explain the struggle for the profession to define itself, even in modern times. After all the definition of semantics is “the study of meaning” (Dictionary.com, semantics, 2014).

Citations Frampton, K. (2002). Labour, work and architecture: collected essays on architecture and design. London l: Phaidon Press. architect. (n.d.). Dictionary.com Unabridged. Retrieved June 10, 2014, from Dictionary.com website: http://dictionary.reference.com/browse/ architect semantics. (n.d.). Dictionary.com Unabridged. Retrieved June 10, 2014, from Dictionary.com website: http://dictionary.reference.com/browse/ semantics

Reh, S., & Temel, R. (2014). Observing the Doings of Built Spaces. Attempts of an Ethnography of Materiality. Historical Social Research, 39(2), 167-180. doi:10.12759/hsr.39.2014.2.167-180

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

Citations

At a certain point during ethnographic fieldwork, we propose to avoid focusing attention on humans and to look explicitly at something else than the human actors, although one is in the same space together with them. While refraining from the participants and consciously resigning to understand them in their actions, we have to let the space affect us in a sense of atmospheric appearing. We try to trace how the surrounding materiality of space encounters us – to perceive and sense what we hear, smell, see and feel, to respond to the atmosphere of the space we are in, to the interaction between our body and its material surroundings.

The portion of this that mentions, “Forms of organization come into play and formations of Gestalt and of structure take place” (Reh and Temel, 2014, 174), caught my attention. They are observing the built environment around them in the sense that Frampton describes in Rappel a l’order: the case for the tectonic. Both talk about the importance of structure and the tectonic. Material and connection. The essence of architecture is not scenographic to either of these authors but rather is an experience of the built environment around them. The building, the doing, and the human, the actor, become part of a greater whole. Reh and Temel describe this with the term “timespace” (2014, p. 169). I didn’t expect much of these articles to overlap but I believe that the ontological approach to the built environment is very similar between them. The interaction of human, built environment, and all other environments or nature must be a part of a timespace to operate holistically.

The built environment has a tremendous effect on those who use it. This concept is nothing new to designers. Congruently, looking at built environment from an ethnographical perspective the writing of Reh and Temel brings up materiality and function as a direct influence on the inhabitants (2014, p. 168). In Observing the Doings of Built Spaces. Attempts of an Ethnography of Materiality Reh and Temel refer to humans as actors and the built environment as a doings (2014, p. 168). This anthropological approach gives insight to how a building acts as a member of a culture. The building becomes a living piece of the environment and has an effect on all that it is the environment to. The actual tectonics of a building, the construction of it, takes into consideration many factors. Over time these factors may not operate the way they were intended. The large metal doors that are located in a school building visited by the ethnography team could be observed in many ways. The heavy, painted metal doors were loud when they slammed shut and even the silence when someone closed them quietly made an observable sensation (Reh and Temel, 2014, p. 170). The effects described by Reh and Temel were seemingly metaphysical and yet observable. In the conclusion to their statement they describe the metaphysics they experienced while trying to put it in scientific terms for ethnography. The concept of Stimmung, or ‘atmosphere’ or mood, is brought up multiple time throughout the article and is used to describe the feeling of a space. In this sense I believe that they are trying to define architecture as a doing according to their profession. They are looking into the ontological aspect of the gestalt perspective of Frampton’s call to order. In this excerpt Reh and Temel describe how they gathered information for their ethnographical study of material:

Tectonics? A Case Study for Digital Free-Form Architecture Wan-Ping Gao

With such a perspective; contextuality and situationality are not part of a subjectivity we have to overcome. They allow the perception of (not isolated elements but) relations, connections, forms, i.e. differentiated formations integrated into contexts. Corporal perception means that forms of organization come into play and formations of Gestalt and of structure take place. To achieve such a perspective focused on materiality, the ethnographer has to refrain from what happens around her and draw her attention to what happens with herself, with her body and between it and her surroundings (2014, 174).

Reading Four

READING ONE

CRITICAL READINGS:

READINGS 1 AND 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 SUMMER 2014

Theory is a very difficult topic to read and actually comprehend what you just read. As I began to read Kenneth Frampton’s Towards a Critical Regionalism: Six Points for an architecture of resistance, I noticed the language used in the reading was a little more complex than I was used to. Regardless of its readability, I was still able to understand the major points the author was hitting. After reading part 1 ‘Culture and Civilization’, there was a quote that I found very interesting. “Today the practice of architecture seems to be increasingly polarized between, on the one hand, a so-called high tech approach predicated exclusively upon production and, on the other, the provision of a “compensatory façade” to cover up the harsh realities of this universal system.” (Frampton, 1983, pg.18). The statement above describes how modern architecture is based on universal prefabricated pieces not individualized for that particular project. Frampton then goes on to say these universal systems are covered up by a “compensatory façade”, or in other words, compensate the architecture with a façade. Unfortunately, today’s architecture is all about how cheap can it be done. Part 4 labeled ‘The Resistance of the Place-Form’ is another section I found very interesting. The first sentence reveals a harsh reality “… with the exception of cities which were laid in place before the turn of the century, we are no longer able to maintain defined urban forms.” (Frampton, 1983, pg.26). In my opinion, urban planners have failed to develop an urban fabric beneficial to the modern 21st century. The author Kenneth Frampton and I share this belief, “Today even the supermanagerial discipline of urban planning has entered into a state of crisis.” (Frampton, 1983, pg.26). My last point of interest I’m going to discuss is found within part 5. The author feels there is a lack of interaction between the landscape of a structure and the structure itself “The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site.” (Frampton, 1983, pg.29). I believe this is a very true statement. This happens every day in America, millions of bulldozers reshaping this Earth. Designers need to take a step back and rethink the way we think about topography.

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

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Hall, P., & Tewdwr-Jones, M. Urban and Regional Planning.

Frampton, K. (1983). Towards A Critical Regionalism.

Although urban planning has been going on for many years, it has not always been looked at the same. According to the reading, there has been a “swing from the old idea of planning as production of blueprints for the future desired state of the area, and towards the new idea of planning as a continuous series of controls over the development of that area, aided by devices which seek to model or simulate the process of development so that this control can be applied.” (Hall & TewdwrJones). The new idea of planning takes into account the future, and relies on controlling who and what goes into each specific area. The authors then go on giving examples of the old processes vs. the new processes in regards to urban planning “Formerly, at any time from about 1920 until 1960, the classic sequence taught to all planning students was surveyanalysis-plan.” (Hall & Tewdwr-Jones). This process was self-explanatory, the planner sent out a survey, collected the survey containing information about the development of that area, analyzed the data, and finally planned. The new process urban planners have developed is cybernated

Citations

At the beginning of the book, the authors begin to describe what the term “planning” really means. “To summarize, then: planning as a general activity is the making of an orderly sequence of action that will lead to the achievement of a stated goal or goals.” (Hall & Tewdwr-Jones). I thought this definition the authors give is an excellent way to describe planning. They then go on to explain planning in regards to urban areas “…‘Urban’ planning conventionally means something more limited and precise: it refers to planning with a spatial, or geographical, component, in which the general objective is to provide for a spatial structure of activities (or of land uses) which in some way is better than the pattern that would exist without planning.” (Hall & Tewdwr-Jones).

After reading Kenneth Frampton’s Towards a Critical Regionalism: Six Points for an Architecture of Resistance, there is a topic I would like to discuss in depth that was brought up back in part 4 ‘The Resistance of the Place-Form’. Urban planning has always fascinated me, and after reading the authors opinion on the lack of urban planning going on when this book was written. I researched scholarly articles online relating to urban planning, both of the past and the present, and came across a book written by Peter Hall and Mark Tewdwr-Jones called Urban and Regional Planning.

Urban & Regional Planning Peter Hall & Mark Tewdwr-Jones

planning. This process begins by “… start with the formulation of goals and objectives for the development of that area concerned. Against this background the planner develops an information system which is continuously updated as the region develops and changes. It will be used to produce alternative projections, or simulations, of the state of the region at various future dates, assuming the application of various policies.” (Hall & Tewdwr-Jones). The important thing to understand is to always make this process as flexible as possible, so that it is possible to look at all sorts of ways a region can grow due to urban planning. Another way of describing this new process of urban planning is goalscontinuous information-projection and simulation of alternative futuresevaluation-choice-continuous monitoring (Hall & Tewdwr-Jones).

READING TWO

READING THREE

CRITICAL READINGS:

READINGS 3 AND 4

Rappel à l’Ordre: The Case for the Tectonic Kenneth Frampton

SIUC ARC 550 SUMMER 2014

Within the article Rappel A Lorde, The Case For The Tectonic, Kenneth Frampton addresses the issue of tectonic form and methods of construction, along with their relationship pertaining to architecture. Along with explaining tectonic form, Frampton also addressed the importance of material within architecture. Kenneth Frampton begins his article with the dictionary definition of ‘tectonic’ “pertaining to building or construction in general; constructional, constructive used especially in reference to architecture and the kindred arts…” (Frampton pg2). The author feels very strongly about the importance of tectonics within architecture and even states there is an art and poetry within the construction of a building conveyed through the choice of material and structure of a project “Architecture is an art because it is interested not only in the original need for shelter but also in putting together, spaces, and materials, in a meaningful manner. This occurs through formal and actual joints. The joint, that is the fertile detail, is the place where both the construction and the construing of architecture take place.” (Frampton pg8). Kenneth Frampton believes in an architectural approach that is informed by its tectonics and expressed by its structure and material. The word ‘joint’ is mentioned a lot towards the end of the essay. However, the author has not been using the word joint’ as literal as one would think. Frampton goes on to explain the idea of joints as expectations. “Finally, something has to be said about the signification of the “break” or the “dis-joint” as opposed to the significance of the joint. I am alluding to that point at which things break against each other rather than connect…” (Frampton 9). The breaks and dis-joints the author mentions naturally break down these expectations created by joints.

Citations Frampton, K. Rappel A Lordre, The Case For The Tectonic.

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Schröpfer, T. (2011). Material Design Informing Architecture by Materiality. : German National Library.

Frampton, K. Rappel A Lordre, The Case For The Tectonic.

According to the reading, it is important for the architect to be aware of the different materials used pertaining to architecture “The task of an architect then, as Rafael Moneo put it, is to have a consciousness of materials…” (Schröpfer pg8). I agree with this statement and believe it is our responsibility as architects to have a deep understanding for the materials we use. The following quote from the author describes what being an architect means in terms of materials “Being an architect means being an intermediary, the connecting link between ideas and materials. This role of a go-between requires more than simple enquiry, it requires solid investigation and research: an exploration of what can be coaxed out of materials, what can be added, what the materials can support, what they can hide, what they can emit, what they can keep, what they can simulate, and in the final instance, what they can create and what they can destroy.” (Schröpfer pg8). With all of the different kinds of materials out there for architects to choose from, it is important to not pick a material unless you understand that material 100% and know exactly how it is going to perform.

Citations

The author opens the book describing how architecture is defined by physical components that are materials. In other words, without materials, architecture would be nothing. He then goes on to say “Materials are the substance of things. And there is no way to convey oneself except by language-language created by means of an impression in a particular medium. Expression is possible only by using specific materials.” (Schröpfer pg8). Materials are the voice of architecture, and each specific material has its own language it communicates with its users. The author then goes on to say “We perceive reality through materiality, in the reality of matter.” (Schröpfer pg8). I believe this statement was an interesting and unique way of thinking about materials.

I don’t think anyone can disagree with me when I say materials are a very important factor pertaining to architecture. While recently reading the article Rappel A Lorde, The Case For The Tectonic written by Kenneth Frampton, I noticed he also spoke of materials related to architecture. I began to research architectural materials and came across the book Material Design Informing Architecture by Materiality, written by Thomas Schröpfer. Throughout the book, the author discusses the importance of materiality in all aspects of architecture.

Material Design Informing Architectcure by Materiality Thomas Schröpfer

The development of new materials is also a topic I found to be very interesting in this book. The author opens the section with a bold statement “It is estimated that more new materials have been developed in the last 20 years than in the rest of history combined” (Schröpfer pg19). According to Schröpfer, architects are not the only ones that will be affected by the development of these new materials “The development of different families of materials will reflect the concepts and desires of architects and also the structural and phenomenological desires of contemporary society.” (Schröpfer pg19). The discovery of these new materials opens a limitless future for the world of architecture.

READING FOUR

Reading One

CRITICAL READINGS:

Readings 1 and 2

Six Point for an Architecture of Resistance Kenneth Frampton

SIUC ARC 550 Summer 2014

The excerpt from Kenneth Frampton about The Six Points For an Architecture of Resistance was a difficult read for me. I tried grasping the main idea from each point, then re-reading it to pick out the smaller details. A couple things that stood out to me were, in point 1 about Culture and Civilization when Frampton says, “The last three decades, however, have radically transformed the metropolitan centers of the developed world.” I believe that’s due in large part to the advancement of technology. We are losing the regional cultures of architecture in each civilization. The people of the world are shifting into one because there is no separation. Technology has driven us to use the modern technology to build and design anything and anywhere with no culture beliefs attached. Another idea Frampton touched on a lot was how money drives design. The constant struggle is what the client wants but also what the client is willing to pay. The cultural beliefs and elements are slowing slipping through the cracks because the main concern is how cheap we can build the building and not focusing on the architectural elements. Lastly, the question of culture versus nature was touched on. The quote from Mario Botta saying, “building the site” really hits it on the head. Why bulldoze an irregular topography into a flat site and create a placelessness area for your design. When instead, use the site to create form to the building and giving it meaning to why it is placed there. Frampton talks about “in-laying” the building into the site and preserving the essence of the land.

Citations Frampton, K. Towards a Critical Regionalism. Six Points for an Architecture of Resistence.

DB EB MS

Karla Britton, A Regionalist Panorama for Architecture and Beyond. 1-4

The influence of regionalism and topography has a large impact on todays’ architecture. The article A Regionalist Panorama for Architecture and Beyond by Karla Britton reviews Liane Lefaivre and Alexander Tzonis’ book Architecture of Regionalism in the Age of Globalization. Many comparisons are made in this article to Kenneth Frampton’s Six Points for Architecture of Resistance. The question we are all wondering is what social and environmental challenges do we face to help architecture preserve cultural identities in a changing world. An essay by Paul Ricoeur, Universal Civilization and National Cultures, which was published in 1955 foreshadows to what we are experiencing today. He explains that humankind is close to becoming a single world civilization due in large part to immense progress and an overwhelming challenge to accept cultural heritage to a globalizing world. In the book by Lefaivre and Tzonis’ they touched on how to fight the “flattening of the world’s natural and cultural diversity.” The book explains how regionalism is not only a concept but has turned into a worldview and architectural movement that opposes global forces. I feel there is a strong relation between these points and the six points by Kenneth Frampton. There use to be a regionally based allegiance to the landscape and topography but throughout globalization and history we have lost those characteristics. As Britton explains, globalization has transformed the natural barriers of the world into a “flat world.” Regionalism however, “supports the singularity, autonomy and distinct identity of regions, enhancing differences between them, nurturing diversity, and contributing to a world of peaks and valleys.” I agree we have strayed away from our cultural diversity. Everyone is conforming to the modern development of freestanding high-rises and freeways. For example, we are building 100-story all glass skyscrapers out in the middle of the desert because technology and globalization has forced us down that path. As Architects we need to get back using the cultural benefits and topography to generate buildings that can only be seen in that area of the world. That’s what makes for great architecture. One main reason people travel the world is to admire the architecture and interact with other societies. But soon, if we conform to globalization, there will be no need to explore the world because everything will become similar. Then as architects we know we are not doing our job correctly.

Frampton, K. Towards a Critical Regionalism. Six Points for an Architecture of Resistence, 18, 29.

A Regionalist Panorama for Architecture and Beyond Karla Britton

Citations

Reading Two

Building Collections

Bath Houses

BUILDING COLLECTION: http://www.arkansas.com/images/photos/full/Quapaw_Baths_and_Spa_Hot_Springs%20_ACH_9846.jpg SIUC ARC 550 Summer 2014

Location

Hot Springs, Arkansas

Year Built

1922

Quapaw Baths

http://www.arkansas.com/images/photos/ald/92727/quapaw_baths_spa_pool.jpg

Architect Unkown

http://taylorkempkes.com/wp-content/uploads/2013/04/Baths-Photo-2-460x270.jpg

http://www.seekingshama.com/wp-content/uploads/2011/01/Quapaw-400x298.jpg

Bath Houses

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://upload.wikimedia.org/wikipedia/commons/b/bb/Typical_Russian_Banya.jpg

DB EB

Russian Banya 1900â&#x20AC;&#x2122;s

http://en.ecobud.net.ua/image/proekt/pr_b_1/b_et1_6_big.gif

Architect Unkown

http://russiatrek.org/blog/wp-content/uploads/2010/01/russian-banya-onwheels-6.jpg

Year Built

Location Anywhere in Russia

DB EB SD KF PL AM BM RM ST

HN Occupancy 5 People

20-30 Minutes

10-15 Minutes

0-5 Minutes

Cold Wash Rooms

Bath Houses

Sauna Entrance

BUILDING COLLECTION:

Dressing Room

SIUC ARC 550 Summer 2014

circulation diagram

DB EB SD KF PL AM BM RM ST

HN Occupancy 5 People

20-30 Minutes

10-15 Minutes

0-5 Minutes

Bath Houses

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

ft 0

circulation diagram

DB EB SD KF PL AM BM RM HN CN

5-10 Minutes

20-25 Minutes

10-15 Minutes

SW MY

Occupancy 5 People

30-60 Minutes

20-30 Minutes

Bath Houses

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://www.neac2.eu/water/images/arts/art_history/forum_baths_02.jpg

Location

Pompeii, Italy

Year Built

59 AD

Forum Baths

Architect Unkown

http://www.thecolefamily.com/italy/pompeii/slide38.jpg

http://www.bbc.co.uk/history/ancient/romans/images/gal_daily_baths.jpg

http://www.skidmore.edu/classics/courses/2004spring/cl311/forumbaths.jpg

Bath Houses

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

ft 0

circulation diagram

DB EB SD KF PL AM BM RM HN CN

5-10 Minutes

20-25 Minutes

10-15 Minutes

SW MY #

Occupancy 5 People

20-30 Minutes

Bath Houses

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://guidepal.blob.core.windows.net/article-mainimages/aphoto68522.jpg

DB EB

Cağaloğlu Hamamı 1741

Architect Unkown

http://www.bleublancturc.com/Turqueries/images-turqueries/cagalogluhamami.gif

Year Built

Location Istanbul, Turkey

http://www.timeoutistanbul.com/images/uploadedimages/haziran_2012/cember.jpg

Bath Houses

Indoor Hotspring Baths

BUILDING COLLECTION:

Outdoor Hot Spring

SIUC ARC 550 Summer 2014

circulation diagram

DB EB SD KF PL AM BM RM HN CN MS ST

Occupancy 5 People

30-60 Minutes

20-30 Minutes

5-10 Minutes

Bath Houses

BUILDING COLLECTION:

http://www.japan-guide.com/blog/g/koyo09_091006_09.jpg SIUC ARC 550 Summer 2014

Location

Semboku, Japan

Year Built

1635

DB SD

Tsurunoyu Onsen

http://media-cdn.tripadvisor.com/media/photo-s/03/93/85/db/caption.jpg

http://upload.wikimedia.org/wikipedia/commons/c/c9/Oobuka_Onsen_Akita_02. jpg

http://upload.wikimedia.org/wikipedia/commons/d/d5/Tsurunoyu_Onsen_03.jpg

Architect Unkown

Bath Houses

Hot Baths

BUILDING COLLECTION:

ft 0

circulation diagram

ft SIUC ARC 550 Summer 2014

DB EB SD KF PL AM BM RM

20-30 Minutes

CN MS ST SW MY #

Occupancy 5 People

30-60 Minutes

Architecture

Mimetic

Tectonic and Stereotonic in Mimetic Architecture In Mimetic Architecture

The Bundaberg Barrel Queensland, Australia

tectonic and stereotonic

architecture play key roles in the design of buildings.

The

vision of the design is literal and can seem complex however these buildings us a tectonic and practical design for the habital space.

As seen below this tectonic

BUILDING COLLECTION:

form is then transformed

SIUC ARC 550 Summer 2014

Mimetic Architecture using a stereotonic skin. This skin being free of into

structural members allows the freedom of shape allowing structures to take the form of nearly any object.

This object is

usually one that has great significance and symbolisim to the end user.

http://www.bundaberg.com/assets/images/barrel.jpg

Bondurantâ&#x20AC;&#x2122;s Pharmacy Lexington, Kentucky

http://2.bp.blogspot.com/_xslElWhAZBQ/SHtN9vdy3aI/AAAAAAAAAfM/eTmkSvruunc/s1600-h/ bondurant.jpg

Definition: Mimetic, or mimic, architecture is a programmatic approach to building design. Buildings are shaped to mimic, or copy, their function or to suggest objects associated with their function.

Also Known As: Programmatic architecture, American Roadside Architecture, Novelty Architecture

http://www.mendaily.com/wp-content/uploads/2012/10/united-equipment-company-turlock.jpg

Bathurst, South Africa

Newark, Ohio

The Big Pineapple

Building Selection The Bundaberg Barrel - Queensland, Australia Bondurantâ&#x20AC;&#x2122;s Pharmacy - Lexington, Kentucky Longaberger Basket Company - Newark, Ohio The Big Pineapple - Bathurst, South Africa United Equipment Company - Turlock, California

Longaberger Basket Company

DB EB

Turlock, California

Mimetic Architecture

United Equipment Company

http://www.eikongraphia.com/images/longaberger/ 362222496_e81631de09_o_Flickr_Errrrrrrika_CC_S.jpg

http://images.travelpod.com/tripwow/photos/ta-00b4-dd74-1805/the-big-pineapple-portalfred-south-africa+1152_12900028293-tpfil02aw-10924.jpg

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://www.bundaberg.com/assets/images/barrel.jpg

QUEENSLAND, AUSTRALIA

2005

YEAR BUILT

ARCHITECT UNKNOWN

25 m × 10 m (82 ft × 33 ft)

The Barrel is an interpretive visitors’ centre, gift and bottle shop for Bundaberg Brewed Drinks, located at 147 Bargara Road. According to a commemorative plaque inside the Barrel, it was opened by the Hon. Mr. Mark Vaile MP, Deputy Prime Minister and Leader of the Nationals on Friday, 18 November 2005.

http://letgotravelaustralia.files.wordpress.com/2013/06/barrel.jpg

LOCATION

The Bundaberg Barrel

http://farm3.static.flickr.com/2689/4519245238_3237d6895b_b.jpg

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

https://www.google.com/maps/@-24.8528266,152.3812719,364m/data=!3m1!1e3

STEROTOMIC

TECTONIC RM

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://media.kentucky.com/smedia/2011/05/24/18/110524bondurantsPA0011.aurora_standalone.prod_affiliate.79.jpg

DB EB

Bondurantâ&#x20AC;&#x2122;s Pharmacy LOCATION LEXINGTON, KENTUCKY

1974

32 feet in diameter and 30 feet tall, not including the 10 foot tip of the pestle above the roof.

The second floor was originally designed as an apartment for the pharmacist. The pharmacy is equipped with two drive-thru windows. The facility is currently opperated as a drive-thru liquor store.

http://3.bp.blogspot.com/_oUjmZeacI3I/Sk4gaqZI94I/AAAAAAAABac/h8O0MfT4hyI/s400/rx2.jpg

YEAR BUILT

ARCHITECT DANIEL M. BREWER

http://aminus3.s3.amazonaws.com/image/g0010/u00009355/i00738575/96049bfa569579eec8c1e054dffdafc1_large.jpg

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

https://www.google.com/maps/@38.047637,-84.5494305,332m/data=!3m1!1e3

STEROTOMIC

TECTONIC SW

RRXX

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://pullzone2.cutedosemediallc.netdna-cdn.com/wp-content/uploads/2014/06/the-longaberger-company-in-newark-ohio-united-states-the-basket-building-9.jpg

DB EB

Longaberger Basket Company LOCATION NEWARK, OHIO

1997

YEAR BUILT

ARCHITECT NBBJ ARCHITECTS

http://1.bp.blogspot.com/-H_70Yd_WWOs/ToEedpG9CJI/AAAAAAAAAcg/4o3GjRzT_bM/s640/longaberger01.jpg

7 stories at 180,000 sq ft Stucco over Steel Construction. The basket is a replica -- 160 times larger -- of Longaberger’s Medium Market Basket. It’s 192 ft. long by 126 ft. wide at the bottom, spreading to 208-ft. long by 142-ft. wide at the roofline.

http://ahb.brassland.org/wp_ahb_tngkix/wp-content/uploads/2012/03/internet-architecture2.jpeg

http://timbuktu.me/blog/wp-content/uploads/2013/01/longaberger-home-office-front_tulips_300-dpi.jpg

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

https://www.google.com/maps/@40.0636789,-82.3464829,427m/data=!3m1!1e3

STEROTOMIC

TECTONIC DB

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://mentalfloss.com/sites/default/legacy/blogs/wp-content/uploads/2012/02/pineapple.jpg

DB EB

The Big Pineapple LOCATION BATHURST, SOUTH AFRICA

1992

16.7m-high Consisting of a fiberglass skin covering a steel and concrete superstructure. The Big Pineapple represents the region’s pineapple industry. the settlers who arrived in the 1820’s struggled to grow crops until the first pineapple was planted in 1865. the three-story fiberglass pineapple contains a museum devoted to the fruit. The top holds a lookout area that gives a 360 degree look at the surrounding pineapple fields.

http://theintensivereport.files.wordpress.com/2012/10/pineapple8-1-1.jpg?w=470&h=706

YEAR BUILT

ARCHITECT UNKNOWN

http://www.travelground.com/img/act_img/expand/d46d497fc660b0f21c7327aeeaaca909a44a50a31350310055468.jpg

http://www.travelstart.co.za/blog/wp-content/uploads/2014/06/Bathurst-Big-Pineapple.jpg

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

https://www.google.com/maps/@-33.5075322,26.8471268,461m/data=!3m1!1e3

STEROTOMIC MY

TECTONIC MS

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://www.mendaily.com/wp-content/uploads/2012/10/united-equipment-company-turlock.jpg

DB EB

United Equipment Company LOCATION TURLOCK, CALIFORNIA

1976

Length: 66 ft. Height: 21 ft. Width: 28 ft. The giant treads are made of redwood and the rest is plywood and redwood, with steel and aluminum hydraulics.

Home to the offices of United Equipment, a firm that sells and rents heavy construction machinery.

http://www.roadsideamerica.com/attract/images/ca/CATURbulldozer_sow.jpg

YEAR BUILT

ARCHITECT UNKNOWN

http://www.futilitycloset.com/wp-content/uploads/2009/06/2009-06-02-truth-in-advertising.jpg

Architecture

Mimetic

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

https://www.google.com/maps/@37.475807,-120.8560239,443m/data=!3m1!1e3

STEROTOMIC

TECTONIC EB

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

DB Gustavo Penna

Location

Martinho Campos– Minas Gerais–Brazil 2010

Year Completed

Architect

All Saints Chapel

Reference Bar

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

DB EB

Bruder Klaus Field Chapel

SD KF PL AM BM RM HN

2007

Year Completed

Mechernich, Germany

Location

Peter Zumpthor

Architect

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

DB KF PL AM BM RM HN

2007

Year Completed

San Cristรณbal de la Laguna, Tenerife, Spain

Location

Menis Arquitectos

Architect

Holy Redeemer Church

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

DB EB

Sunset Chapel

SD KF PL AM BM RM HN

2011

Year Completed

Acapulco, Guerrero, Mexico

Location

BNKR Arquitectura

Architect

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

DB EB

Shrine of Our Lady in the Snows

SD KF PL AM BM RM HN

1949

Year Completed

Belleville, Illinois

Location

Emmet Layton

Architect

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Concrete Chapels

topographies

morphed

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Iwan Baan, http://meredithgunderson.com/wp-content/uploads/2012/10/baan-gans-cutoff.jpg

NEW YORK CITY, NY DILLER, SCOFIDIO +RENFRO

YEAR BUILT

2009

Iwan Baan, http://2.bp.blogspot.com/-NXpLM0CK5S0/UO6O5CLqwrI/AAAAAAAAADE/OfdPhY6XceY/s1600/352776-Phase_one_of_the_High_Line_with_its_concrete_pathway_in_summertime_.jpeg

ARCHITECT

LOCATION

HIGH LINE - PHASE 1

Diller Scofidio and Renfro, https://lh5.googleusercontent.com/-pCqnZB6oKmw/TUaWC4GLTzI/ AAAAAAAAgMI/d39njGW5wuI/s1600/High+Line+By+James+Corner+Field+Operations+and+Diller +Scofidio+%252B+Renfro-Photo+%25C2%25A9+Jeff+GoldbergEsto%252C%25C2%25A9+Iwan+ Baan-35.jpg

10’ 25’

50’

plan

12 t w e tl lit

topographies

morphed

BUILDING COLLECTION:

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

geometry + site interaction

SIUC ARC 550 Summer 2014

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

w as

lights and traffic.

as well as a seamless flow over stop

PRODUCED BY AN AUTO DESK EDUC ATION AL PROD PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BYUCT AN AUTODESK EDUCATIONAL

HIGH LINE

perspective of an urban environment

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

n g to n

the high line provides an alternative

PRO

DB EB SD KF

DUCT

AN AUTODESK EDUCATIONAL PRODUCT

10’

15’

section

MS ST SW MY

PRODUCED BY AN AUTODESK EDUCATION

5’

exterior circulation

topographies

morphed

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Casey Dunn for Texas Monthly, http://archrecord.construction.com/projects/portfolio/2012/07/twilight-epiphany-james-turrell.asp

DB HOUSTON, TX

DESIGNER

JAMES TURRELL 2012

YEAR BUILT

LOCATION

SKYSPACE

Casey Dunn for Texas Monthly, http://archrecord.construction.com/projects/portfolio/2012/07/twilight-epiphany-james-turrell.asp

rather than walking into a room

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

topographies

incorporates an earth berm as a creative path and flow into the structure.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SIUC ARC 550 Summer 2014

geometry + site interaction

10’ 25’

50’

plan

PRODUCED BY AN AUTODESK EDUCATIONA

BUILDING COLLECTION:

morphed

with a light installation, the skyspace

DB EB SD KF BM

AN AUTODESK EDUCATIONAL PRODUCT

10’

15’

section

MS ST SW MY

PRODUCED BY AN AUTODESK EDUCATION

5’

exterior circulation

topographies

morphed

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Design Boom, Erieta Attali, Ed Reeve, Julia Klimi, Courtesy Deca Architecture,http://designboom.com/weblog/section.php?...=uhsjzbhs&start=7940&num_record_tot=50000

ANTIPAROS, GREECE DECA ARCHITECTURE

YEAR BUILT

2010

Design Boom, Erieta Attali, Ed Reeve, Julia Klimi, Courtesy Deca Architecture,http://designboom.com/weblog/section.php?...=uhsjzbhs&start=7940&num_record_tot=50000

ARCHITECT

LOCATION

HIGH LINE - PHASE 1

Design Boom, Erieta Attali, Ed Reeve, Julia Klimi, Courtesy Deca Architecture,http://designboom.com/weblog/section.php?...=uhsjzbhs&start=7940&num_record_tot=50000

BEA

ALONI the design of this home incorporated the

ALONI

with similar regional characteristics.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

geometry + site interaction

10’ 25’

50’

plan

UCT

topographies

SIUC ARC 550 Summer 2014

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

sloped roof line and also replaces its footprint

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

UCED BY AN AUTODESK EDUCATIONAL PRODUCT UTODESK EDUCATIONAL PRODUCT

BUILDING COLLECTION:

morphed

existing topography to provide a very low

DB EB SD KF BM

AN AUTODESK EDUCATIONAL PRODUCT

10’

15’

section

MS ST SW MY

PRODUCED BY AN AUTODESK EDUCATION

5’

exterior circulation

topographies

morphed

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://memphisriverfront.com/index.php/projects/entry/beale-street-landing

NEW YORK CITY, NY RTN ARCHITECTS

YEAR BUILT

2015

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PL AM BM RM HN

http://memphisriverfront.com/index.php/projects/entry/beale-street-landing

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

ARCHITECT

LOCATION

HIGH LINE - PHASE 1

http://memphisriverfront.com/index.php/projects/entry/beale-street-landing

http://www.rtnarquitectos.com/projects/17-beale-street-landing/detail#img1http://www.rtnarquitectos. com/projects/17-beale-street-landing/detail#img1

the beale street landing visitor’s center

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

places it on the roof of the structure

BEALE

giving a unique contextual perspective.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

topographies

BUILDING COLLECTION:

morphed

peels the interrupted landscape and

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SIUC ARC 550 Summer 2014

geometry + site interaction

10’ 25’

50’

plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

AN AUTODESK EDUCATIONAL PRODUCT

10’

15’

section

MS ST SW MY

PRODUCED BY AN AUTODESK EDUCATION

5’

exterior circulation

topographies

morphed

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://aasarchitecture.com/2013/08/multi-purpose-hall-for-the-gammel-hellerup-gymnasium-by-big.html

COPENHAGEN, DENMARK BJARKE INGELS GROUP

YEAR BUILT

2011

http://www.dezeen.com/2013/06/28/gammel-hellerup-gymnasium-sports-hall-by-big/

ARCHITECT

LOCATION

HIGH LINE - PHASE 1

http://www.dezeen.com/2013/06/28/gammel-hellerup-gymnasium-sports-hall-by-big/

GYM this design aimed to move the typical four contoured roof for seating and skating PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

where a flat paved lot was previously under utilized.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

topographies

BUILDING COLLECTION:

morphed

walled gym below grade, and provided a

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SIUC ARC 550 Summer 2014

geometry + site interaction

10’ 25’

50’

plan

AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

10’

15’

section

MS ST SW MY

PRODUCED BY AN AUTODESK EDUCATION

5’

exterior circulation

SIUC ARC 550 SUMMER 2014

BUILDING COLLECTION: CLUBHOUSES

LOCATION: FLODA, SWEDEN

DB EB

ARCHITECT: GERT WINGARDH

OIJARED COUNTRY CLUB

RM HN CN MS ST SW MY #

http://www.wingardhs.se/projects/m/oijared/

YEAR CONSTRUCTED: 1988

CLUBHOUSES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

SECTION OF VIEWS IN AND OUT TO COURSE

Architect: Gert WingÃ¥rdh Location: Floda, Sweden Year Constructed: 1988

FLOOR PLAN ANALYSIS

DB EB SD KF PL AM HN

FLOOR PLAN

SOUTH ELEVATION

WEST ELEVATION

SECTION

SIUC ARC 550 SUMMER 2014

BUILDING COLLECTION: CLUBHOUSES

LOCATION: BRIDGEHAMPTON, NY

DB EB

ARCHITECT: ROGER FERRIS + PARTNERS

THE BRIDGE

RM HN CN MS ST SW MY

http://www.archdaily.com/292528/the-bridge-roger-ferris-partners/

SQ FT: 40,000

YEAR CONSTRUCTED: 2007

CLUBHOUSES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

SECTION OF VIEWS IN AND OUT TO COURSE

ARCHITECT: ROGER FERRIS + PARTNERS LOCATION: BRIDGEHAMPTON, NY, UNITED STATES YEAR CONSTRUCTED: 2007

FLOOR PLAN ANALYSIS

DB EB SD KF PL AM MY

NORTH ELEVATION

FLOOR PLAN

SECTION

SIUC ARC 550 SUMMER 2014

BUILDING COLLECTION: CLUBHOUSES

LOCATION: RIO DE JANEIRO, BRAZIL

DB EB

ARCHITECT: RUA ARQUITETOS

OLYMPIC CLUBHOUSE

RM HN CN MS ST SW MY

http://www.archdaily.com/286207/rio-2016-rua-arquitetos-to-design-olympic-golfcourse-clubhouse/

SQ FT: 4,000

YEAR CONSTRUCTED: 2014

CLUBHOUSES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

SECTION OF VIEWS IN AND OUT TO COURSE

ARCHITECT: RUA ARQUITETOS LOCATION: RIO DE JANEIRO YEAR CONSTRUCTED: 2016

FLOOR PLAN ANALYSIS

DB EB SD KF PL AM MY

NORTH ELEVATION

FLOOR PLAN

SECTION

SIUC ARC 550 SUMMER 2014

BUILDING COLLECTION: CLUBHOUSES

LOCATION: COLLIERVILLE, TENNESSEE

DB EB

ARCHITECT: CUTLER ANDERSON ARCHITECTS

SPRING CREEK RANCH

RM HN CN MS ST SW MY

http://cutler-anderson.com/project/spring-creek-ranch

YEAR CONSTRUCTED: 2007

CLUBHOUSES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

SECTION OF VIEWS IN AND OUT TO COURSE

ARCHITECT: CUTLER ANDERSON ARCHITECTS LOCATION: COLLIERVILLE, TENNESSEE YEAR CONSTRUCTED: 2007

FLOOR PLAN ANALYSIS

DB EB SD KF PL AM MY

NORTH ELEVATION

FLOOR PLAN

SECTION

SIUC ARC 550 SUMMER 2014

BUILDING COLLECTION: CLUBHOUSES

LOCATION: ARROWTOWN, NEW ZEALAND

DB EB

ARCHITECT: ANDREW PATTERSON OF PATTERSON ASSOCIATES LTD

THE MICHAEL HILL CLUBHOUSE

RM HN CN MS ST SW MY

http://www.pattersons.com/#/gallery/TheMichaelHillClubhouse/2

YEAR CONSTRUCTED: 2007

CLUBHOUSES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

SECTION OF VIEWS IN AND OUT TO COURSE

ARCHITECT: ANDREW PATTERSON OF PATTERSON ASSOCIATES LTD LOCATION: ARROWTOWN, NEW ZEALAND YEAR CONSTRUCTED: 2007

FLOOR PLAN ANALYSIS

DB EB SD KF PL AM ST

NORTH ELEVATION

FLOOR PLAN

WEST ELEVATION

SECTION

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

Square Footage

100sqft - 300 sqft

DB EB SD MY

Purpose Living Quarters for slaves

Architect Colonial Slaves Location Southern Louisiana Year Built 1700s

African Earthen Structures

MacDonald, K. C., & Morgan, D. W. (2011). African earthen structures in colonial

Louisiana: architecture from the Coincoin plantation

(1787-1816).. : Antiquity Publications Ltd.

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

African Earthen Structures

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

Location Taliesin West; Scottsdale, AZ

Square Footage

2010 150sqft

Purpose Experimental dwelling for winter residents at the Taliesin West campus of the Frank Lloyd Wright School of Architecture.

Year Built

Graduate Student Simon De Aguero

Architect

BrittleBush Shelter

http://taliesin.edu/shelters/shelters4.html

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

BrittleBush Shelter

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

Square Footage Private Residence

DB EB MY

Purpose

Architect DUST Architects Location Tuscon, Az Year Built 2013

Rammed Earth Retreat

http://taliesin.edu/shelters/shelters4.html

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

DB MY

Rammed Earth Retreat

http://taliesin.edu/shelters/shelters4.html

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

30sqm

Purpose

Private Hunting Cabin

DB EB SD MY

Square Footage

Architect BC-AS Architects Location Belgium Year Built 2012

Mansion de Chasse

http://inhabitat.com/bc-as-architects-complete-maison-de-chasserammed-earth-hunting-cabin-in-belgium/

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

DB MY

Masion de Chasse

http://inhabitat.com/bc-as-architects-complete-maison-de-chasserammed-earth-hunting-cabin-in-belgium/

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

British Columbia 2009

Art interpretive center

DB MY

Square Footage Purpose

Bruce Haden

Architect Location Year Constructed

Nkâ&#x20AC;&#x2122;Mip Desert Cultural Center

http://www.nkmipdesert.com/

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

Radiant piping

Nkâ&#x20AC;&#x2122;Mip Desert Cultural Center

Top Coat - Cementitous waterstop sealer Metal Flashing

Solid Ash WD window Continuous double glazed frameless window

HHS frame in wall

Concrete slab

Recessed halogen light Double glazed frameless window

Rammed earth wall

Concrete slab on grade

Solid Ash window stop and trim

2.5

http://www.nkmipdesert.com/

meters 15

http://mesonet.agron.iastate.edu/sites/windrose.phtml?station=CYDL&network=BC_ASOS

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

DB MY

Private Residence used for Purpose weekend getaways and star gazing

1100sqft

2009

Square Footage

Seoul, Korea

Byoung Soo Cho

Architect Location Year Constructed

Underground House

http://www.dwell.com/house-tours/slideshow/underground-houseseoul#13

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Rammed Earth Buildings

DB Lateritic Soils

Underground House

Worldwide Laterite Distribution

http://www.dwell.com/house-tours/slideshow/underground-houseseoul#13

Tree Houses

Building Collection: SIUC ARC 550 Summer 2014

http://www.destinationtips.com/inspiration/12-unusual-hotel-rooms-that-are-kinda-cool/

Architect

Tom Chuleigh

Year Built

2009

Square Footage

84 SF

British Columbia, Canada

Location

Free Spirit Spheres

http://tinyhousetalk.com/sphere-tree-house/

Tree Type Pine

http://arcitecturaldesign.wordpress.com/

http://tinyhousetalk.com/sphere-tree-house/

SIUC ARC 550 Summer 2014

Building Collection:

Tree Houses

distributed equally between the three trunks.

The connection pieces are simply wrapped around the trunks so there is no damaged caused to the

using stretched rope to allow the tension to be

The structure is suspended from three pine trees

living trees.

Tree Houses

Building Collection: SIUC ARC 550 Summer 2014

http://www.giesendesign.com/design/890x563/luxury-yellow-ideas/luxury-yellow-tree-house-resort-oregon-40612.html

Yellow Treehouse Auckland, New Zealand

Location

Year Completed

400 SF

http://forum-intemporal.blogspot.com/2013/11/as-15-mais-impressionantes-casas-em.html

Pine

Tree Type

2009

Square Footage

Architect Pacific Environments

Reference Bar

http://www.gizmag.com/redwoods-treehouse-treetop-dining/22436/

SIUC ARC 550 Summer 2014

Building Collection:

Tree Houses

attaching the outer glulam skin to four brackets that are spaced out on the trunk of the single pine

The structure is given a â&#x20AC;&#x153;floatingâ&#x20AC;? appeal by

SD KF PL AM BM RM HN CN ST SW MY

The floor structure is made of a glulam truss system which is braced off of these brackets.

tree.

Tree Houses

Building Collection: SIUC ARC 550 Summer 2014

http://www.archdaily.com/253842/cloud-structure-sabaoarch/

Cloud Treehouse SABAORCH

Year Completed

100 SF Blue Japanese Oak

http://www.archdaily.com/253842/cloud-structure-sabaoarch/

Tree Type

2011

Square Footage

Architect

Location Kanagawa, Japan

http://www.archdaily.com/253842/cloud-structure-sabaoarch/ Reference Bar

http://www.archdaily.com/253842/cloud-structure-sabaoarch/

SIUC ARC 550 Summer 2014

Building Collection:

Tree Houses

DB EB SD KF PL AM BM RM HN CN

Oak tree.

supporting Japanese

designed around the three trunks of the single

The structure is held up by a truss system that is

Tree Houses

Building Collection: SIUC ARC 550 Summer 2014

http://www.luxury-design.com/voyages/hotels/cabane-dans-les-arbres-tree-hotel

Prefab Treehouse Cabin Falkรถping, Sweden

Location

2009

Square Footage

258 SF

Year Completed

Architect Cyren &Cyren

http://www.lifestyle-mag.com/design/baumhauser-2-0.html

Tree Type Pine

http://www.nsmbl.nl/escape-to-nature-weg-uit-de-realiteit-en-de-natuur-in/ Reference Bar

SIUC ARC 550 Summer 2014

Building Collection:

Tree Houses

DB EB SD KF PL AM BM RM HN CN ST SW

The beams connect to the four trees with brackets that wrap each trunk.

The structure is suspended between four pine trees from two wood beams.

Tree Houses

Building Collection: SIUC ARC 550 Summer 2014

http://www.archdaily.com/43355/treehouse-rpa/

Banyan Treehouse Los Angeles, California

Location

Square Footage

172 SF Pine

Tree Type

2009

Year Completed

Architect RPA

http://www.archdaily.com/43355/treehouse-rpa/ Reference Bar

http://www.archdaily.com/43355/treehouse-rpa/

SIUC ARC 550 Summer 2014

Building Collection:

Tree Houses

The structure is held up with six steel stilts that are placed and angled to resemble branches on a tree.

SD KF PL AM BM RM HN CN ST SW MY

tree house rest in the trunk of a pine tree.

As a back support, the back end of the

Tree Houses

Building Collection: SIUC ARC 550 Summer 2014

http://koganbuilders.com/wp/very-cool-project-at-camp-aldersgate-ar/

Camp Aldersgate Treehouse Little Rock, Arkansas

Location

Square Footage

2013 100 SF

Year Completed

Architect Arkansas School of Architecture

Tree Type Pine

http://koganbuilders.com/wp/very-cool-project-at-camp-aldersgate-ar/ Reference Bar

http://koganbuilders.com/wp/very-cool-project-at-camp-aldersgate-ar/

SIUC ARC 550 Summer 2014

Building Collection:

Tree Houses

DB EB SD KF PL AM BM RM HN CN ST SW

1. Wood Truss System 2. Two Steel Beams 3. Eight Wood Columns 4. Steel Cables

The structure is made up of four support systems:

Wood Design Pavilion

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://www.crosbyarboretum.msstate.edu/pages/pinecote.php

Picayune, Mississippi Fay Jones

Year built

1985

http://www.crosbyarboretum.msstate.edu/pages/pinecote.php

http://www.gardenvisit.com/uploads/image/image/141/14190/crosby_arboretum_mississippi_original. jpgpi_original.jpg

http://www.crosbyarboretum.msstate.edu/pages/pinecote.php

Architect

Location

Pinecote Pavilion

BUILDING COLLECTION:

WOOD DESGIN PAVILION

Four Elements

SIUC ARC 550 Summer 2014

1. earthwork - brick pattern express the basic building modules

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

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

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

DB EB KF

4. CLADDING

3.FRAMEWORK

1. REGIONALISM

2. TECTONIC

1. TRANSPARENCY

2. HEARTH 1. EARTHWORK

1. TECTONIC

Wood Design Pavilion

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://www.archdaily.com/83676/lincoln-park-zoo-south-pond-studio-gang-architects/beth-zacherle-studio-gang-architects/

DB EB

Lincoln Park Zoo Pavilion Location Chicago, IL

1,400

http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287677322-looking-n-along-e-on-insideimage-2.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287677289-beth-zacherle-studio-gangarchitects6.jpg

sq ft

2010

Year built

Architect Studio Gang

http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287677749-exploded-axon-386x500.jpg

BUILDING COLLECTION:

WOOD DESGIN PAVILION

Four Elements

SIUC ARC 550 Summer 2014

1. earthwork - existing wetland

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

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

Regionalism

Tectonic

1. the organic structure creates multiple holes that are covered

1. glue-laminated wood structure

with fiberglass panels

2. steel member connecting the wood structure to the ground 3. fiberglass panels

DB EB

1. TRANSPARENCY

4. CLADDING

2. HEARTH

3.FRAMEWORK

1. EARTHWORK

2. TECTONIC 3. TECTONIC

1. REGIONALISM 1. TECTONIC

2. REGIONALISM

Wood Design Pavilion

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/01/1357842034-sealightpavillion20--mg-7639-archdaily-528x352.jpg

Melbourne Docklands, Australia

Architect

Monash University Department of

Location

Sealight Pavilion Architecture

20.96

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/01/1357842083-sealightpavillion08--mg-7817archdaily.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/01/1357842057-sealightpavillion04--mg-7548archdaily.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/01/1357842216-plan-02.jpg

sq m:

2010

Year built

BUILDING COLLECTION:

WOOD DESGIN PAVILION

Four Elements

SIUC ARC 550 Summer 2014

1. earthwork - existing docking port

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

2.hearth - intimate scale and experience 3.framework - reclaimed wood columns 4.cladding -reclaimed wood spacing to allow light

Regionalism

Tectonic

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

1. broken into three pre fab modules

natural phenomena of the sea and sky

2. reclaimed wood

2. creates view into sea

DB EB

4. CLADDING 1. REGIONALISM

3.FRAMEWORK

2. HEARTH

1. EARTHWORK

1. TRANSPARENCY

2. REGIONALISM

2. TECTONIC

1. TECTONIC

1. REGIONALISM

Wood Design Pavilion

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://crosbyarboretum.files.wordpress.com/2012/06/summernaturecampjune8_2012rstafne-019.gif

DB EB

Cadiz Temporary Pavilion Location Cadiz, Spain

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/10/1319809114-avanzada-drawing-6-section-3. jpg

sq m:

2011

Year built

Architect Breathnach Donnellan with EASA

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/10/1319809169-avanzada-process-4.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/10/1319809349-11-avanzada-rope-detail-top.jpg

BUILDING COLLECTION:

WOOD DESGIN PAVILION

Four Elements

SIUC ARC 550 Summer 2014

Transparency

1. earthwork - plywood lumber used for the flooring

1. the use of the rope creates the sense of transparency while

2.hearth - artwork of exhibits

space

also allowing to create dense area of rope to create a intimate

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

Regionalism

Tectonic

1. the use of rope off a local ship yard

1. the use of nominal plywood for roofing and flooring

2. the structure

2. the tying of rope to the structure

emphasis the boat structure

DB EB

4. CLADDING

1. TRANSPARENCY

3.FRAMEWORK

2. HEARTH

1. TECTONIC

2. TECTONIC

2. REGIONALISM

1. REGIONALISM

1. EARTHWORK

Wood Design Pavilion

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/513bad03b3fc4b8d72000057_the-boathouse-trestykker-2012_.jpg

DB EB

The Boathouse Location Oslo, Norway

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/513baca1b3fc4b8d72000053_the-boathousetrestykker-2012_.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/513bac65b3fc4b8d72000051_the-boathousetrestykker-2012_-528x704.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/513bacd3b3fc4bafb7000052_the-boathousetrestykker-2012_.jpg

sq m:

2012

Year built

Architect TreStykker 2012

BUILDING COLLECTION:

WOOD DESGIN PAVILION

Four Elements

SIUC ARC 550 Summer 2014

1. earthwork - pier of rocks 2.hearth - small intimate concert stage

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

3.framework - the three plywood frame 4.cladding - the wooden slat that varies in spacing and the polycarbonate

Regionalism

Tectonic

1. captures the cultural tradition of norwayâ&#x20AC;&#x2122;s rich nautical his-

1. 15 three layered plywood frame

tory making the pavilion an icon surrounding new development

2. wood slats of variety held by a wooden grid 3.the use of polycarbonate between the wooden grid and frame

3.FRAMEWORK

4. CLADDING

3. TECTONIC

1. TECTONIC

1. REGIONALISM

2. TECTONIC

1. REGIONALISM 1. TRANSPARENCY

2. HEARTH 1. EARTHWORK

Wood Design Pavilion

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/02/1297362943-6i-norwegian-wood-10-528x387.jpg

DB EB

Lantern Pavilion Location Sandnes, Norway

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/02/1297362956-6i-norwegian-wood-3.jpg

sq m:

2010

Year built

Architect AWP / Atelier, Oslo

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/02/1297362956-6i-norwegian-wood-3.jpg

BUILDING COLLECTION:

WOOD DESGIN PAVILION

Four Elements

SIUC ARC 550 Summer 2014

1. earthwork - existing square brick surface

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

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

Regionalism

Tectonic

1. iconographic shape of an old wooden house

1. modular wooden grid system with glass mounted on wooden

2. matched existing building heights

grid system

3. tree like shape structure creating a micro-climate

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

DB 1. TRANSPARENCY

4. CLADDING

3.FRAMEWORK

2. HEARTH

1. EARTHWORK

2. REGIONALISM

3. REGIONALISM 2. TECTONIC

2. TECTONIC

1. REGIONALISM

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Scale: 1:2,500

Location

DB EB

Hettingen Branch Bank Heidelberg, Germany

Sparkasse Neckartal-Odenwald

Area:

1076 sq. ft.

Client

2007

Built

Architects Ecker Architekten

http://static.squarespace.com/static/531dd1bce4b03e512acd4c2b/t/53208ff8e4b0d656600281fe/1394632336003/sparkasse-TITEL.jpg?format=1500w

http://static.squarespace.com/static/531dd1bce4b03e512acd4c2b/531dd34ce4b05d85bc544349/531ef4b9e4b00720a47aa8d5/1394537660905/sparkasse-006.jpg?format=500w

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Section Scale: 1/16” = 1’-0”

Floor Plan Scale: 1/16” = 1’-0”

West Elevation Scale: 1/16” = 1’-0”

DB EB SD KF PL AM CN

Scale: 1/16” = 1’-0”

Hearth Scale: 1/16” = 1’-0”

Skylight Scale: 1/16” = 1’-0”

Detailed Section Scale: 1/4” = 1’-0” http://ad009cdnb.archdaily.net/wp-content/uploads/2009/07/detailed-section1.jpg

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Scale: 1:2,500

DB EB

Sugamo Shinkin Bank Location Tokyo, Japan

8202 sq. ft.

Area:

2011

Built

Architects Emmanuelle Moureaux Architecture + Design

http://www.emmanuelle.jp/03Architecture/23SugamoShimura/SugamoShimura401.jpg

http://www.emmanuelle.jp/03Architecture/23SugamoShimura/SugamoShimura924.jpg

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Second Floor Plan Scale: 1/16” = 1’-0”

First Floor Plan Scale: 1/16” = 1’-0”

Third Floor Plan Scale: 1/16” = 1’-0”

DB EB SD KF PL AM 12 Brightly Color Bands Scale: 1/16” = 1’-0”

Lightwell Scale: 1/16” = 1’-0”

Section Scale: 1/16” = 1’-0”

Northwest Elevation Scale: 1/16” = 1’-0”

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Scale: 1:2,500

DB EB

44th and Camelback Branch Location Phoenix, arizona, usa

1967

Built

Architects Frank Henry

http://www.modernphoenix.net/vnb/images/frankhenry005.jpg

http://www.modernphoenix.net/vnb/images/hhenryvnbtail.jpg

Banks

BUILDING COLLECTION: Floor Plan Scale: 1/16” = 1’-0” SIUC ARC 550 Summer 2014

DB EB SD

The vault seats in it’s own circle and even in the plan

Skylight Section Scale: 1/16” = 1’-0”

it.

suggests hierarchy where everything revolves around

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Scale: 1:2,500

Architects

louis h. sullivan

Built

1908

bearing masonry

construction system

owatonna, minnesota, usa

Location

national farmersâ&#x20AC;&#x2122; bank

http://classconnection.s3.amazonaws.com/778/flashcards/481778/jpg/binder2pdf_-_adobe_acrobat_pro1350405075537.jpg

http://www.greatbuildings.com/gbc/images/cid_aj1937_b.jpg

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Floor Plan Scale: 1/16” = 1’-0”

DB EB SD KF PL AM Skylight Section Scale: 1/16” = 1’-0”

Grand Arch Window Scale: 1/16” = 1’-0”

Section Scale: 1/16” = 1’-0”

West Elevation Scale: 1/16” = 1’-0”

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Scale: 1:2,500

Sanders Pace Architecture

Built

2009

Area:

4,400 sq. ft.

DB SD

Architects

Jacksboro, Tennessee, USA

Location

Peoples Bank of the South

http://www.sanderspace.com/content_images/0803_01.jpg

http://www.sanderspace.com/content_images/0803_05.jpg

Banks

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Floor Plan Scale: 1/16” = 1’-0”

Southwest Elevation Scale: 1/16” = 1’-0”

DB MY

Building Skin Detailed NTS

2”x2” steel tubes support the glass panels.

LED lighting with color changing capability to illuminate th facade..

Reflective Surface folds down to the fascia.

Building Skin Highlighted Scale: 1/16” = 1’-0”

BUILDING COLLECTION:

NATURAL LIGHTING ON SPIRITUAL BUILDINGS SIUC ARC 550 Summer 2014

http://www.panoramio.com/photo/46795498

Location

Site area

Fariborz, Sahba

Year Completed

1986 24 acre

http://indiasaakingmgamata.blogspot.com/2012/05/bahai-house-of-worship-lotus-temple.html

Arcaded Construction System

Structure

new delhi,india

Architect

lotus temple

http://en.wikipedia.org/wiki/Lotus_Temple

http://goodnightnomad.wordpress.com/2013/03/10/127/

spiritual buildings

BUILDING COLLECTION:

natural lighting on

SIUC ARC 550 Summer 2014

CARDINAL PRINCIPLE OF BAHAâ&#x20AC;&#x2122;I FAITH: ACCEPTANCE OF ONENESS OF MANKIND, ONENESS OF RELIGION AND ONENESS OF GOD

DB EB

The whole super structure is designed to function as skylight. The interior dome consists 27 petals where light enters

diffuse through out the hall.

through inner folds of lotus petals and

natural air circulation maintains the temperature inside the temple.

SINCE THE LOTUS IS OPEN AT THE TOP, A GLASS AND STEEL ROOF AT THE LEVEL OF THE RADIAL BEAMS PROVIDES PROTECTION FROM RAIN AND FACILITATES THE ENTRY OF NATURAL LIGHT INTO THE AUDITORIUM.

The temple gives the impression of a half-open lotus flower, afloat, surrounded by three sets of leaves or petals, all of which are made out of thin concrete shells.

BUILDING COLLECTION:

NATURAL LIGHTING ON SPIRITUAL BUILDINGS SIUC ARC 550 Summer 2014

http://www.rli-photography.com/light-and-form.php

Architect

Ronchamp, France Le Corbusier

Year Completed

1954

Square Footage

15000 SF

Reinforced Concrete

http://openbuildings.com/buildings/notre-dame-du-haut-profile-2610

Structure

Location

ronchamp chapel

http://bmyshot.wordpress.com/2013/07/23/ronchamp-color/

http://www.iphor.nl/rir/cultural-context/

spiritual buildings

BUILDING COLLECTION:

natural lighting on

unique sculptural building with interesting interior.

SIUC ARC 550 Summer 2014

The large wall

outside with several small window-like openings, increase in size creating an emotional lighting effect

design specific to site, topography, history and sacred purpose

southern “wall of light” is pierced by a multiplicity of irregular openings containing

, causes a play of light which unburdens the concrete weight of the wall, rendering it airy and spacious.

orientation gives a spiritual feel to the chapel

brilliant lighting in unconventional way from the site’s

openings adjusted in section to intercept high summer sun and low angle of winter sun through the width of church.

ST MY

light penetrating from the junction between wall and roof

coloured glass

BUILDING COLLECTION:

NATURAL LIGHTING ON SPIRITUAL BUILDINGS SIUC ARC 550 Summer 2014

http://www.homesthetics.net/iconic-modern-architecture-jubilee-church-in-rome-by-richard-meier-andhttp://www.homesthetics.net/iconic-modern-architecture-jubilee-church-in-rome-by-richard-meier-and-

Richard Meier

Year Completed

2003

Square Footage

8934 SF

Pre Cast Concrete

http://sj2euro.blogspot.com/2012/09/when-in-rome.html

Structure

Architect

Rome, Italy

Location

jubliee church

http://openbuildings.com/buildings/jubilee-church-profile-22/media/279053/showT

http://openbuildings.com/buildings/jubilee-church-profile-22/media/279048/show

spiritual buildings

BUILDING COLLECTION:

natural lighting on

Meier:Â Light is the protagonist of our understanding and reading of space. Light is the means by which we are able to experience what we call sacred. Light is at the origins of this building richard

SIUC ARC 550 Summer 2014

DB KF

A SUCCESSION OF SHELLS LIKE SAILS BILLOWING IN THE WIND MARKS THIS CHURCH, SET UP ON THE PLATFORM IN ROME TO MARK THE JUBLIEE YEAR.

holy trinity- god in three persons

father, son and holy spirit

use of light and white as a symbol of purity

light from the skylights above creates a luminous spatial experience, and

God

Glass ceilings and skylights in the church span the entire length of the building, filling the space with natural LIGHT

the rays of sunlight serve as a mystic metaphor of the presence of

the three concrete shells define an enveloping atmosphere in which the

BUILDING COLLECTION:

NATURAL LIGHTING ON SPIRITUAL BUILDINGS SIUC ARC 550 Summer 2014

http://www.vpa-studio.com/#!__welcome/gallery

Location

church of light Osaka,Japan

1989

Square Footage

1220.6 SF

Exposed Reinforced Concrete

http://www.paisia.eu/wp-content/uploads/2013/06/Camera-con-vista-130509.pdf

Structure

Year Completed

Architect Tadao Wando

http://yamadaarchiblog.blogspot.com/2012/08/two-churches-of-japan.html

http://www.archello.com/en/company/cityvision

spiritual buildings

BUILDING COLLECTION:

natural lighting on

SIUC ARC 550 Summer 2014

CONCEPT: “USE OF LIGHT IN A WAY THAT WOULD STRENGTHEN THE POWER OF RELIGION”

plan sectional perspective

longitudinal section

For Ando, the Church of Light is an architecture of duality – the dual nature of [co]existence – solid/void, light/dark, stark/serene. The coexisting differences leave the church void of any, and all, ornament creating a pure, unadorned space. The intersection of light and solid raises the occupants awareness of the spiritual and secular within themselves

DB AM

The sliver of light cut into the front concrete wall form the shape of a cross and create a focal point that is unique and unexpected.

Light is the origin of all being. Light gives, with each moment, new form to being and new interrelationships to things, and architecture condenses light to its most concise being. The creation of space in architecture simply the condensation and purification of the power of light. TADAO WANDO

light invades profane darkness

connection from inside and outside

BUILDING COLLECTION:

NATURAL LIGHTING ON SPIRITUAL BUILDINGS SIUC ARC 550 Summer 2014

http://en.wikipedia.org/wiki/Thorncrown_Chapel

Location

DB EB

thorncrown chapel Arkansas, usa

1980

Square Footage

1440 sf

Glass enclosed, wood

http://lifeat55mph.blogspot.com/2010/05/thorncrown-chapel-in-eureka-springs.html

Structure

Year Completed

Architect E.fay jones

http://lifeat55mph.blogspot.com/2010/05/thorncrown-chapel-in-eureka-springs.html

http://architours4u.blogspot.com/2012/02/eureka-springs-that-is-friday-november.html

spiritual buildings

BUILDING COLLECTION:

natural lighting on

Light, shadows, and reflections play a major role in Thorn crownâ&#x20AC;&#x2122;s ambience

SIUC ARC 550 Summer 2014

local native materials and to not disturb the site in the construction process

Thorn crown Chapel is a ‘sustainable green’ building which is a great example of a strategy that used careful planning to utilize

a l i

t t l

g l a

ornamentation of structure and space

constantly changing play of light and pattern, a natural

a p e

l, f

o r

e a

diamond shaped pattern in wooden truss, makes the symphony of daylight

The chapel is made with all organic materials to fit its natural setting.

BUILDING COLLECTION:

NATURAL LIGHTING ON SPIRITUAL BUILDINGS SIUC ARC 550 Summer 2014

http://www.seattleu.edu/ces/Inner.aspx?id=82154

Architect

Steven Holl

Year Completed

1997

Square Footage

6100 sf

tilt up concrete, steel frame

https://www.flickr.com/photos/ny_sed/6151469575/

Structure

Seattle,wa,usa

Location

chapel of st ignatius

http://kateinkbh.wordpress.com/2011/06/23/st-ignatius-chapel/

http://residentialongings.com/2012/07/10/a-gathering-of-different-lights/

spiritual buildings

BUILDING COLLECTION:

natural lighting on

concept:Â The chapel is designed as seven bottles of light in a stone box assigning different types of

SIUC ARC 550 Summer 2014

lighting

DB EB SD KF in the chapel

with respect to orientation of sun

â&#x20AC;&#x153;seven bottles of light in a stone boxâ&#x20AC;?shows the location of each of the bottles

east facade

The integral color tilt-up concrete slab provides a more direct and economical tectonic than stone

The light in the chapel reveals the texture of the white plastered concrete walls which contrast the dark highly polished floors.

veneer

west facade

Fire Houses

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

Reference Bar

DB 53 East Pershing Chicago, IL

Architect:

InterActive Design Inc.

KF PL AM BM RM HN CN MS ST

Dennis McGuire Jr and Meghan Shanahan

Photographers:

19,725 Sq FT

Size:

2012

Completed:

Location:

Engine 16

Fire Houses

BUILDING ANALYSIS: SIUC ARC 550 Summer 2014

Vehicle Circulation

Elevation & Section

100 Mile

DB EB SD

GLAZED BRICK

GLAZED CMU

INSULATION

Circulation Fire Work Area Private Work Area

Ground Floor

2 Mile

Fire House Location

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Fire Houses

Land van Valk, Netherlans

Architect:

Rene van Zuuk Architekten

PL AM BM RM HN CN MS

Christian Richters

Photographers:

75,347 Sq FT

Size:

2011

Completed:

Location:

Fire Station Dordrecht

Fire Houses

BUILDING ANALYSIS: SIUC ARC 550 Summer 2014

100 Mile

Vehicle Circulation

Ground Floor

Elevation & Section

Mezzanine

DB EB SD

GLASS GLASS CAVITY

PERFORATED ALUMINUM SHEETING

First Floor

Circulation Fire Work Area Private Work Area

Second Floor

2 Mile

50 Mile

Fire House Location

METAL STUD

GLASS

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Fire Houses

Harry Baker Smith Architects II

KF PL AM BM RM HN CN MS

Harry Baker Smith Architects II

Photographers:

2009

Completed:

Architect:

427 Highway 90, Waveland, Mississippi 39576

Location:

Waveland Fire Station

Fire Houses

BUILDING ANALYSIS:

100 Mile

Vehicle Circulation

Ground Floor SIUC ARC 550 Summer 2014

Elevation & Section

First Floor Circulation Fire Work Area Private Work Area

CMU

DB INSULATION

INTERIOR WALL FINISH

BRICK VENEER

2 Mile

50 Mile

Fire House Location

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Fire Houses

DB Columbus, Indiana

Architect:

Robert Venturi

KF PL AM BM RM HN CN MS ST SW

VSBA and Ricky Berkey

Photographers:

1968

Completed:

Location:

Fire Station No. 4

Fire Houses

BUILDING ANALYSIS: SIUC ARC 550 Summer 2014

Vehicle Circulation

Elevation & Section

100 Mile

DB EB SD

CONCAVE JOINT

GLAZED WHITE BRICK

RED BRICK

Fire Station No. 4

Ground Floor

Circulation Fire Work Area Private Work Area

50 Mile

2 Mile

Fire House Location

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Fire Houses

KF PL AM BM RM HN CN MS

Ferran Mateo

Photographers:

2011

Completed:

Mnuel Ruisanchez Arquitecto

Architect:

Barcelona, Spain

Location:

Montjuic Fire Station

Fire Houses

BUILDING ANALYSIS: SIUC ARC 550 Summer 2014

Vehicle Circulation

100 Mile

Ground Floor

Elevation & Section

DB EB KF

INSULATION

INTERIOR WALL FINISH

CONCRETE

Circulation Fire Work Area Private Work Area

First Floor

2 Mile

50 Mile

Fire House Location

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Fire Houses

Schact | Aslani Architects

Completed: Size:

9,100 SF

Schact | Aslani Architects

http://www.saarch.com/projects/fs30.php

Photographers:

2011

Architect:

2931 Mt. Baker Blvd. Seattle, WA

Location:

Seattle Fire Station

Fire Houses

BUILDING ANALYSIS:

Vehicle Circulation

100 Mile

Ground Floor SIUC ARC 550 Summer 2014

First Floor Circulation Fire Work Area Private Work Area

Celestial Perception

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

www.oxfordscientificfilms.tv

Year Built

Phase 1: <3000 B.C. Phase 2: <2500 B.C. Phase 3: 2200 B.C.

N/A

Architect

Amesbury, Wiltshire, UK 51.1788°N, 1.8262°W

stonehengetrips.com

Location

Stonehenge

www.stonehenge-info.org

abyss.uoregon.edu

Celestial Perception

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

www.oxfordscientificfilms.tv

DB SD KF PL AM BM RM

51.1788째 N 01.8262째 W

Phase 1: <3000 B.C. Phase 2: <2500 B.C. Phase 3: 2200 B.C.

Year Built

N/A

Architect

Amesbury, Wiltshire, UK 51.1788째N, 1.8262째W

Location

Stonehenge

Celestial Perception

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

stlouis.cbslocal.com, Lloyd K. Townsend

Mississippian Natives

Year Built

1000 A.D/

Architect

Collinsville, Illinois, USA 38.6499°N, 90.0715°W

Cahokiamounds.org

Location

Woodhenge (Cahokia)

commons.wikimedia.org

www.museum.state.il.us

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Celestial Perception

DB SD KF PL AM BM RM

38.6499째 N 90.0715째 W

1000 A.D/

Year Built

Mississippian Natives

Architect

Collinsville, Illinois, USA 38.6499째N, 90.0715째W

Location

Woodhenge (Cahokia)

Celestial Perception

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

https://www.dartmouth.edu/~matc/math5.geometry/unit10/unit10.html

DB Robert Morris

Year Built

1977

Architect

Netherlands 52°32’58”N, 5°33’57”E

nl.wikipedia.org

Location

“Observatory”

commons.wikimedia.org www.flickriver.com

https://www.dartmouth.edu/~matc/math5.geometry/unit10/unit10.html

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Celestial Perception

DB SD KF PL AM BM RM

52.5494° N 05.5658° E

1977

Year Built

Robert Morris

Architect

Netherlands 52°32’58”N, 5°33’57”E

Location

“Observatory”

Celestial Perception

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

commons.wikimedia.or

Prince Jai Singh II

Year Built

1734 A.D.

Architect

Jaipur, Delhi, India 28.626739° N, 77.216616° E

groupfbjmc.wix.com

Location

Jai Prakash Yantra (Large), Jantar Mantar

museumsrajasthan.gov.in

Jai Prakash Yantra Inside by Geoff Stearns on flickr.com

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Celestial Perception

DB SD KF RM

26.9246째 N 75.8243째 E

1734 A.D.

Year Built

N during the night sightlines are used to map star locations

Prince Jai Singh II

S the coordinate system is mirrored inside to reflect the sky

Architect

Jaipur, Delhi, India 28.626739째 N, 77.216616째 E

Location

Jai Prakash Yantra (Large), Jantar Mantar

N during the day the sun movement can be monitored on the surface

SIUC ARC 550 Summer 2014 www.stroom.nl

BUILDING COLLECTION:

Celestial Perception

DB James Turrell

Year Built

1996

Architect

Kijkduin, Den Haag, Holland 52.083448° N, 4.305873°E

openoog.aminus3.com

Location

Celestial Vault

www.stroom.nl

environment.nationalgeographic.com

SIUC ARC 550 Summer 2014

BUILDING COLLECTION:

Celestial Perception

DB SD KF PL AM BM RM

52.0834째 N 04.2184째 E

1996

Year Built

James Turrell

Architect

Kijkduin, Den Haag, Holland 52.083448째 N, 4.305873째E

Location

Celestial Vault

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.wrightarchitects.com.au/projects-2/contact/stamp-house/ projects-2/contact/stamp-house/

ARCHITECT

BOF ARCHITEKTEN + IMS

YEAR BUILT

2012

ANTARCTICA

Source: http://www.archdaily.com/228405/narbethong-community-hall-bvm-architects/

LOCATION

BHARATI RESEARCH STATION

Source: http://www.designboom.com/architecture/researchstation-in-antarctica-built-from-134-shipping-containers/

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.antarctica.gov.au/__data/assets/image/0009/137862/varieties/antarctic.jpg

Source: http://www.designboom.com/wp-content/uploads/2013/07/bof-arkitekten-antarctic-shipping-containers-designboom02.jpg

Source: http://www.wicona.de/en/About-WICONA/News/Following-in-the-footsteps-of-Roald-Amundsen/

Source: http://livelystories.com/wp-content/uploads/2014/02/india.jpg

DB EB SD 0

60’

1” = 30’-0”

30’

1st Level Floor Plan

40’

80’

1”= 40’-0”

Elevation

120’

1” = 60’-0”

Section

Wildfire

Blizzard

Tornado

5 4 2

2nd Level Floor Plan

40’

Cyclone

80’

1”= 40’-0”

Flood

Natural Disaster Analysis Diagram

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.archdaily.com/228405/narbethong-community-hall-bvm-architects/

ARCHITECT

BVN

YEAR BUILT

2011

DB SD

NARBETHONG, AUSTRALIA

Source: http://www.archdaily.com/228405/narbethong-community-hall-bvm-architects/

LOCATION

NARBETHONG COMMUNITY HALL

Source: http://www.archdaily.com/228405/narbethong-community-hall-bvm-architects/

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.architectureanddesign.com.au/the-book/projects/public-buildings/narbethong-community-hall

DB EB SD 20’

40’

1” = 20’-0”

Section

30’

60’

Elevation

20’

40’

1” = 20’-0”

5 4

Blizzard

Tornado

Wildfire

Source: http://archidose.blogspot.com/2013/02/todays-archiodse-648.html

Cyclone 1st Level Floor Plan

1” = 30’-0”

Flood

Natural Disaster Analysis Diagram

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

http://www.archdaily.com/143281/safe-house-kwk-promes/

ARCHITECT

KWK PROMES - ROBERT KONIECZNY

YEAR BUILT

2009

WARSAW, POLAND

http://www.archdaily.com/143281/safe-house-kwk-promes/

LOCATION

SAFE HOUSE

http://www.archdaily.com/143281/safe-house-kwk-promes/

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://ifitshipitshere.blogspot.com/2010/05/safe-house-in-poland-is-modern-fortress.html

Source: http://designyoutrust.com/2012/12/the-safe-house/

Source: http://www.topboxdesign.com/safe-house-in-warsaw-poland/safe-house-exterior-1/

Source: http://ifitshipitshere.blogspot.com/2010/05/safe-house-in-poland-is-modern-fortress.html

DB EB SD 80’

1” = 40’-0”

1st Level Floor Plan

50’

100’

1”= 50’-0” Elevation

1” = 40’-0”

40’

Section

Wildfire

Blizzard

Tornado

3 2

2nd Level Floor Plan

50’

100’

1”= 50’-0”

Cyclone

Flood

Natural Disaster Analysis Diagram

5 4

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.bustler.net/index.php/article/aia_select_the_2010_cote_top_ten_green_projects

ARCHITECT

JOHN C WILLIAMS ARCHITECTS & KIERAN TIMBERLAKE

YEAR BUILT

2008

NEW ORLEANS, LOUISIANA

http://www.aiatopten.org/node/108

LOCATION

SPECIAL NO. 9 HOUSE

http://www.aiatopten.org/node/108

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.nola.com/homegarden/index.ssf/2010/05/make_it_right_gets_real_as_new.html

Source: http://www.mcgrawhillconstruction.com/green_building_projects/2010/1007_Special_House/slideshow.asp?slide=10

Source: http://williamsarchitects.com/web/default.asp?id=news

Source: http://hpb.buildinggreen.com/cgi-bin/projectscale.cgi?max=500&src=/project_1736/756-submission5.jpg

DB EB KF

SD 30’

60’

Section

32’

64’

1” = 32’-0”

1” = 30’-0”

Site Floor Plan

Wildfire

1” = 30’-0”

5 4

Blizzard

Tornado

Main Level Floor Plan

Elevation

16’

32’

1” = 16’-0”

Cyclone

Flood

Natural Disaster Analysis Diagram

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://www.wrightarchitects.com.au/projects-2/contact/stamp-house/ projects-2/contact/stamp-house/

ARCHITECT

CHARLES WRIGHT ARCHITECTS

YEAR BUILT

2012

QUEENSLAND, AUSTRALIA

Source: http://www.wrightarchitects.com.au/projects-2/contact/stamp-house/ projects-2/contact/stamp-house/

LOCATION

STAMP HOUSE

Source: http://www.wrightarchitects.com.au/projects-2/contact/stamp-house/ projects-2/contact/

Source: http://www.wrightarchitects.com.au/projects-2/contact/stamp-house/ projects-2/contact/stamp-house/

NATURAL DISASTER RESISTANT STRUCTURES

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

Source: http://aasarchitecture.com/2013/06/stamp-house-by-charles-wright-architects.html

DB EB 50’

100’

40’

Basement Level Floor Plan

80’

Elevation

1”= 40’-0”

1” = 50’-0”

Section

Wildfire

Blizzard

Tornado

5 4

Cyclone Main Level Floor Plan

1”= 40’-0”

Flood

Natural Disaster Analysis Diagram

MODERN ART MUSEUMS

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

http://farm7.staticflickr.com/6188/6071676918_f2c1640b5c_o.jpg

DB TADAO ANDO

YEAR BUILT

2002

STRUCTURE

CONCRETE | STEEL | GLASS 58,600 SQ. FT.

http://www.arcspace.com/features/tadao-ando/the-modern-art-museum-of-fort-worth/

AREA

ARCHITECT

FORT WORTH, TEXAS

LOCATION

MODERN ART MUSEUM

http://www.arcspace.com/features/tadao-ando/the-modern-art-museum-of-fort-worth/ Reference Bar

http://blog.chrismoseley.com/jill-and-randy-modern-fort-worth-wedding/

Modern Art Museums

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://farm7.staticflickr.com/6188/6071676918_f2c1640b5c_o.jpg

DB SD Most Popular Areas

Circulation First Floor Plan

KF PL

58,600 Sq. Ft.

Second Floor Plan

Area

Section

Concrete | Steel | Glass

Structure

2002

Year Built

Tadao Ando

Architect

Fort Worth, Texas

Location

Modern Art Museum

MODERN ART MUSEUMS

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

http://charlottestylemag.com/wp-content/uploads/2012/12/18.jpg

DB MARIO BOTTA

YEAR BUILT

2010

STRUCTURE

TERRA COTTA | STEEL | GLASS 36,500 SQ. FT.

http://charlottestylemag.com/wp-content/uploads/2012/12/18.jpg

AREA

ARCHITECT

CHARLOTTE, NORTH CAROLINA

LOCATION

BECHTLER MUSEUM

http://www.qcitymetro.com/uploads/image/bechtler_18_AdobeRGB_8bit_2400px_18.jpg Reference Bar

http://charlotteblogs.files.wordpress.com/2010/06/bechtler1.jpg

BUILDING COLLECTION:

Modern Art Museums

Most Popular Areas

SIUC ARC 550 Summer 2014

Circulation

http://www.ronenbekerman.comkalmar-museum-art-kalmar_konstmuseeum.jpg

First Floor Plan

Second Floor Plan

Year Built

2008

Structure

Concrete | Glass | Wood

Area

17,000 Sq. Ft.

Tham & Videgard Hansson

Architect

Kalmar, Sweden

HN CN MS ST SW

Fourth Floor Plan

Third Floor Plan

Section

Location

Kalmar Museum of Art

MODERN ART MUSEUMS

BUILDING COLLECTION: SIUC ARC 550 SUMMER 2014

http://www.shigakogen.co.jp.e.aafw.hpf.transer.com/highlight/gosetsu_roman

DB KISHO KUROKAWA

YEAR BUILT

1997

STRUCTURE

CONCRETE | WOOD 10,800 SQ. FT.

http://www.arch.school.nz/bbsc303/2002/students/abboudrana/assignment_1/the%20_model2.html

AREA

ARCHITECT

YAMANOUCHI, NAGANO, JAPAN

LOCATION

SHIGA KOGEN MUSEUM

http://www.tvark.se/kalmar-museum-of-art/

http://www.info-yamanouchi.net/english/tourism/museum/

Modern Art Museums

BUILDING COLLECTION: SIUC ARC 550 Summer 2014

http://www.shigakogen.co.jp.e.aafw.hpf.transer.com/highlight/gosetsu_roman

DB SD KF Section Most Popular Areas

Circulation First Floor Plan

Second Floor Plan

10,800 Sq. Ft.

Area

Concrete | Wood

Structure

1997

Year Built

Kisho Kurokawa

Architect

Yamanouchi, Nagano, Japan

Location

Shiga Kogen Museum

Program Analysis

Open Air Museum Visitor Center

3.0 Visitors

1.0 Lobby Waiting

200

Educational Room(s)

500

Vending

Gift Shop

300

Reception/Tickets

100

Restroom (kids)

150

Gift Shop

300

Restroom (kids)

150

Mens Restroom

150

Janitor

Womens Restroom

150

Total Exhibition:

Janitor

100

Lobby Total :

1150 SF

Program Analysis:

2.0 Bathhouse (spa)

Pool

300

Sauna (Men & Women)

Hot tub room Locker rooms (m & w)

`150

Massage

rooms

(4)

Total Bathhouse:

150 ea. 50 ea.

725 SF

4.0 Administration

Security Office Curator Offices (2)

150 ea.

General Offices (5)

100 ea.

100

File Storage 75 Conference Room 200 Break Room

Total Administration:

5.0 Support

100

1275 SF

Fabrication Shop

500

Loading Dock

Mechanical Space

100

Maintenance Office (2)

100 ea.

Maintenance Garage 300 Storage

Bathrooms

SIUC ARC 550 Summer 2014

1150 SF

150 50

Total Support:

1350 SF

Total Net Square Footage:

5650 SF

DB EB

WOMENS

GIFT SHOP

SAUNA

GIFT SHOP

HOT TUBS

POOL EDUCATION ROOM

WAITING VENDING

MASSAGE ROOMS

SAUNA MENS

JANITOR

BOYS

WOMENS

MENS

JANITOR GIRLS

FILES

OFFICES

BATHROOMS

CONFERENCE ROOM

STORAGE

GENERAL OFFICES

MAINTENANCE GARAGE

BREAK ROOM

SECURITY

FABRICATION SHOP

LOADING DOCK

CURATOR OFFICES

PROGRAM ANALYSIS:

Open Air Museum Visitor Center

1.0 Entry & Offices Vestibule

SIUC ARC 550 Summer 2014

Lobby Large area where large groups can gather at the entrance to the

1,000 SF

visitors center.

Reception Area off of lobby where a receptionist can supply information

200 SF

about exhibits, sell tickets, and oversee general security of the facility.

Curator Office

200 SF

Curator Assistant Office

150 SF

Records Storage

100 SF

Work space for museum curator to manage exhibits, facilities, and staff.

Work space for assistant to curator.

Museum records storage including office documents and exhibition documentation.

Facility Managers Office

Office work space for facilities manager.

Security

Central hub for museum security will host video surveillance of entire exhibit interior and exterior exhibits.

2.0 Event Gathering Hall

Staging Area

Support area for gathering hall most comonly used for caterers during events.

2,500 SF

Exhibition Storage

1,000 SF

Display for exhibits complementing outdoor exhibits could be art or educational information about exhibits.

Staging and storage area for exhibition area.

Total Event:

Shop for building exhibits.

Fabrication Shop Sorage 200 SF

600 SF

Break Room

400 SF

Men’s Toilet

500 SF

Women’s Toilet

500 SF

Janitor’s Closet

200 SF

Entry & Offices Total :

4,400 SF

4,800 SF 1,000 SF 500 SF

Docks (Shipping / Receiving)

1,000 SF

Circulatory

2,000 SF

Space for receiving and shipping exhibit items needs to be adjacent to exhibition storage and fabrication shop.

Conference Room

300 SF

Exhibition

3.0 Support Fabrication Shop 150 SF

1,000 SF

Area to host events raising awareness or funds for the museum could also be used as an educational space or gathering space for groups. This space will need to be able to change its function easily to meet the needs of the museum for each day.

Mechanical Total Support: Total Net Square Footage:

800 SF 5,300 SF 14,500 SF

Note: All spaces to follow 2009 IBC and meet ADA Accessibility.

Lobby Reception Curator Office Break Room Offices(2) Conference Records Storage Security Gathering Hall Exhibition Exhibition Storage Fabrication Shop Docks (Shipping/Receiving) MY

Convenient To

Docks (Shipping/Receiving) Fabrication Shop Exhibition Storage Exhibition Gathering Hall Security Records Storage Conference Offices(2) Break Room Curator Office Reception Lobby

Adjacent DB

Program Analysis:

Open Air Museum Visitor Center

Introduction/Overview:

This project intends to build an open open air museum in Wayne Fitzgerrell State Park, including adjacent land bordering Rend Lake to the south in Whittinton, Illinois. This lot is directly west of I-57, a highway that runs from the southern end of Illinois north to Chicago. Wayne Fitzgerrell State Park encomassess a massive area, approximately 3,300 acres or 5.156 square miles and acts as a peninsula in Rend Lake. The shoreline is heavily forested while the center of the mass consists mainly of reclaimed farmland. This open air museum is a very unique experience and requires many specific elements. The museum will feature a collection of concrete based chapels from around the world. This design should enhance the visitors’ cultural experience, provide a learning experience, and give respect to architecture as an art form. These chapels, which will function as exhibits, will be dispersed throughout the site and placed with respect to their original site conditions and orientation. The selection and manipulation of the site is crucial to the success of this project. The museum requires a main building with a visitor’s center and administrative support services. This program is divided into three sections: exhibit requirements, site requirements, and main building requirements.

1.0 Exhibit:

The “Exhibits” of this museum are a collection of five carefully selected concrete based chapels. The Collection Includes: -All Saints Chapel, Designed by Gustavo Penna, Located in Martinho Campos Minas Gerais - Brazil -Bruder Klaus Field Chapel, Designed by Peter Zumthor, Located in Mechernich, Germany -Holy Redeemer Church, Designed by Menis Architectos, Located in San Cristobal Laguna, Tenerife, Spain

The site design is extremely important to the success of this project. The circulation throughout the site is crucial and must be carefully planned. In the approach to the site, one must first encounter the visitor’s center. Visual cues should be used to direct visitors to this building. From there, one may go on to explore the site and experience each exhibit separately. Subtle visual cues must be used to direct visitors to each exhibit. Paths and signs may be used to assist the circulation patterns throughout the site. On the site itself, there are many requirements for actual built elements. The requirements are as follows:

-Parking

A parking area that can fit approximately 75 cars. Parking for 5-10 buses also required.

-Bus Drop Off/Pick Up An area located near the entrance to the visitors center large enough to allow buses to drop visitors off.

-Plaza/Outdoor Event Space

A space located somewhere on the site, near the visitor’s center that allows for large outdoor events to take place. Also required to function as a plaza for visitors when there are no events.

-Maintenance Shed/Garage

A large shed or garage structure that houses maintenance equipment such as tools, lawnmowers, etc. A location that is semi-hidden or subtle is desired.

de la

-Sunset Chapel, Designed by BNKR Architectura, Located in Acapulco, Guerrero, Mexico -Shrine of our Lady in the Snows, Located in Belleville, Illinois These chapels all have concrete as their main bulding material and structure. The chapels must be placed in precise locations on the site with respect to their original location, orientation, and physical context.

This intends to give the visitors the

same experience he/she would have from visiting the building in the location it was originally designed for. many of these chapels use natural light as a main design component.

Therefore, it is important to pay attention to the differences in light Southern Illinois region. The original physical context of each chapel on the new site must relate to or mimic the original context. Each exhibit will feature a podium or sign with information on the chapel as well as a description of how it functions. patterns from the original countries to the local light patterns of the

SIUC ARC 550 Summer 2014

2.0 Site:

-Paths/Circulation

Spaces that direct visitors from the parking lot to the visitor’s center, from the visitor’s center to the exhibits, and from exhibit to exhibit. May consist of direct paths or subtle visual cues.

3.0 Visitor’s Center/Administrative Support Services

This building is the first thing that visitors will encounter when coming to the museum. The focus of this building is to provide information about the museum to visitors. The building will allow for visitors to be educated about art and architecture, as well as the nature of each exhibit. THe building will also house offices for administrative support. There are many requirements for the visitor’s center. This program divides the building into three sections: lobby, public spaces, and anministrative spaces. The requirements are as follows:

3.1 Lobby: -Toilets

500 sf

750 sf

-Fabrication Shop

2000 sf

-Curator’s Office

250 sf

-Other Offices

700 sf

Storage spaces to house equipment, art, museum materials, etc.

100 sf

A small space located in the lobby for purchasing tickets to the museum and tours. Space for 2-4 people required.

A shop to fabricate elements for the exhibits and for the art gallery.

The office that allows the curator to do duties in preserving collections.

-Reception/Information Station

250 sf

A space for visitors to go to in order to gain information about the museum, including maps, educational booklets, etc. Close proximity to main lobby desired. Space for 2-4 people reqiured.

-Education Center

A space that provides an educational opportunity for visitors to learn about art, architecture, and the significance of the region. Close proximity to theater and library desired.

-Theater

This space will be used to show educational videos regarding the nature and history of the exhibits. Close proximity to education center and library desired.

-Library

A space that houses a collection of materials related to art, architecture, and the significance of the region. Provides an opportunity for visitors to be educated about the exhibits.

2500 sf

500 sf

-Security

500 sf

-Custodial Room

500 sf

-Kitchen

750 sf

-Mechanical

2000 sf

A control center that monitors the premises for security purposes.

A room with a custodial sink and supplies needed for cleaning.

2000 sf

500 sf

1500 sf

A space directly Adjacent to the cafe. Also allows for catering for Large events. Also allows for catering for large events. Close proximity to plaza desired.

Mechanical space for the entire visitor’s center.

Total Admin.:

Stores the private documents essential for the museum.

-Records Storage

A space in the visitor’s center that puts local art or famous art on exhibit for visitors to view. Possibility to have art that relates to the chapels.

1000 sf

3.2 Public Spaces: -Exhibition Gallery

Spaces for trucks to load and unload materials for the exhibits.

2350

-Loading Docks

7425

Total Net Area: 15,275

1000 sf

A room located adjacent to the lobby for visitors to buy souveniers and/or gifts related to art, architecture, or the museum.

-Gift Shop

Total Lobby:

DB AM

Offices for other administrative persons.

-Ticket Booth

3.3 Administrative Spaces: -Storage

500 sf

A space for visitors to relax and eat lunch/dinner. Also potential to be used for large formal event dinners. Should be able to sit around 100 people. Direct adjacency to kitchen required. Close proximity to lobby desired.

-Cafe

5500

Total Public:

Men’s and women’s toilet rooms. Must have eight toilets each at ADA accessible. Located near entrance and Lobby.

the minimum.

Open Air Museum Visitor Center

Program Analysis:

INTERIOR PROGRAM

preliminary occupancy calculation: 250,000 OCCUPANTS PER YEAR / 360 DAYS = +/- 750 VISITORS/DAY / 4 HOURS PER VISIT = 250 OCCUPANTS

LOBBY

RESTAURANT

250 SF 500 SF 200 SF 200 SF 200 SF 1,000 SF

EXHIBITION

25,000 SF

OFFICES

3,200 SF

STORAGE

5,000 SF

CURATOR FABRICATOR MARKETING ACCOUNTING INFO TECH SERVER SECURITY TOUR GUIDE STAFF STORAGE

100 SF 100 SF 50 SF 50 SF 50 SF 200 SF 100 SF 100 SF 100 SF

STUDY

2,900 SF

HELP DESK COFFEE/BAR STUDY AREA STORAGE

200 SF 200 SF 900 SF 100 SF

KITCHEN DINING STORAGE

EDUCATION

25%

AUDITORIUM A AUDITORIUM B RESTROOMS

FABRICATION

WOODSHOP MISC. FABRICATION DISPLAY STAGING MATERIAL STORAGE DISPLAY STORAGE

GARAGE/LOADING

BICYCLE PEDESTRIAN BOAT NO AUTOMOBILES BEYOND MAIN BUILDING

4,000 SF 1,300 SF 2,200 SF 500 SF

3,000 SF 1,500 SF 1,000 SF 500 SF

4% 3%

3,500 SF 1,000 SF 500 SF 1,000 SF 500 SF 500 SF

30,000 SF

30%

MECHANICAL

11,000 SF

CIRCULATION

11,000 SF

22%

PARTITION TOTAL GROSS SF

3,700 SF 100,000 SF

PARKING GARAGE LOADING DOCK

EXTERIOR PROGRAM CIRCULATION

SIUC ARC 550 Summer 2014

2350 SF

VESTIBULE GIFT SHOP STORAGE INFORMATION COAT CLOSET RESTROOMS

AMENITIES

25,000 SF 5,000 SF

DRINKING FOUNTAINS TROLLEY/BUS RESTROOMS ATHLETICS/GYM - (GAMMELL HELLERUP BLDG)

PRODU

DB EB SD KF

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

OFFICE

PL BM RM HN

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

RESTAU RANT

EXHIBITION

LOBBY

EDUC ATION

STUDY

CN SW

ESK EDUCATIONAL PRODUCT PARKING GARAGE/ LOADING

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT 50’

100’

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

25’

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

EXHIBITION

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

CATIONAL PRODUCT

VERTICAL FLOW

PRODUCED BY

SITUATED JUST SOUTH OF INTERSTATE 64 AND WEST OF INTERSTATE 57, THIS HUB FOR THE LARGER MUSEUM CAMPUS WILL BE A VERY ACCESSIBLE LOCATION FOR ALL TRAVELERS. ONLY READILY ACCESSIBLE BY AUTOMOBILE, THIS CAMPUS WILL BE CLOSED TO TRAFFIC, AND THIS PROGRAM WILL BE PREPARED FOR AMPLE PARKING

LOBBY

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT FAB. RESTAU SHOP RANT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

LOUISVILLE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

D BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PARKING GARAGE/ LOADING

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SK EDUCATIONAL PRODUCT

ODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

LOBBY

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

ST. LOUIS PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

MEMPHIS

OFFICE BY AN AUTODESK EDUCA PRODUCED PR

ATION

CHICAGO

PRODUCED BY AN AUTODESK EDUCATION

PROSPECTIVE HORIZONTAL FLOW VISITORS EDUC STUDY

ONAL PRODUCT

OPEN AIR MUSEUM VISITOR CENTER/CLUBHOUSE

PROGRAM ANALYSIS:

1.0 LOBBY ENTRY VESTIBULE

50 SF

ADA ACCESSIBLE SPACES WITH ACCESS TO PRO SHOP, RESTAURANT, AND BANQUET ROOM, ALSO AN OVERHANG TO

INVITING RECEPTION DESK DIRECTING THE OCCUPANTS INTO THE RESTAURANT, WITH A COMFORTABLE WAITING ROOM

LOBBY TOTAL : 2.0 PRO SHOP COUNTER

WELCOMING DESK FOR SALES, DISPLAYS, AND SMALL ITEM

BANQUET 250 SF

DINING ROOM

300 SF 110 SF

INVENTORY/RECEIVING/STORAGE

100 SF

WALLED-OFF SPACE FOR ITEMS NOT ON DISPLAY

100 SF

SERVICE COUNTER FOR OCCUPANTS WHO DO NOT HAVE GOLF CLUBS, PLUS EQUIPMENT STORAGE

3.0 ADMINISTRATION CONFERENCE ROOM

1110 SF 300 SF 150 SF 330 SF

Private offices for employees of the museum and the Pro Shop manager

EDUCATION AREA

500 SF 1000 SF

ADMINISTRATION TOTAL :

300 SF 600 SF

PRODUCTION KITCHEN FOR RESTAURANT SERVICES

REFRIGERATOR/FREEZER

325 SF

WALK-IN REFRIGERATOR AND FREEZER, PLUS REACH-INS

WASH

175 SF

FULL COMMERCIAL DISH WASH STATION

200 SF

PANTRY AND EQUIPMENT WITH AN ADDITIONAL RECEIVING AREA AT REAR ENTRY

6.0 GOLF CART STORAGE CART STORAGE

AN AREA TO REMOVE TRASH AND WASH CART BEFORE STORING

WASH

1600 SF 1400 SF 100 SF

AN AREA TO REMOVE TRASH AND WASH CART BEFORE STORING

STORAGE GOLF CART STORAGE TOTAL : 7.0 SITE PARKING

PARKING FOR UP TO 250 CARS WITH TYPICAL DIMENSIONS OF 9’ BY 18’ OR 162 SF

Museum area about the history of golf, the open air museum and the rules of the game. SIUC ARC 550 SUMMER 2014

3000 SF

200 SF

STORAGE FOR TOOLS AND EQUIPMENT, USED ON CARTS

Space for occupants to learn about the museum

EXHIBITION

FOOD PREPARATION/DRINK

KITCHEN TOTAL :

Private office for manager of the museum

OFFICES

5.0 KITCHEN SERVICE

STORAGE

Large office with a view of the Pro Shop, for meetings about the museum

MANAGER

DINING TOTAL :

COFFEE SHOP/RESTAURANT SERVICE LINE AND CASH STATION

800 SF

PRO SHOP TOTAL :

300 SF

STORAGE FOR CHAIRS AND TABLES UP TO 220 OCCUPANTS

SALES

RENTAL CLUB STORAGE

1600 SF

SEATS 160 AT 10 SF WITH CLOSE-ABLE DOUBLE DOORS TO

FUNCTION STORAGE

STORAGE

A STANDARD PRO SHOP DISPLAY SPACE

1100 SF

SEATS 60 AT 14 SF WITH AN ADDITIONAL FULL SERVICE BAR SEATING 22 AT 12 SF

PROTECT INCOMING GUEST FROM THE ELEMENTS

GENERAL WAITING ROOM/RESTAURANT RECEPTION DESK

4.0 DINING DINING

1110 SF

LOADING/UNLOADING TYPICAL AREA FOR DROPPING OFF GUESTS OR LARGER PARTIES

1700 SF 2500 SF 500 SF

1600 SF

STORAGE FOR MOWING AND TRIMMING EQUIPMENT FOR

STORAGE

9990 SF 2997 SF

BASED OF INDUSTRY STANDARDS AND INCLUDES CIRCULATION

SUBTOTAL OF PROGRAMMED AREA(BUILDING) CIRCULATION & STRUCTURE (30% OF PROGRAMMED AREA)

4600 SF

MAINTAINING THE COURSE

SITE TOTAL :

12987 SF 1300 SF

AM BM RM HN CN MS ST

DOES NOT INCLUDE SITE NSF

14287 SF

TOTAL FLOOR AREA(GROSS)

BASED ON INDUSTRY STANDARDS

SUBTOTAL OF BUILDING AREA(GROSS) MECHANICAL/ELECTRICAL(10% BUILDING AREA)

WITHIN SPACES

Program Analysis:

Open Air Museum Visitor Center

1) Lobby

SIUC ARC 550 Summer 2014

This space will be where the greater amount of the public interaction will take place. A close connection to the Exhibition space, the offices, and the Banquet Hall should be made so that the staff is easily accessible to the general public, and a high level of security can be obtained. Vestibule This space shall be a transition space between the interior and the exterior that allows one to be protected from the elments for a brief period of time.

2) Administration This area will accommodate the general office

75 SF

1000 SF Lobby This will be the main space that the public initially gathers in the building. The space shall be the direct link between the various components of the facility. Providing clear views and circulation paths will be of utmost importance for this space.

requirements that are necessary to operate a func tional museum.

Curator’s office This area shall be where the Museum Curator can perform everyday tasks that are associated with run ning a museum. Curator Assistant’s office This office is where the Curator Assistant can assist the Curator while performing the everyday tasks in association with running a museum.

150 SF

120 SF

100 SF Records/File Storage This space shall be a secure room that accommodates the various files that are accumulated through the museum. Office Supply This space shall hold general office supplies, as well as a copy machine for private use by the staff.

120 SF

250 SF

175 SF Gift Shop In the gift shop various small trinkets, books, candy, etc. will be on display for purchases of guests of the museum.

Conference This area shall be used for general meetings of the staff, or any client or artist that wishes to hold an event or display artwork in the facility. Break Room This shall be a private room for the staff to take breaks, eat lunch, or relax.

150 SF

Restrooms Men’s (3) stalls Women’s (3) stalls

Restroom This space shall be a private space for the staff only. It shall be a single-occupant toilet room.

300 SF Reception Desk This area shall serve as an office space for the secre tary, and house all of the office supplies that that are needed to run the everyday occurring’s. This area will also house the information center about the local area and the museum spaces.

Total Net Square Footage

200 SF 200 SF 1950 SF

Total Net Square Footage – 965sqft

75 SF

965 SF

200 SF Library Within this space a variety of informational books, articles, and journals on rammed earth buildings and also a variety of information on the Southern Illinois region.

DB EB SD KF PL AM BM RM HN

6900 SF

Total Net Square Footage

200 SF

1500 SF Education Center This space shall display various learning techniques to enlighten users on rammed earth buildings. This will include the functions, historical information, how to design and build, and a condensed descrip tion of the building pieces found throughout the site. This instructional experience will be guided through the use of various techniques varying from hands on learning, to visual approaches, to literative delivery systems.

Loading Dock This area will be used for the shipping and receiving of artworks. It should be directly connected to the fabrication shop as well as the museum storage.

3000 SF Galleries These spaces shall hold art works varying from paint ing to sculptures, from artists that are located in Southern Illinois. A separate gallery that houses works specifically about Rammed Earth buildings shall be connected to the main gallery as well as to the Education Center It shall provide seating for users to stop and observe art, take a break, and relax. The area shall be easily navigable, with a uniform flow.

1000 SF Storage This space shall be designated as a temporary holding space for artwork that is not on display. It will also serve as a staging area for artworks about to be displayed.

This space shall be designated to the local art from around the area. It will showcase various artists and their work. It will also hold an Education Center to educate users on the various uses and elements of Rammed Earth Buildings. To accom modate this area and the museum a small library will house information on the local Southern Illinois area. This Exhibition Space shall be in close proximity to the lobby to allow for effortless transition into and out of the lobby space.

1000 SF Fabrication Shop This area is to be the area that the casework and displays that hold the artwork are to be designed and fabricated. This space shall contain saws, drills, sanders, paint booth, and an assembly area.

3) Exhibition

Program Analysis:

Open Air Museum Visitor Center

4) Banquet Hall

SIUC ARC 550 Summer 2014

This area shall be designated for the use of private gather ings, such as weddings, conferences, workshops, etc. It will house an area for catered food be pre pared and served.

5) Building Services This space will house all of the general custodial sup 2500 SF

Banquet Hall This space is designated for gatherings up to 250 per sons. It shall have direct access to the lobby area to provide clear circulation between the two spaces. Restrooms Menâ&#x20AC;&#x2122;s (5) stalls Womenâ&#x20AC;&#x2122;s (5) stalls Kitchen This space shall act as a preparation room for food that is being catered in to the gatherings that are held within the banquet hall. It will have a separate space designated to hold food that is not currently being served, and then a serving space to supply the food to the gathering. It will hold several refriger ators, ovens, and cooktops, as well as ample counter space.

250 SF 250 SF 1000 SF

plies and mechanical equipment required to maintain

a facility of this type.

Janitors Closet This space shall include space and shelving to accom modate various cleaning supplies required to sustain a clean facility. It shall have easy access to the main spaces of the facility. Maintenance Garage This facility shall accommodate the required equip ment to maintain the exterior elements of the site. This may include but is not limited to mowers, tractors, snow plows, dump trucks, four-wheelers, and any other piece of equipment used for exterior maintenance. Garbage Disposal This space shall encompass the dumpster(s). It shall be out of the way and sight of the general public, as to not attract unwanted attention.

500 SF

Storage This space will be used to store extra tables and chairs, and other various extra multimedia items.

4500 SF

100 SF

1500 SF

100 SF

1700 SF

Mechanical Room In this area is located all the mechanical equipment, such as a boiler, heating and air units, and various other mechanical equipment needed to maintain a comfortable indoor environment.

3200 Sf

DB EB MY

Parking 225 typical 9â&#x20AC;&#x2122;x18â&#x20AC;&#x2122; parking spaces 25 oversized parking spaces to accommodate semis, rvs, or campers

This area will accommodate any vehicular traffic that the users of the facility operate. This can include but is not limited to cars, trucks, suvs, rvs, semis, and campers.

6) Parking Lot

Total Building Net Square Footage - 17,515 SF

Open Air Museum Visitor Center

Program Analysis: SIUC ARC 550 Summer 2014

1.0 Lobby Entry Vestibule ADA accessible entrance space. Men’s Toilet Toilet rooms will be ADA accessible. Women’s Toilet Toilet rooms will be ADA Accessible. Janitor’s Closet

50 sf 300 sf 300 sf 75 sf

This space will be located between the men’s and women’s toilet rooms for easy access.

Information Desk

Located in the center of the lobby, the information desk will house a space for a receptionist with direct access to the administration offices and a records storage space.

Records Storage Gift Shop Gift Shop Storage Lobby Total :

100 sf

150 sf 600 sf 250 SF 1795 SF 1500 SF

This space will be used for events such as lectures, large meetings, luncheons/dinners, and workshops. There will be a storage room for tables and chairs, and the space will be directly connected to the kitchen space. The kitchen should be directly accessible by the seminar space and include sufficient counter space for food preparation, along with a small kitchenette.

Workshop

The workshop wll be for building workshops held by the center. The space will require building tables, tools, and access to an outdoor workshop area.

Storage Total Events:

and the structural styles of treehouses around the world.

1500 SF

Temporary Exhibit Space This exhibit space will be a place for local woodworks, photographs, and artworks to be put on display. Exhibit Storage Total Exhibition:

500 SF 500 SF 4000 SF

4.0 Administration Director’s Office 200 SF 150 SF Curator’s Office Should have easy access to exhibit spaces. Open Offices 500 SF This space will be an open area for 8-10 cubicle spaces. Staff Toilets 100 SF A private men’s and women’s toilet will be designated for the staff. Toilets must meet ADA standards.

2.0 Events Seminar Space

Kitchen

3.0 Exhibition Permanent Exhibit Space This space will be for the displays of pieces of the history

300 SF

Confrence Room Break Room Total Administration: 5.0 Support Fabrication shop

400 SF 150 SF 1500 SF

The shop will be where any displays for the exhibits will be fabricated. It will house machinery, tools, and store materials.

1000 SF

Receiving 1000 SF This space requires a covered loading dock for receiving exhibits,

500 SF 3300 SF

1500 SF

food, and any other materials.

Should be easily accessed by the

Security Circulation Mechanical (10%)

150 SF 3500 SF 1500 SF

Total Support:

7650 SF

Total Net Square Footage

18245 SF

exhibit spaces.

DB EB SD Fabrication Shop Security

16600 SF

Total Site:

Custodial

This space will also act as an extension to the events spaces. Toilets (6) 600 SF the site, allowing glimpes of each.

Storage

Staff Tlts

Workshop

Break Room

Conference Room Director Permanent Exhibits

Open Ofces

Kitchen

Curator

Seminar

Women’s Toilet Janitor

Exhibit Storage

Temporary Exhibit

Gift Shop Storage

Observation Deck

exterior. It’s views shall align with the exhibits placed throughout

Receiving

Men’s Toilet

LEGEND Gift Shop

Storage Info Desk

Vest.

Direct

Administration

Adjacent

Events

Lobby

Support

Exhibition

Mechanical

6.0 Site Parking 15000 SF Parking spaces to accomodate 100 cars, with 5 handicap accessible spaces. 1000 SF Observation This space will be accessed from both the building and from the

Program Analysis:

Open Air Museum Visitor Center

Introduction

and

Overview

materials. It will be an ongoing process of containing,

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 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

3000 sf

Curator’s Suite

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. It is a place to speak to someone in private. This conference room area should be accommodated with a rectangle table that is able to seat at least 8 people. There and to convey ideas across the room.

The room should have

windows with blinds and or frost windows to allow light

The room should be fully

1100 SF 1000 sf

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

walls to allow to accommodate the artifacts that are on display.

1000 sf

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

The lobby will have graphically visible signage to guide the general public to destination of intent.

Information Kiosk

an automated projector will be placed.

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

The museum collection is a dedicated space used for storing museum objects, natural history specimens and archival

200 sf

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.

3.0 Public Access Area Lobby

exhibit galleries is a large open concept space with partition

Museum Collections

5500 SF

2.0 Administration Director’s Suite

Administration Services Total:

according degree to focus the audience to a platform where

SIUC ARC 550 Summer 2014

collections.

Museum Services Total:

enclosed.

To include there will be state of the art technology The

The orientation theater will accommodate with space to seat up to 100 people at one time. The seating will slanted at an

natural disasters protection to insure the preservation of the

and at the same time have privacy.

equipment used to accommodate to the future exhibits.

Orientation Theater

The

museum collection will be using state of the art water, fire, and

should be some sort of presentation board to allow a projector

will be artifacts that will allow the general public to interact with.

organizing and caring for the collection while storage.

1500 sf

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

Administration Services Total:

150 sf

1150 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

2500 SF

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

Caretaker’s Workspace/ Storage

5.0 Public Access Area Ancillary and Circulation

4545 sf

All circulation will comply with ADA Restroom

The Men’s and Women’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

Cafeteria

500 sf

and tools.

The storage will be located within the workspace To include the mechanic

improperly working.

Operations

200

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 for storage of utensils and other food preparation accessory. It will have an abundance

300 sf

and

Maintenance Services Total:

7.0 Site Parking

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

of area of counter space to provided easy preparation of food

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

and the counter space will be remotely close to door for easy

venues and gather area

transporting of the food.

Also to include the kitchen will be

close to the outer border of the site for easy trash disposal and for the catering to having easy access to site without being seen

Storage

The storage will be located near the restroom and kitchen for easy access. The storage will be rectangle with shelves on both sides to allow organization and the easy of find an item

300 sf

the garden equipment and shelves for any garden accessory

for the caretaker to tool if for any reason the mechanics is

people.

Small Kitchen and Prep Area

500 sf

area will also next door the workspace to allow an easy access

1500 sf

Two built out vendors will be provided. A general public

The caretaker’s workspace will be located on near the load dock to allow easy of unloading and loading garden equipment. The Workspace will be an open layout allowing room of all to allow easy access for any supply.

easy access

cafeteria will provide chairs and tables to accommodate

loading dock.

Research Services

be designated area for receiving and sending storage near the

Total:

with technology.

several outlets will be placed throughout the room to aid people

300 sf

2300 SF

The classroom will be a flexible area to allow as much modification need according to the lesson plans. Easily moveable chairs and tables will be provide. A projector, whiteboard and

Loading Dock

museum.

for the general public that are enroll in classes with the

1000 sf

The class room and workshop will provide educational space

1500 sf

Educational Class Room/ Workshop

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.

6.0 Operations and Maintenance Services Museum Production Shop

7145 SF

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.

1500 sf

relevantly easy.

Public Access Area Total:

4.0 Research Services Library

Open Air Museum Visitor Center

Program Analysis: SIUC ARC 550 Summer 2014

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

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

Building Net Square Feet Mechanical Space (10%)

19695 sf 1970 SF

Gross Square Feet (building)

21665 SF

DB Library

Museum Production Shop

Curator’s Suite

Loading Dock

Director’s Suite

Storage

Conference / Meeting Room

Museum Collection

OFFICE

PRODUCTION

Caretaker’s Workshop

Orientation Theater

Classroom / Workshop Library

MUSEUM

GENERAL PUBLIC

MS ST

Exhibit Galleries

Caferteria

Restroom

Classroom / Workshop

Lobby

1.0 Visitor Center

4.0 Exhibition

PROGRAM ANALYSIS:

Open Air Museum Visitor Center

This area will serve as the welcome center where guests can get information about the rest of the park.

SIUC ARC 550 Summer 2014

Lobby Reception Area Ticket Booth Security Gift Shop Restrooms Lost and Found Offices Drop-off Cafe/Restaurant/Kitchen

500 sq ft 100 sq ft 100 sq ft 100 sq ft 400 sq ft 400 sq ft 200 sq ft 500 sq ft 200 sq ft 1000 sq ft 3,500 sq ft

2.0 Recreational

Dedicated areas set aside for recreational uses where guests can sit, relax, and enjoy a nice cup of tea.

Plazas* Playgrounds Custodial Arts and Crafts Observation Tower Theater (outdoor/indoor) Food Court Medical Aid Restroom

200 sq ft 200 sq ft 500 sq ft 500 sq ft 1000 sq ft 1000 sq ft 500 sq ft 400 sq ft 4,000 sq ft

3.0 Educational Includes all the necessities of a standard classroom and record keeping.

Classrooms Lecture (auditorium) Records Library Offices Conference Restroom

Display area for all art pieces. This includes storage spaces as well as workshops.

Ticket Booth 200 sq ft Gallery Floor 15,000 sq ft Storage 5,000 sq ft Workshops 2,000 sq ft Docks 1000 sq ft Security 300 sq ft Restroom 400 sq ft Outdoor Gallery* 25,000 sq ft

1000 sq ft 4000 sq ft 500 sq ft 1000 sq ft 1000 sq ft 400 sq ft 400 sq ft 8,000 sq ft

5.0 Maintenance

Spaces for mechanical applications as well as janitor closets and areas for landscaping up-keep.

Utility Custodian Landscape

5000 sq ft 1000 sq ft 1000 sq ft 7,000 sq ft

6.0 Conservation

As part of a protected park, there need to be an area for research and conservation

awareness.

Research center Laboratories

2000 sq ft 2000 sq ft 4,000 sq ft

7.0 Transportation Parking Tour buses/ guides Bike Rentals Security guards Natural Trails Directories Circulation Partition

10,000 sq ft 5,000 sq ft

Total Gross Sq Ft: 65,000

sq ft

Custodial

Offices

RR Gift

Service

Playground

Lobby Cafe

Ticket

Food Court

Plaza

Theater

Reception

Private

Medical

Lost + Found

Public

Arts + Crafts

Recreation

Visitor Center

Observation Tower

Education Records

Docks

Storage

Workshop

Lecture

Ticket

Security

Gallery

Maintenance

Janitor

Ticket

Research

Lab

Utility

Landscape

Exhibition

Library

Classroom

1.0 Lobby Entry Lobby 100SF This lobby would be the point of departure for the visitors to get into the

amenities of open air museum.

ADA accessible entrance space.

Open Air Museum Visitor Center

Reception/Waiting

400SF

A reception area for acquiring informations on the museum along with seat-

Men’s Toilet Toilet rooms will be ADA accessible. Women’s Toilet Toilet rooms will be ADA Accessible. Janitor’s Closet ings.

150 SF

50 SF

PROGRAM ANALYSIS:

Custodial Space

SIUC ARC 550 Summer 2014

60 SF

This includes mechanical, electrical, and plumbing equipment for maintaining

theoverall services of the building.

Lobby Total :

910 SF

2.0 Administration The administration Offices of the Open Air Museum consist of

5 workstations and manager’s office. It will look after all the administrative work and other management. approximately

Director’s Office

200 SF

A separate office space for director

Staff Office 250 SF Work station for staffs Staff Meeting Room 150 SF Staff meeting room shall be provided for timely interaction and museum

related functions and programs.

Staff Toilets 100 SF A private men’s and women’s toilet will be designated for the staff.

It will provide an opportunity to study a large number of related art works and information on the similar buildings.

Toilets must meet ADA standards.

Pantry 80 SF A small kitchenette shall be provided for the staffs General Storage 100 SF General storage for filing and other official use Maintenance 100 SF

980 SF

3.0 Exhibition 1500 SF This area will be used for exhibition of the model of the displayed buildings.

150 SF

Located nearby to facilitate easy and quick cleaning

Total Administration:

Temporary Exhibit Space This exhibit space will be a place for local woodworks, photographs, art and crafts. Souvenir shop

500 SF 150 SF

“Gallery Shop”, which offers a number of gifts or souvenir (ceramics, art, handmade craft etc.) from the country that the buildings belong to.

Multipurpose Hall

1000 SF

The Multi-purpose hall on the museum will be a shared space for program ming, special events and conferences. It can accommodate up to 100 peo ple. It can also be used as a temporary exhibition space.

Library

500 SF

A small library and documentation archive with in the museum will include collection of books, journals, and articles with an internet access for research.

Total Exhibition:

3650 SF

4.0 Cafeteria A cafeteria will be run on museum area, serving snacks and drinks as well as an space for social gatherings Dining 500 SF An indoor and outdoor lunch is provided Kitchen 200 SF Adequate space for preparation, cooking and dish wash Storage 100 SF Adequate space for storing food, vegetables, waiter’s equipment Staff Room 50 SF For the use of restaurant staffs Rest Room 150 SF For the use of restaurant staff sas well as visitors. Toilets must meet ADA standards. 150 SF Total Cafeteria: 1150 SF

DB EB SD KF PL AM BM RM HN CN MS ST

The facility shall provide toilets and wash basins including bath.The floor should be nonslip, water resistant and easy to clean clean Women’s toilet/Bath 180 SF The availability of public ADA accessible restrooms is required Men’s toilet/Bath 180 SF The availability of public ADA accessible restrooms is required Total Toilet/Bath: 360 SF Security 150 SF Circulation 1500 SF Mechanical (10%) 800 SF Total Support: 2450 SF Total Net Square Footage: 9500 SF

toilet/Bath

5.0

PROGRAM ANALYSIS:

Open Air Museum Visitor Center

THIS OPEN AIR MUSEUM IS A DISTINCT TYPE OF MUSEUM THAT WILL EXHIBIT THE COLLECTION OF DIFFERENT SPIRITUAL BUILDINGS FROM DIFFERENT COUNTRIES. IT WILL GIVE VISITORS A SENSE OF USE AND IMPORTANCE OF NATURAL LIGHT IN SPIRITUAL BUILDINGS.

SIUC ARC 550 Summer 2014

PARKING

LOBBY 910 SF

ADMINISTRATIONT 980 SF

DB SD

CAFETERIA 1150 SF

TOILET/BATH 360 SF

EXHIBITION 3650 SF

Lobby Vestibule

PROGRAM ANALYSIS:

Open Air Museum Visitor Center

Lobby 400sf The lobby is a gathering area for groups of people to meet, can connect

you to multiple areas in the museum, such as the bathrooms, exhibition

Public Bathroom

200sf (x2)

Bathrooms for men and women are both ADA accessible to the public from the lobby.

Gift Shop

space, information area, café, and the gift shop.

250sf

The gift shop is a place to buy art, and more as a souvenir from your time at the museum.

Reception/ Information Desk 50sf At the reception desk you will be able to find out information about

the open-air museum, the attractions in the area.

Total Lobby

1,150sf

Exhibition 4000sf The exhibition space is open to the public to walk through and experi ence the art and learn. Security 100sf The security office is a private area to keep and eye on what is happening all over the museum and keep the museum safe. Education Area 300sf The education area is semi-private because it is can be closed off to talk to classrooms of children or opened to the public to learn more. Conference/ Meeting Area 250sf The Conference / meeting area, is made to hold meetings with clients, or artists, but is also used to have meetings with the staff at the mu seum,It can also be used for educa tional purposes if necessary. Library 250sf The library is a quiet space that can be used to learn more about the art, but can also be used as a study or reading area for the community.

Total Exhibition

Total Private Area Support

Exhibition

Administration

SIUC ARC 550 Summer 2014

50sf

This vestibule acts as a preview to the wonders of art works that you will see in this magnificent place.

Curator’s Office 125sf This is a private office for the curator to conduct daily operations for the museum, it is connected to the main office area and is easily acces sible to the other staff. Administrative Office 100sf (x2) This is a private office for the administration of the museum, it is con nected to the main office area and is easily accessible to the other staff. Office Storage 200sf The office store is a small area, that has important documents and record of the museum, and can only be accessed by certain staff members. Kitchen 200sf The kitchen area is very open and connected to the break area and is only available to the staff of the museum. Break Area 200sf The break area is an open area with seating and a table for employees to sit and enjoy there break. Private Bathroom’s 75sf (x2) The private bathrooms are in use for all staff and are accessible through the break area.

4,900sf

Offices 300sf The offices are a private area of the museum, they have small work ing areas for the employees of the museum. It also is a space for staff to leave their belongings safe and locked up.

and

1,375sf

Storage

Storage 700sf This storage area is where art is located once it have been brought in from the loading dock, from there it can be moved into the exhibition space, the fabrication area, or into a staging area. Fabrication Area 1,000sf The fabrication area opens to the loading dock, and also opens to the staging area, and storage area. These three connections connect to the art so that they can easily prepare the art to go to the gallery, but can also keep it safe and separate from the work area. Staging Area/ Storage 1,000sf The staging/ storage area is connected with the fabrication area, the exhibition area and the second storage area. It can easily transition to a different area, and also be easily closed off to the working condi tions in the fabrication area. Here they prepare the area for art for display. Maintenance Area 75sf Maintenance area is storage of janitorial supplies and other daily clean ing and restocking supplies. Mechanical 1,250sf

This area holds all the mechanical systems needed to fun the facility.

Total Private Area Total Building NSF

4,025sf

11,450sf

DB EB SD KF PL AM BM RM

26,900sf

Outdoor NSF

and

Total Indoor

15,450sf

Total Outdoor

Parking 8,000sf Small, medium and large vehicles will be able to park in this lot. Around 40 parking spaces will be available. Bus Parking 5,000sf Rvâ&#x20AC;&#x2122;s, Buses and bigger vehicles will be able to park in a Bus parking lot located near the main parking lot. Gathering 300sf This small area is located directly outside the entrance of the museum for groups to gather before entering the building. Pick-up/ Drop off Area 1,000sf This area is meant for dropping off or picking up people or groups such as school groups, elderly, handicap and others. Loading Dock 850sf The loading dock is available for vehicles of all sizes to load the artwork into the building. Mechanical Garage 300sf This space is to hold any equitment that is needed to keep landscape and outdoor areas clean and tidy.

Outdoor

Open Air Museum Visitor Center

1.0 Lobby Vestibule + General Assembly

50 + 700 SF

ADA accessible entrance space. Seating and gathering space, provides a starting point and orientation within building (everything leads back to this location)

Men’s Toilet Toilet rooms will be ADA accessible. Women’s Toilet Toilet rooms will be ADA Accessible. Reception Desk - Museum Provided for general questions and information Ticket Booth and Special Event Reception

150 SF 150 SF 120 SF 100 SF

When a special exhibit is on display in the additional wing tickets are sold here, when the locationis not hosting an exhibit it may be rented for special

PROGRAM ANALYSIS:

events in which this desk can be used for reception

Records Storage Gift Shop Gift Shop Storage Lobby Total :

150 SF 600 SF 250 SF 1795 SF

3.0 Exhibition Permanent Exhibit Space This space will be for the displays of pieces of the history

Temporary Exhibit Space This exhibit space will be a place for local woodworks, photographs, and artworks to be put on display. Exhibit Storage Total Exhibition:

2.0 Events Seminar Space

Kitchen

The kitchen should be directly accessible by the seminar space and include sufficient counter space for food preparation, along with a small kitchenette.

Workshop

The workshop wll be for building workshops held by the center. The space will require building tables, tools, and access to an outdoor workshop area.

Storage Total Events:

1500 SF

300 SF

1000 SF

500 SF 3300 SF

and the structural styles of treehouses around the world.

4.0 Administration Director’s Office Curator’s Office Should have easy access to exhibit spaces. Open Offices This space will be an open area for 8-10 cubicle spaces. Staff Toilets A private men’s and women’s toilet will be designated for the staff.

The shop will be where any displays for the exhibits will be fabricated. It will house machinery, tools, and store materials.

Receiving This space requires a covered loading dock for receiving exhibits,

food, and any other materials.

500 SF 4000 SF 200 SF 150 SF 500 SF 100 SF 400 SF 150 SF 1500 SF 1500 SF 1000 SF

Should be easily accessed by the

Security Circulation Mechanical (10%) exhibit spaces.

Total Support: Total Net Square Footage:

SIUC ARC 550 Summer 2014

500 SF

Toilets must meet ADA standards.

Confrence Room Break Room Total Administration: 5.0 Support Fabrication shop

1500 SF

150 SF 3500 SF 1500 SF 7650 SF

1.0 Lobby Vestibule + General Assembly 50 + 700 SF ADA accessible entrance space. Seating and gathering space,

storing items not currently on display or other large items

Fabrication Shop

provides a starting point and orientation within building

Open Air Museum Visitor Center

(everything leads back to this location)

Men’s Restroom

150 SF

Women’s Restroom

150 SF

Reception Desk - Museum

120 SF

Ticket Counter and Special Event Reception

120 SF

ADA accessible requirement ADA accessible requirement

Provided for general questions and information

When a special exhibit is on display in the additional wing tickets are sold at this desk. Also used for reception of special events

Gift Shop

PROGRAM ANALYSIS:

2.0 Administration Curator’s Office

SIUC ARC 550 Summer 2014

Lockable and Secure

500 SF 300 SF 200 SF

Break Room + Kitchenette

350 SF

Event Coordinatior’s Office

250 SF

Office

250 SF

Doubles as Employee Conference room Lockable and secure Lockable and secure

3.0 Education Classroom

For about 20 students for small lectures and learning exercises

420 SF

Auditorium

650 SF

Library

300 SF

Lab Classroom

475 SF

Theater and lecture hall, also for starting tours Collection of books pertaining to exhibits, past and present. for about

20 students with durable lab tables

4.0 Security office

May need retention ability, also lockable and secure

Vehicle

Space for a vehicle for getting around the site; for responding and patrolling, could be a 4x4, Gator, or golf cart

For the production of casework, specialty parts, and other needs of the museum. Needs to be acoustically sensitive to the exterior and well ventilated. May contain flammable materials and chemicals so fire protection is important. Needs to accommodate

800 SF

large machinery and power tools so electricity needs to respond accordingly.

Maintenance/Garage

Needs to house mowers and tools. Could work with the

800 SF

fabrication shop as the repair sector to serve a dual purpose

Record Storage

lockable and secure, private and away from public

5.0 Service Building Storage

250 SF

Shippine/Receiving Dock

6.0 Outdoor Spaces Entry Plaza

Welcoming outdoor entry space, ancillary space

Parking

300 SF 50 Spots

Bike + Walking trails Bus Pick-Up + Parking Site Transport

Lockable and secure

Outdoor Classroom

400 SF

7.0 Exhibition Space Gallery

1000 SF

Perhaps an outdoor auditorium around a sundial sculpture. Used when weather permits the education of sun angle, solar design, and perception of space. Approx. 30 people

Needs to be light and acoustically sensitive

8.0 Service Space Mechanical Circulation Custodial Storage Shipping/Receiving Dock

1000 SF

This space is for any secondary or special event exhibits. This

9.0 Secondary Hall Hall

space needs to be flexible and capable of hosting various types of

Can also be a rental space when not hosting any exhibits. ADA, light and acoustically sensitive, lockable and secure, Variable

exhibits.

11.0 Cafe Dining Room

750 SF

Capable of seating 50 but also variable setup

Kitchen

750 SF

20 people at one time. Based on the concept behind many of James Turrell’s designs this lookout provides an alternate perception of the site and the building collection. High up, the spectator is given a “bird’s eye view” of their surroundings to better understand what they otherwise may not have perceived. May need retention ability, also lockable and secure

300 SF

for about

13.0 Building Collection Stonehenge Woodhenge

+ Circulation, Mech,

etc

(40%):

12999 SF

9285 SF

Total Program:

Jantar Mantar - Jai Prakash Yantra

Robert Morris “Ovservatory”

Celestial Vault

office

12.0 Look-Out Patio + Pavilion

Storage

1.0 LOBBY ENTRY VESTIBULE

100 SF

OPEN AIR MUSEUM VISITOR CENTER

ADA ACCESSIBLE ENTRANCE SPACE.

GENERAL WAITING ROOM/ LOBBY GIFT SHOP MEN’S TOILET

900 SF 300 SF 500 SF 500 SF

TOILET ROOMS WILL BE ADA ACCESSIBLE.

JANITOR’S CLOSET

THIS SPACE WILL BE LOCATED BETWEEN THE MEN’S AND WOMEN’S TOILET ROOMS FOR EASY ACCESS.

INFORMATION DESK

100 SF

AND THE STRUCTURAL STYLES OF TREEHOUSES AROUND THE WORLD.

EXHIBIT STORAGE TOTAL EXHIBITION:

200 SF 800 SF

100 SF

2.0 CAFE KITCHEN FOOD SERVICE COUNTER

200 SF 150 SF 2850 SF 300 SF 100 SF

THIS SPACE SHOULD BE UNDER VIDEO SURVEILLANCE.

EATING/ WAITING AREA

THIS SPACE SHOULD CONTAIN A VARIETY OF SEATING ARRANGEMENTS

400 SF

WITH TABLES

DRY FOOD STORAGE REFRIDGEREDATED FOOD STORAGE FREEZER FOOD STORAGE TOTAL EVENTS:

200 SF 200 SF

OPEN OFFICES

400 SF

THIS SPACE WILL BE AN OPEN AREA FOR 8-10 CUBICLE SPACES.

STAFF TOILETS

ADMINISTRATION OFFICES AND A RECORDS STORAGE SPACE.

STORAGE SECURITY ROOM LOBBY TOTAL:

4.0 ADMINISTRATION DIRECTOR’S OFFICE CURATOR’S OFFICE SHOULD HAVE EASY ACCESS TO EXHIBIT SPACES.

HOUSE A SPACE FOR A RECEPTIONIST WITH DIRECT ACCESS TO THE

100 SF 100 SF 100 SF 1100 SF

100 SF

A PRIVATE MEN’S AND WOMEN’S TOILET WILL BE DESIGNATED FOR THE STAFF. TOILETS MUST MEET ADA STANDARDS.

CONFRENCE ROOM BREAK ROOM FILE STORAGE STORAGE TOTAL ADMINISTRATION:

300 SF 150 SF 80 SF 100 SF 1530 SF

5.0 SUPPORT RECEIVING

800 SF

THIS SPACE REQUIRES A COVERED LOADING DOCK FOR RECEIVING EXHIBITS, FOOD, AND ANY OTHER MATERIALS. SHOULD BE EASILY ACCESSED BY THE EXHIBIT SPACES.

STORAGE MECHANICAL SPACE (10%) TOTAL SUPPORT:

300 SF 800 SF 1900 SF

6.0 SITE PLAZA MULTI-PURPOSE PAVILION MAINTANCE SHED PARKING LOT TOTAL NET SQUARE FOOTAGE:

SIUC ARC 550 SUMMER 2014

600 SF

TOILET ROOMS WILL BE ADA ACCESSIBLE.

WOMEN’S TOILET

LOCATED IN THE CENTER OF THE LOBBY, THE INFORMATION DESK WILL

PROGRAM ANALYSIS:

3.0 EXHIBITION PERMANENT NATURAL DISASTER RESISTANT EXHIBIT SPACE THIS SPACE WILL BE FOR THE DISPLAYS OF PIECES OF THE HISTORY

8180 SF

DB EB Gift Shop

Freezer Food Storage

Kitchen

Eating/ Waiting Area

Info Desk

Refrigerated Dry Food Food Storage Storage

Janitors Closet

Food Service Counter

Men’s Toilet Room

General Waiting Room/ Lobby

Entry Vestibule

Storage

Women’s Toilet Room

Janitors Closet

Security Room

Natural Disaster Resistant Exhibit Space

Storage

Mechanical

Curator’s Oﬃce

File Storage Open Oﬃces

Conference Room

Receiving Storage

Director’s Oﬃce

Break Room

Staﬀ Toilets

Storage

1.0 Public Support Spaces Vestibule

75 SF

Open Air Museum Visitor Center

This space should act as a transition from the exterior into the Building.

300 SF

This area should have adequate seating for the guests waiting. The space will be used as a general meeting area for the public.

Reception

200 SF

There will be a reception desk located in the area for the public to get information about the site and its buildings. The location should be directly related to the assembly area/ lobby

(2) 150 SF

Menâ&#x20AC;&#x2122;s and Womenâ&#x20AC;&#x2122;s toilet rooms will be available to the public. Toilet Rooms must be ADA accessible.

PROGRAM ANALYSIS:

Cafe

SIUC ARC 550 Summer 2014

This space should include a small kitchen with tables and chairs.

Assembly Area

Toilet Rooms

This public space will be used as a common area. A small eatery space with a large sitting area. A full kitchen will be attached to the cafe.

Total Public Support Spaces:

1000 SF

1875 SF

2.0 Administration Spaces Curators Office

This area provides the Curator with their own personal office. The office should provide space for everyday tasks in overseeing the museum design. The private office should have a desk with file cabinets for storage. A place to speak with someone in private.

General Office

The space will be used for the supervisor of the Visitors Center. This private office is where daily management tasks may be performed.

Secretary/ Workspace

This area is for a secretary to keep track of records and daily paper work. Desk space should be provided. Storage space for office materials should be included.

Private Conference/ Meeting Room 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 frost windows to allow light and at the same time have privacy.

Kitchen/ Break Room 250 SF A private space where the staff get sit down, eat lunch, and relax.

The room should be fully enclosed.

150 SF

Staff Toilets (2) 75 SF A male and female toilet room for staff use only. Toilet rooms must be ADA accessible. Total Administration Spaces: 1030 SF 3.0 Exhibition Spaces Gallery Space (2) 2500 SF The Galley Space is a placed to provide a showcase of remembrance

The galley is room with glass windows to allowed Also the windows can be acted as locked showcase when the cemetery is closed. Also the there as natural light as possible.

should be big opening door to have a sense of being outdoor and still being part of nature.

There will a shelves showcase in order

to hold artifacts. Inside there will be track lights to light the gallery works and showcase them when locked.

Fabrication Shop This area will be closed off from the public. A space where

1000 SF

employees of the gallery area will construct and prepare exhibits for the local museum.

Space for workbenches and machinery must

Storage A secure area for cleaning products and office materials Collection Processing An area where pieces of an exhibit are received, shipped, and

100 SF

80 SF

300 SF

to the decease.

be provided.

documented.

250 SF 400 SF

The space should include tables for packaging.

Collection Storage 1000 SF This private space will be adjacent to the collection processing and the gallery spaces.

The area will be used to store previously

displayed objects or exhibits that will be set up for the future.

Loading Dock Total Exhibition Spaces: 4.0 Education Spaces Classroom/ Banquet Hall

200 SF 7850 SF (2) 400 SF

This space will be used for more than one purpose. (2) Classrooms will be the main focus for these areas but the ability to be converted into a banquet hall for private gatherings should be necessary.

Toilet Rooms

(2) 150 SF

Men’s and Women’s toilet rooms will be available to the public. Toilet rooms must be ADA accessible.

Storage

250 SF

A secure area for classroom materials and storage

Located on the site will be a garage for site maintenance. The garage will be secured from the public and include heavy machinery and equipment.

Plaza

Adjacent to the entrance of the building will be a small covered plaza to serve as a focal pint for a meeting spot. Gathering space will be provided and located near the public transportation bus spot.

Garbage Disposal Secure area for garbage waste to be picked up. Total Net Square Footage 12305 SF Total Circulation Square Footage 1475 SF ------------------------------------------------------------------------------Total Overall Square Footage 13780 SF

BM RM

Maintenance Garage

10% of the

parking will have handicap accessible.

and areas for public drop-off and pick-up for buses.

5.0 Site Parking The parking lot will be containing spaces for private transportation

1550 SF

Total Education Spaces:

(2) 150 SF

Men’s and Women’s toilet rooms will be available to the public. Toilet Rooms must be ADA accessible.

Toilet Rooms

DB EB

200 SF

This area is a place to store archives from local Southern Illinois artists. The library will be used to serve the community information about local artists and art pieces. The library will be accommodating with bookshelves, file cabinets, and a desk for a worker.

Library