ARCH 313 - Architectural Design Core Studio V - Fall 2021 by Cummings School of Architecture

ARCH 313 ARCHITECTURAL DESIGN CORE STUDIO V FALL 2021

Brooke Dutton - ARCH 313.04 - Marthe Rowen Lorennah Granfors - ARCH 313.02 - Julia Bernert Mason Lantz - ARCH 313.02 - Julia Bernert Jenna Salisbury - ARCH 313.03 - Vincenzo Giambertone Matthew Carlson - ARCH 313.05 - B.G Shanklin

BROOKE DUTTON SEMESTER PORTFOLIO || FALL 2021 ARCH 313.04 CORE DESIGN STUDIO MARTHE ROWEN ROGER WILLIAMS UNIVERSITY SCHOOL OF ARCHITECTURE, ART, AND HISTORIC PRESERVATION

1 PERSONAL D E S I G N S TAT E M E N T The focus for this semester was to understand how to design a space for performacnes and the arts. There was a large emphasis placed on designing for the audience, creating a logical program, and crafting a space of wonder. Since the main client of this project was children, the forms and spaces created had to be visually captivating and aweinspiring. Children needed to be able to feel like they could express their creativity safely. BROOKE DUTTON ARCH 313.04 FALL 2021 ROWEN SEMESTER PORTFOLIO

2 SHOW PIECE

PRECEDENTS

This semester was very beneficial in helping me further develop my graphic skills. I felt that I understood how to address and amuse children with my design using color, texture, and shapes. The precedent studies informed my final design through their materiality and the nature of the theater as an object floating within the building. My plaza and courtyard design also successfully addressed my narrative as spaces for connection with nature and the community.

SITE ANALYSIS

This project was definitely the most challenging project I have been assigned, but I think it was a great way to end our Core Design Studios as it was really a culmination of all of the skills we have acquired over the previous four studios. I look forward to starting my advanced studios and taking all of the design lessons I have learned into more advanced projects.

PERFORMANCE CENTER

2 This project was an introduction to understanding the nature of performance spaces and how to address an audience. The performance chosen for this project was focused around the human body; during the day performers pose into complex body sculptures, and at night a screen is brought down to create a shadow dancing performance. The light aparatus allows light to be projected from different angles to create a dynamic performance. The site of this project was outside of the School of Architecture, Art, and Historic Preservation here at Roger Williams University.

SHOW PIECE

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SHOW PIECE

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SHOW PIECE

DAYTIME RENDER: BODY SCULPTURES

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NIGHT RENDER: SHADOWS

6 Precedent analysis is a crucial step in any design process, helping the designer gain inspiration and insight on the most successful ways to represent a project. Through the analysis of performance center precedents and their general programmatic organization and facade design, a greater understanding of the set of design rules and processes specific to performance centers was gained. Decomposing different designs helped provide further inspiration for the final project.

PRECEDENTS

PRECEDENTS FACADE

ng i d l Bui Y C A EMP roy, N T haw s m i Gr tects i Arch

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Key Takeaw ay: Materialit y, different material f or anamoly th eater

PRECEDENTS ORGANIZATION

das e d Cida tes Ar Janeiro de de Rio istian c Chr zampar Port

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Key Takeaw ay: Floating spaces wit hin boundaries , hierarchy

9 A brief site analysis of downtown Providence was conducted to gain a better understanding of the context along the Providence River. A major focus of the site analysis was the Crawford Street Bridge and how it acts as a node of connection between the site and two greenspaces along the river. The site has a cultural and historical richness that was explored throughout the course of the semester. The context was observed so that the final design was cohesive with the surrounding urban fabric.

SITE ANALYSIS

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SITE ANALYSIS

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SITE ANALYSIS

View looki ng out across river towa rds College Hi ll

l in l a w l Mura site f o k bac

Approaching from side street along site

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13 Our youth is locked inside of their rooms watching videos on a phone screen as entertainment instead of exploring people and places outside of their immediate neighborhood. How can this performance center invite people, especially those of younger generations, to explore the world and themselves creatively? How can this performance space reintroduce cultural vitality to this amazing site? This performance center will be: A place that caters to the physical and social health of the citizens of Providence A place that promotes socially sustainable spaces for interactions within the community A place that enhances the local landscape A place that welcomes people of all ages to explore their creativity

PERFORMANCE CENTER

The inclusion of circles in the facade visually represents the playfulness and vitality of children. Using circles in plan has a more metaphorical meaning; a circular space is a community, and the people within it have created a circle of friends. The circular cut out on the corner of the building at the plaza is symbolic of the open circle, inviting people to come join the community they will find through art. The interior courtyard is a full circle space, demonstrating the joy you can only experience once you have decided to step outside your comfort zone and try something new.

PROGRAM DEVELOPMENT

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PARTI DEVELOPMENT

The main formal parti of the building is rectangular protrusions and circular punctures. The theaters float within and protrude from the main volume while the outdoor spaces are circular. The diagram to the right illustrates the idea of circular spaces in relationship to community. The idea of community, art, and nature are all interweaved to emphasize the importance and cultural richness of outdoor public spaces.

INITIAL DIAGRAM

FINAL DIAGRAM

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MATERIALITY & PLAZA

16 THEATER WALL

GLASS CURTAIN WALL

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ELEVATIONS

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MODEL IN SITE

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FIFTH FLOOR 1/16”=1’

CONTROL

PLANS

THIRD FLOOR 1/16”=1’

LAV

LOUNGE

MECHANICAL

LAV

MECHANICAL

MECH.

PRACTICE ROOM

ELEC.

CLASSROOM

D U

SPRINK.

GREEN LAV

LAV

J.C.

MAKEUP

STORAGE

DRESSING ROOM

FOURTH FLOOR 1/16”=1’

SECOND FLOOR 1/16”=1’

PRE FUNC.

MECHANICAL

DIRECT.

OPEN OFF.

MECH.

PRACTICE ROOM

PRE-FUNC. U

MECHANICAL

STORAGE SCENE SHOP U

LAV

J.C.

CONTROL BLACK BOX U

LAUN.

COSTUME SHOP

FIRST FLOOR 1/16”=1’

CLASSROOM

AN SITE PL U

1 "=1'0" 32

SCENE SHOP

' 0' 20 BOX

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60'

LOBBY

140'

NORTH U

MECHANICAL

MECH.

PRACTICE ROOM

EXPERIENTIAL SECTION

MECHANICAL

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SECTION PERSPECTIVE

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EXPERIENTIAL

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EXPERIENTIAL

BROOKE DUTTON ARCH 313.04 FALL 2021 ROWEN SEMESTER PORTFOLIO

LORENNAH GRANFORS - PORTFOLIO THIRD YEAR - FALL 2021 SEMESTER

ARCHITECTURE DESIGN CORE STUDIO

JULIA BERNERT STUDIO

RWU SCHOOL OF ARCHITECTURE, ART & HISTORIC PRESERVATION

INDEX PROJECT 1 : SHOW PIECE................................................................................................................................................................................3 - 5 PROJECT 2 : A CULTURAL & PERFORMANCE CENTER PART A - PRECEDENT STUDY............................................................................................................................................................................6 PART B - SITE & ORGANIZATION.......................................................................................................................................................................7 PART C - SCHEMATIC DESIGN..........................................................................................................................................................................8 PART D - FACADE PRECEDENT STUDY...........................................................................................................................................................9 PART E - DESIGN DEVELOPMENT..........................................................................................................................................................10 - 14

PROJECT 1 : SHOW PIECE TASK

Beginning with small, rectangular boundary outside of Roger Williams University’s School of Architecture and Historical Preservation building, design a set of components, apparatuses, or armatures that facilitate a type of performance activity.

INSPIRATION

From director Céline Sciamma’s film, Portrait de la Jeune Fille en Feu, or “Portrait of a Lady on Fire”, elements of allusion, profoundness, and emphasis are portrayed throughout the film and utilized in this project’s design for a performance space. The performance of the film’s iconic “Four Seasons” by Vivaldi is played by a violinist and viola player in the performance space- dual ghosts of the main characters of Sciamma’s French film who become intensely intertwined and are violently broken apart by 18th century societal standards. This space, a kind of performance exhibit, tells the forbidden lovers’ story through the use of materiality, geometry, and program. The use of Japanese Washi paper, a type of translucent paper, mimics the materiality of the canvas one of the character’s use for painting, along with the use of translucent curtain material to imitate the veils the two women wore to cover their face as a sign of both conservativeness, protection, and yet transparency, alluding to some of the film’s strongest motifs. Additionally, through the hidden use of geometry in the shape of the performance exhibit with overlapping, assymmetrical circles layered on one another that shape the program, the orientation and program of the space hint at the film’s imagery of the two women’s love story- a moment where they finally come together and are torn apart just as quickly as the former. The circular geometry of the space’s floor plan is a figure for the craddling and heavy embrace they experience. The untouchable performance space of the musicians in the form of a beach grass installation in the center with visitors gravitating around their harmonies through the space’s spherical circulation alludes to the idea that the relationship the characters wanted in this film, for which the space is dedicated to, was both strictly prohibited yet violently mezmorizing.

UNDERLYING GEOMETRY OF PROJECT & FILM

Interior of Performance Space - Film Clip Showings at Dusk

ORTHOGRAPHIC & SECTIONAL DRAWINGS - 1’:1/4” SCALE

Orthographic - North Elevation

Orthographic - South Elevation

Section “A” - South Elevation

Orthographic - East Elevation

Orthographic - West Elevation

Section “B” - East Elevation

PROJECT 2A : PRECEDENT STUDY - FRANZ LISZT CONCERT HALL TASK

Working in groups of three students, the Precedent Study shall investigate, analyze and evaluate the formal, spatial, performance and tectonic characteristics of a chosen building.

THEORETICAL & POETIC INTENTIONS

With time, Franz Liszt’s once lively conciertos became more melancholic. With the deaths of his two children, as well as the natural disintegration of his optimism with the lack of appraisal from his fellow composers who wouldn’t give credit for his masterpieces out of jealousy, it is clear that the later years of Liszt’s life reflect that of these feelings for this memorial theater. The simple, pensive aura the space gives off leaves room for visitors to pay more attention to the symphonies conducted without getting distracted by details of their environment. Liszt’s desire to become a priest as well as his father’s past as a bishop and his mother being enchanted with mysticism is reflected in the pureness and simplicity of this space. Liszt yearned for religious solitude and contemplation, and as mentioned in many sources, part of the musicality of the space branches from the repetition throughout the building, a technique used in Liszt’s symphonies as inflected repetition was attractive to composers because it was an ideal means of heightening the impact of these expressive effects. Likewise, the simplicity of the space leaves the spotlight for the symphonies to display their beauty and dramatics of Liszt’s earlier melodies.

PROGRAM ORGANIZATION VISITOR SPACE

APPROACH / ENTRANCE

CONCERT HALL CIRCULATION

MUSICIAN SPACE

UTILITIES

PROJECT 2B : SITE & ORGANIZATION TASK

Located in Providence, Rhode Island across the Providence River, the initiative for this project starts with the task of developing a performance center for Providence youth in association with the 52nd Street Project arts organization that provides disadvantaged kids with theater professionals to perform original performances, fostering a space of inclusion and safety within it. The objectives of this project beginning was to become familiar with the site and to refine those understandings through the use of diagramming and analysis.

PARTI

FLUIDITY OF PROVIDENCE RIVER

“FLOW” THROUGH FIRST LEVEL - DIAGRAM

FIGURE-GROUND RELATIONSHIP TO SITE

The 52nd Street Project arts organization seeks to provide children an opportunity to work with theater professionals and perform original works at this proposed youth theater center. My vision for the Project’s youth academy and theater focuses on the child’s experience more than the experience of a performance attendee, through the concept of FLUIDITY of people, space, and time: the journey of learning to performing. The relationship of figure-ground comes from the study & extraction of the natural paths pedestrians make through the site. Voids are created and filled with program as the paths create negative space, acting as the grounding “rocks” in the FLOW of a person’s circulation, like the movement of the river. Each floor programmatically flows with each other, likewise, the floors as a whole represent the progression in a child’s journey from learning to performing.

SITE PICTURE - STREET VIEW

SITE PICTURE - RIVER VIEW

PHYSICAL STUDY MODELS

FLUIDITY OF VISITORS THROUGH MODEL

FIGURE-GROUND AS ROCK-RIVER RELATIONSHIP

PROJECT 2C : SCHEMATIC DESIGN TASK

The goal of this project was to further our concepts by developing our design skills and strategic thinking. Part of the requirements included taking into consideration community and thinking about how a public building raises aspirations, how it is met with the outside, the language of the interior and exterior, how the building harnesses light, and expanding on structure and organization. 3D SITE MODEL WITH DIGITAL MODEL

DIAGRAM OF “FRACTURE” FROM “FLOW” OF PUBLIC CIRCULATION

TOP VIEW OF MODEL WITH “FLOW” OF PEDESTRIANS THROUGH MODEL & SITE SECTION CUT “A” INDICATED

SECTION CUT “A”

PROJECT 2D : FACADE PRECEDENT STUDY - P. & E. MUSIC CENTRE TASK

Working in groups of three, the Precedent Study shall enable students to use diagramming as an analysis tool that can be harnessed in current and subsequent design endeavors and to consider in a façade both its aesthetic compositional characteristics and to understand that learning to design building elevations is a process, part of which entails learning how to analyze other façades.

FACADE ANALYSIS

The 2020 construction of the Penleigh and Essendon Grammar School Music Centre by McBride Charles Ryan creates modern approaches tothe modern and Victorian-era buildings on campus. This expansion upon the neighboring Victorian House thoughtfully relates to the materiality, tessellation, and corner conditions of the brick with a whimsical and playful modernist approach. The project Minaret in Uzbekistan by Kalta Minor brought additional inspiration to the firm and their play with the material. The soft, colorful North and South facades resemble the connection as the building softly meets the sky. The rhythmic flow of the apertures was intended to emulate “the line of a frozen soundwave”. On the interior, flexibility is emphasized through a range of private lesson spaces to rehearsal and performances spaces providing students the ability to change and adapt in their studies. The interior practice rooms, classrooms, and concert hall connect to the exterior facade through significant apertures on to North with additional use of vertical shading devices.

SUN PATH DIAGRAM

CORRESPONDENCE & REFLECTION DIAGRAM

COMPOSITION DIAGRAM

APPROACH DIAGRAM

CORRESPONDENCE & REFLECTION DIAGRAM cont.

PROJECT 2E : DESIGN DEVELEOPMENT PROJECT NARRATIVE & PARTI

Preliminary analysis of the site made it seem that this project was about “flow” - whether it was the current of the Providence River running near the site, or the natural path tendencies people take to cross the site itself. My first assumption was that the “flow” of people and their circulation “carved” through the site, but now my project reflects both the fracturing & mending reconnection the flow and energy the people of Providence, especially children, bring to a space. As seen in the parti diagram to the right, it is apparent that the ghosts of people’s circulation through the site, before placing the building, are honored and remain alive, respecting their natural paths taken through the city. The sidewalks of the plaza reflect the circulation on the interior of the project, extending the natural diagonal lines of the paths to the outside, drawing people into the “canyon”.

FLOW CREATING FRACTURE DIAGRAM

Materials used include granite for the majority of the exterior, reflecting many of the buildings in Providence and to additionally ground the building, concrete, wood panels to emphasize facade horizontality, and glass to illuminate the presence of the canyon-like circulation space on the interior from the outside, gently touching the sky through the crystalline roof. The purpose of this building and 52nd Street Project is to create a safe, grounding, but transparent space for children to learn and theatrically flourish. PARTI DIAGRAM - “FLOW” OF PEDESTRIANS FORMING MAIN CIRCULATION

SOUTHERN ELEVATION DRAWING

NORTHERN FACADE RENDERING

SOUTHERN FACADE RENDERING

NORTHERN ELEVATION DRAWING

FLOOR PLANS - LEVEL BREAKDOWN SUB-FLOOR

4TH FLOOR

DRESSING ROOMS LAUNDRY RESTROOMS

BLACK BOX THEATER GREEN ROOMS SCENE SHOP LEVEL 1 PRE-FUNCTION 3 BALCONY LOUNGE RESTROOMS CLOSET/STORAGE

1ST FLOOR PLAZA MAIN THEATER & STAGE GREEN ROOMS BOX OFFICE PRE-FUNCTION 1 CLASSROOMS “A” & “B” SNACK BAR RESTROOMS CLOSET/STORAGE 2ND FLOOR

5TH FLOOR BLACK BOX CATWALKS SCENE SHOP LEVEL 2 STUDENT LOUNGE RESTROOMS CLOSET/STORAGE SUB-FLOOR

1ST FLOOR

2ND FLOOR

3RD FLOOR

4TH FLOOR

5TH FLOOR

MEZZANINE LEVEL 1 PRE-FUNCTION 2 COSTUME SHOP MAKEUP ROOM BALCONY LOUNGE PRACTICE ROOM “A” RESTROOMS CLOSET/STORAGE 3RD FLOOR MEZZANINE LEVEL 2 PRACTICE ROOM “B” OFFICES RESTROOMS CLOSET/STORAGE

A B

SITE PLAN INDICATING SECTION CUT LOCATIONS OF “A” AND “B”

SECTION AXON CUT “A” TAKEN FROM SOUTHERN FACADE

RIVER CUTTING THROUGH RAVINE

PEDESTRIAN CIRCULATION FORMING THE BASIS OF MOVEMENT THROUGH A SOLID

SECTION PERSPECTIVE CUT “B” TAKEN FROM NORTHERN FACADE

END

PORTFOLIO Mason Lantz ARCH 313.02 Fall 2021

SHOWPIECE CONCEPTUAL IDEA Twisting, spinning, and waving. All things that come to mind when viewing a ribbon dancer in motion. These moves inspired the forms for this project. This type of dancing is a form of rhythmic gymnastics in which the ribbon needs to be in constant motion. It dates back to more than 100 years originating in China. It uses the ribbon to add to the dramatization of the performance and is precisely synchronized. The first concept model was very similar to the final result, as the movement of the ribbon ultimately influenced the way of making. In the modeling process, paper was experimented with at different scales. The conclusion was that twisting the strips of paper got different results. And the wider the strip of bristol board, the more strong it needed to be. Resulting in the gluing of two sheets together for a final model. After some thought, not only can ribbon dancers perform in this area but other forms of dance and music have similar forms of expression. A performance area for anyone who thinks the structure can enhance their show.

1) Start with the longest strips that span across the site. Twisting only 1 to 2 times, mostly inward for more over head coverage. Note that the outer most anchored strips should be the ones that are closest to the adjecent anchor point.

THEATRE SPEELHUIS

CHILDREN’S THEATER Mason Lantz ARCH 313.02 Fall 2021

Youth Arts Providence aims to create an urban center for both performance and learning. It would do so by housing a school that is separated from the theater and its supporting spaces. These classroom spaces shift outward, which can be seen from the pedestrians on the street level. This creates the opportunity to learn passively by casually viewing lessons taught in the classrooms. Classrooms are located on the first 2 floors. The 7 classroom spaces also interject with some of the more informal parts of the theater allowing people who aren't in the school a chance to peer in. This leads to the public areas situating themselves toward the back of the site. The main theater is located on the 3rd floor. To arrive there, the grand staircase takes one up to the first level seating as well as the mezzanine. Small outlooks are placed on the landings for a place to rest as well as a picturesque view of the customs house street and across the river. The black box is located on the main floor. It also opens up to an outdoor theater, which can be both accessed from inside and out.

Access And EGress

CirculaTion ANd Zoning Public

Private

Studio Portfolio

Jenna Salisbury Vincenzo Giambertone ARCH 313 Architectural Design Core Studio V Fall 2021

Project 1 Show Piece

The performance of this structure is the distortion of space. This will be done by creating fractured reflections through postion of structure, form, organization and the perception of the person whom is interacting with the project. In order to create these broken reflections four separate forms were organized to appear to be connected and interescting with one another. In order to create the deception of broken refelctions, the forms are made of stainless steel that have a high reflective property; therefore as the veiwer is circulating around the forms they see different fractured reflections of themselves and their surroundings. Therefore the exterior appears confusing, broken, and deceptive. But when the person interacting with the performance structure sit inside that’s the only time they see the true forms and true reflection of themselves, and there is no longer a sense of deception. Jenna Salisbury Vincenzo Giambertone ARCH 313 Architectural Design Core Studio V Fall 2021

Site

Sketch School of Architecture, Art, and Historic Preservation Roger Williams University Bristol, Rhode Island

Model

Circulation Diagram

Disassembling Diagram

Seating Diagram

Shadow Diagram

Render

Project 2 -Site Analysis - Precedent Study: Theatre de Stoep -Precedent Study : Facade Analysis : Amphion Theatre - Final: Theater Nous

Project 2 Site Analysis

Providence, Rhode Island

Due to its location on along the river, Providence quickly grew as a major New World seaport. Providence's craftspeople and merchants supplied goods to the Continental and French armies. With trade booming, the city grew and flourished. Providence has grown as an artist capital. One of its attributes to the world of modern performance art is WaterFire. Waterfire Is a series of bonfires that are lit at night that travel along the middle of the river, surrounded by music, performers, food and people. This eve select nights almost year-round, this and is accommodated by iconic event delights and local enraptured. Another artist contribute is the Rhode Island School of Design. Also known as RISD, this is considered to be one of the top design schools in the country. It features a museum that holds everything from ancient artifacts to contemporary works, and features plenty to see by the most notable masters of the art world, as well as local artist.

Transportation Providence, Rhode Island is an urban landscape. It has a very dense population. For the site, there is a population density of 7,500 and greater per square mile. Just on the outskirts of the site in the lighter purple the population is still relatively dense with about 1,600-3,000 people per square mile.

Public transit

These maps show how the people of the site travel to places. The top map shows the people who use public transit systems as their main form of daily transportation. In the bottom map it can be observed that majority of the population walks as their main form of transportation. This is an effect of the density of the area and limited space drive and park cars.

Walk

Annual Temperatures

The top five highs occur during the months of May through September. During this time of the year (majority of the summer season) the weather begins to get warmer and then cools back down again in September. The highest temperature during this time period occurs in July when the average high temperature is 90 degrees fahrenheit. June and August both have an average high of 85 degrees fahrenheit, and September has an average high of 86 degrees fahrenheit, but that quickly decreases as the season changes. The lowest temperatures occur during the winter months. December has an average high of 58 degrees fahrenheit with a lowest temperature of below 0 degrees fahrenheit. January has an average high temperature of 57 and a low of 10 degrees. February also has a low of about 10 degrees like January, but has an average high temperature of 50 degrees fahrenheit.

Sun and Shade Study

June 21 is the most ideal day of the year to transition from shade allowing sun. 120 degrees its the longest path the sun can take, which creates the longest and most amount of daylight. During the summer solstice there are about three more hours of daylight, and the sun is our for 12 hours. This is ideal for a designer to determine shading and shadows. Since the sun takes its longest path in one day, as it travels across the sky it creates many different shadows angles. With the many different shadows created it allows the designer to observe all of the shading that occurs around and with their design. For my design I choose noon because that is when the sun is at its highest point in the sky. The path and angels of the sun during the morning hours is reciprocated during the afternoon hours. At noon is shines directly above and through the shading device. But also based on the location, the people who would be interacting with the device outside of the building would be out on their lunch break around this time frame. Therefore at this time it would be affecting the most people.

Average Winds

Winter During the winter time (December- March) Providence receives an average wind speed of 10-15 mph, with a maximum wind speed of about 45 mph. The winds are cold with an average temperature of 32 degrees fahrenheit, with a relative

Summer During the summer (June-September), the winds travel in the west/ southwest direction at an average speed of 10 to 15 miles per hour. The minimum wind speed is about 5 miles per hour and the max wind speed can reach

Fall In the fall (September-December) the winds travel in the west/northwest direction at an average speed of about 15-20 miles per hour. The minimum wind speed is about 5 miles per hour and the average maximum wind speed is 30 miles per hour.

Spring During the Spring (MarchJune), Providence receives an average wind speed of about 15 mph, with a maximum wind speed of 25-30 mph. The dominant wind direction brings cooler wind temperatures of 32-68 degrees fahrenheit. The winds

Passive Design Strategies

Summer One of the best strategies in the summer is natural ventilation. Summer has the highest temperatures and the most humidity. Openings in structures that allow the wind to enter the space helps naturally ventilate the structure and bring down

Spring During the spring temperatures can rapidly rise and drop making it hot and cold at different points. To increase comfortability, windows, walls, and floors are made to collect store and reflect and distribute solar energy in the form of heat in

Passive Design Strategies

Fall Internal heat gain is the strategy that works best for Heat can be produced inside a structure by objects such as plants, hanging lights, and even people. People and the sun can especially produce heat in an outdoor space. This is

Winter Winter has the least amount of comfortability. Protection against wind chill to block off cold winds, rains, and snow is an important design strategy. Exterior wind shields or dense planting can protect entries from cold winter winds. orient-

Site Diagrams

circulation

program

Surrounding Facade Vernacular

Theatre de stoep is designed to fortify and inspire liveliness, providing a place of performance, social gathering, and a space to experience contrasting realities. one design goal was to respond to the current cultural invigoration of the city by merging the archetypal function of a theatre, that of creating a world of illusion and enchantment with the specific requirements of a regional theatre and its requisite to cater to the varied needs of the local community

The design for the Theatre Spijkenisse focuses on the placement and orientation of the building in the urban location. The organizational layout of the theatre aims for efficient circulation and a logical relationship to the surroundings. The two main theatre spaces are positioned to receive the visitor flow directly from the foyer and the public square. From the foyer, a sculptural stairway forms the binding element towards the entrances to the theatre rooms. The theatre cafe is located adjacent to the nearby water and is designed as a third theatre, in the form of an amphitheatre. The colors of purple and pink are used throughout the design as a reference to the urban development of the town square. The colors are derived from the bricks in the town square that give off pink and purple hues when it is raining, cloudy, or sunny. These colors were carried throughout the entire project, which further connects the Theatre De Stoep to its local identity. These colors are exaggerated on every piece of furniture and fabric in the theatres. Even the employees wear purple and pink tones.

The overall shape of the building is derived from the concept of an open book, with either half of the building belonging to different halves of the book. The binding of the book represents the central square of the design and acts as the binding to the circulation of the building. The curvature of the building is derived from a nearby windmill, Nooitgedacht. This windmill has been in Spijkenisse since the mid-1800s. The engineering firm arup allowed for a curved building design without overcomplicating the overall structure and framework. They did not want the building to interfere with the wind flow to this windmill. They also decided to raise the windmill by 7m (23 ft), in order to further ensure there would be no disturbance to the wind flow.

Van Berkel wanted to allow for acoustic flexibility within the larger performance space. The ceiling panels can be lowered and angled in order to optimize volume levels for the over 200 musical genre performances that occur here. In addition to the ceiling panels, the acoustic panels on walls reflect sound and augment sound quality for the occupants inside of the space.

Fermacell -Used in auditorium wall

Three Main Theatre Colors -Used in each of the three theatre spaces Purple LED’s -Used in auditorium during night performances

Aluminum Panels -Used on upper auditorium walls

Acoustic Panels -Used on auditorium walls and ceiling

Floor to Ceiling glazing and clerestory windows make up the front facade Aluminum material -Used on exterior facade

Purple LED’s -Used on exterior facade

White metal panels clad the exterior facade

steel beams account for the structure

Facade Analysis:Amphion Theatre Cultural center in Doetinchem, Netherlands Architecture firm: Mecanoo

Jasmine Dziekan, Ethan Medeiros, Jenna Salisbury

Facade Analysis The Amphion Theatre is a performance and Cultural center in Doetinchem, Netherlands. It was designed by Mecanoo in 2010 taking the place of the former and successful Amphion Theatre of the seventies. With its slightly reclined facades, the theatre is anchored firmly to the Doetinchem ground. The building design creates a very open and inviting manner towards the city. The most dominant feature of the facade design is the stairway. It appears to wrap around the building, this glass incision that encasing the main stairway is very prominent to the eye of the viewer. It appears to wrap around the front and side elevations in a continuous manner touching the sky. This glass incision of the stairway breaks the facade providing views of the red accents from the grand stair and foyers beyond. The warm red accented incisions create a clear dialogue between the public and the facade in marking the entrance. The theatre features a smooth, sand-coloured masonry interrupted by a playful pattern of square apertures, appearing to break out of facades. The window pattern in the facade creates an evocative rhythm on the exterior. From the interior, these windows appear like paintings overlooking the city, sometimes serving as a standing table or bench with their deep sills.

The North corner of the facade features the color red to not only indicate the entrance to the structure, but also to resemble a red carpet.

The right side of the facade features a void splits the main facade into two pieces. This facade also features a a sliding door for the loading/unloading dock, as well as, more square windows interrupting the facade.

The sand colored bricks are interrupted by a sequence of square apertures placed in a rhythm across each side of the building.

The void that interrupts the facade is a glass curtain wall that follows along with the interior red carpet staircase. The cutout also follows a set of exterior stairs running up the facade.

Elevational Drawings

Structure Diagram

Materiality Diagram

Hierarchy (night)

Hierarchy (day)

Datum

Rhythm

Continuous

Geometries Composition

Solid vs. Void diagram

Project 2 Schematic Design

“The theater is where we go to get a sense of what it means to be human, because nothing matches the power of a live performance.” - Oscar Wilde

The power and meaning of performance is to evoke a higher level of thinking and understanding in the audience. This power to provoke thought upon which society must examine itself encourages society to conversate and explore. A theactrical performance gets carried out by the viewers beyond the stage. How does one design to create a physical embodiment and representation of this power of theatre? The goal of this design concept is to reflect these powers of theatre architecturally, through circulation, plans, organizational layout, and materiality.

Jenna Salisbury Vincenzo Giambertone ARCH 313 Architectural Design Core Studio V Fall 2021

Development of Shape The design of the floor plan for the Performance Center is based around the main circulation: the escalator. The escalator represents the transformation that the viewers of the theatre experience before, during, and after a performance. On the way up the inhabitants cannot see what lies ahead, and they are brought up to the top level of the theatre evoking a sense of open mindedness to take in new ideas that the performance shares with them. The shape comes from the form of a Shan (Chinese fan) where the main transformative circulation (escalator and main entrance) appears to physically open the building, further driving the idea of opening the mind.

Massing Model

Site Plan 1/32”=1’0

Ground Floor Plan 1/16”= 1’0

Escalator idea

Circulation diagram

Private vs. Public diagram Private - yellow Public- purple

Idea sketch of Lobby/ Main Entrance

First Floor Plan 1/16”= 1’0

Circulation diagram

Private vs. Public diagram Private - yellow Public- purple

Second Floor Plan 1/16”= 1’0

Circulation diagram

Private vs. Public diagram Private - yellow Public- purple

Design Concept One A powerful aspect of theater is its ability to connect people together. This iteration embodies the connections of theater, as the pieces intersect and connect with each other.

Yellow- performance Blue- entry/circulation Red- mechanical systems Orange- support spaces Green- administration Purple- outdoor / loading space

Design Concept Two The theatre is the core of any performance space.This design layout and concept explores the theater at the bottom of the performance center. The performances space acts as the root of the tree, holding all the other important features of program together.

Yellow- performance Blue- entry/circulation Red- mechanical systems Orange- support spaces Green- administration Purple- outdoor / loading space

Design Concept Three The main concept of theater is to communicate a lesson, idea, or story to the audience in goals of changing, educating, and heightening the mind of the viewers. This design layout is supposed to embodied this powerful transformation of thought and self-reflection that theater imposes on the human mind. In this design organization model, the theater space is seen elevated above the rest of the programmatically features of the performance space. This represents the new “higher” level of thinking a performance causes, and the open mind one must have viewing a performance. The outdoor space would be placed facing the mural located on the site, as the mural is trying to evoke new ideas and understandings in those whom view it.

A special, key, moment in this design concept would be the main circulation. In the sketches above there is an escalator that would carry the audience into the theater and serve as a structural emphasis on the concept of transformation.

Yellow- performance Blue- entry/circulation Red- mechanical systems Orange- support spaces Green- administration Purple- outdoor / loading space

Elevation 1/8”= 1’0

Section 1/8”= 1’0

Theater Nous

A Performance Center

“Nous” is a greek term often used in philosophy that is equated to the intellect, and how it understands reality. The purpose of theater is to open the mind to new ideas, and a higher level of thinking. The performing arts demands that society examines itself as well as it’s surroundings, with the ideas that theater conveys. This challenges society to better their own intellect and others around them through an open mind. The theater is designed to reflect these powers that theater holds over the mind. This theater is symbolic of the mind. The plan is designed around the main circulation, the main entryway and the escalator. The main circulation opens the floor plan and spatial elements in the same way that theater opens one’s mind. The escalator is representative of the transformation in learning new ideas and self reflection. The interior wall of the escalator is reflective so people circulating back and forth can see their reflection, further emphasizing self reflection. The north elevation of the building features a glass break in the facade. This design allows people on the escalator to view society around them in reflecting upon new ideas, but it also allows for the people on the exterior of the structure to view those making the transformational journey into and from the theater. The front elevation features a large glass facade to evoke transparency between social connections, encouraging the inhabitants to be thoughtful, understanding, and open to the ideas of others.

Site

Memorial Bulevard Providence, Rhode Island

West Elevation Drawing 1/16”= 1’0

North Elevation Drawing 1/16”= 1’0

Program Diagram

Ground Floor Plan 1/16”= 1’0

First Floor Plan 1/16”= 1’0

Second Floor Plan 1/16”= 1’0

Transverse Section west 1/16”= 1’0

Longitudinal Section south 1/16”= 1’0

Circulation Diagram

Public vs. Private Diagram

Hierarchy Diagram

SHOW: PIECE Project 1

ARCH 313.05 - 2021 FALL Matthew Carlson

DANCING

Dancing: the act of performing by moving your body in a way that goes with a rhythm, typically to music. Around the world and throughout history, dance has been a part of multiple cultures as a way to express emotion, tell a story, or connect with those around you. Something that everyone is familiar with and is used frequently. A space that one can express themselves and release a certain expression through the movement of the body. This space is designed as a set of curved folding components that create a volumetric and geometric relationship with the dancer that can influence the performance. This pop-up performance center mirrors the movements of the performance through its horizontal and vertical components. This space creates freedom of movement and orientation that can be viewed from any angle nearby. This space attracts those around, who may be touched by the expressions or story being told by the performer and the performance center, and is drawn to the experience.

PLAN

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WEST ELEVATION

SECTIONAL AXON

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DIAGRAMS

ASSEMBLY AND DEPARTURE MODES ARCH 313.05 - 2021 FALL Matthew Carlson

FOLDABLE STAGE FEATURE

PRECEDENT

Jackson Hole Center for the Performing Arts Stephen Dynia Architects

PERFORER/AUDIENCE RELATIONSHIP Additional edits were made from main graphics retrieved from: “Jackson Hole Center for the Arts Performing Arts Pavilion / Stephen Dynia Architects (Arts Design Collaborative)” 23 Aug 2011. ArchDaily. Accessed 20 Sep 2021.

PROGRAM ORGANIZATION ARCH 313.05 - 2021 FALL Matthew Carlson

PRECEDENT

Royal Danish Opera House Henning Larsen Architects

ENTRY SEQUENCE

TRANSPARENCY

Additional edits were made from main graphics retrieved from: Maggiora, Martita Vial della. “The Royal Danish Opera / Henning Larsen.” ArchDaily, ArchDaily, 19 Apr. 2019, https://www.archdaily.com/915153/the-royal-danish-opera-henning-larsen

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A CULTURAL AND PERFORMANCE CENTER Project 2

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CONNECTIVITY

A performing arts center, located in Providence, RI, designed to house various types of performances along with educating the young. A space that is designed to connect you with others and learn from them, listen to their stories, and enjoy the gathering of those around you. A special connection can be made in a theater and throughout a performance. As the performer is telling the audience a story, a relationship is being created. The audience has been emotionally invested into the performance resulting in the expansion of their imagination, vision, and creativity. This performer-audience connection is being made as they may inspire or influence new ideas and feelings. Similarly, a child’s mind is full of these imaginary and creative thoughts, as theater is something that allows them to express themselves and these hidden concepts. Spaces that influence connections between multiple people, such as the performers, audience, and students is an important role in this design. As one approaches the performing arts and educational center, they will be welcomed by the greenery and comfort of the plaza breaking up the busy city. As one circulates through the building, they will find themselves not only communicating on equal levels, but through multiple double high spaces and elevations. This is not only demonstrated on the interior of the building but also on the exterior, such as the front facade. Diving deeper into the design, materiality and color are used in a way that connects parts of the building to a more natural world and a more imaginary world, similar to a performance. The performers, audience, and students all can be inspired by the way they are connected. These connections allow for growth, knowledge, and new ideas.

ARCH 313.05 - 2021 FALL Matthew Carlson

PROVIDENCE, RI

DIAGRAMS

MASSING

HIERARCHY

CIRCULATION ARCH 313.05 - 2021 FALL Matthew Carlson

PLANS

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SECTION PERSPECTIVE

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SECTIONS

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ELEVATION

WEST ELEVATION Front Facade ARCH 313.05 - 2021 FALL Matthew Carlson

INTERIOR RENDERING

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