AD2 Portfolio
InPlace/Anyplace: Dance Centre
Contents Chapter 1: Reading Seminar Chapter 2: Site Survey • Plaça de les Camarelles • Urbanism • Material Survey • Group Drawings • Group Model Chapter 3: Dance Centre • Project Abstract • Partii • The Dance Centre • Floor plans • Elevations • Exploded ISO • Model/Visuals Chapter 4: Dance Studio • Large Section • Outline • Model
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Portfolio by Scott Alan Lawson Student Number: 0824455 Contact: Details Removed for online viewing. Email: Scott.Lawson.Ar@gmail.com
ESALA, The University of Edinburgh, Minto House, 20 Chambers Street, Edinburgh. EH1 1JZ Tel: 0131 650 2306 Email: architecture@ed.ac.uk
AD2: InPlace / AnyPlace (ARCH8008) / Introduction
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Cranbrook Institute of Science A ‘Sense’-ational Extension by Steven Holl The Cranbrook Institute of science (extension) designed by Steven Holl tells a story through architecture from the moment one steps into it. Drawing on the urban rules set by Eleil Saaranin (1873-1923), Holl continues Eliels use of axis as a dictator of movement across a site with an added contemporary twist. This twist comes in the form of ‘strange attractors’, a scientific theory developed by the mathematician and meteorologist Edward Lorenz (1917 - 2008). It describes the movement of particles through a defined path but how the path varies randomly due to the recurrent nature of particle interaction with outside influences.
existence’. The entrance lobby explores refraction of light with 7 different types of handcrafted glass creating different effects. This is where the story of science starts, as you enter the museum. The movement of this sun changes the space dramatically, creating the new experience for repeat visitors through of unfamiliarity and change.
Halls interprets this so a person behaves as the particle and their path is determined by the experience of the local environment on micro and macro scales. Small changes inform different experiences of the same space, such as a change in time of day, the season, and exhibit layout. The aim was that no repeat visit was the same; there is a degree of change and unfamiliarity to create a new experience. Forming the plan of the extension, it created a much needed path between the existing ‘Hall of Man’ and the ‘Hall of Minerals’. The overall layout relates to the picturesque siting of Cranbrook’s buildings which are casually laid out in knolls to overlook the vales. The central courtyard formed by the addition and the existing structure acts as a strange attractor itself, with people moving around it through the exhibit spaces, orientating themselves as they walk. There are a series of defined points of observation from which visitors can choose to look at exhibits with several paths between each. The open ended addition is adaptable, allowing many routes and opportunities; a ‘free flow of energy’. Holl is well known for his use of heuristic devices, which relate to other senses such as smell, touch and sound. This ‘brings essence back to the experience’ and gives a ‘tactile and material dimension to everyday
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Glass is further utilised in the retaining walls of the courtyard, providing strange coloured light and spacial qualities to the circulation spaces within. When visitors move from the lobby to the courtyard a stream flows over a transparent glass roof to the corridor below, further playing with refraction and introducing water in its common state. The story continues in an ‘Ice House’. Water sprays over a steel mesh, in winter freezing to create an ice enclosed space with varying degrees of translucency. Time is repeatedly used as an experience changing device. The
story of water finishes in the steam room, where water is presented in its final state: gas. Inviting people to walk in a room full of free flowing steam, the many different senses allow an ambiguous experience of a small space. With two sides glazed people circulating around this space internally see hazy outlines of the people within, adding to the themes of unfamiliarity and ambiguity. The museum has been hugely successful, with New York times commenting ‘As a museum of natural history and science that draws 250,000 visitors a year, the institute is by far the most public of Cranbrook’s buildings, and Mr. Holl’s addition, clad in bright, sand-colored Kasota stone and concrete block loses no time in performing its educational mission. Within, the plan is exceptionally open and draws visitors along sloping pathways bathed in natural light, past bursts of contrasting colors and playful display. By attaching a new structure to bridge Saarinen’s U-Shaped plan, Mr. Holl created a courtyard and brought a sense of motion and circulation to a layout that had previously ended in cul-de-sacs’. It has gone on to win two awards from the New York Institute of Architecture. Holl’s use of time as an influencing variable and the running themes of ambiguity and unfamiliarity to
creating new experiences in this building are successful. The use of the existing urban language set by Saaranin and the incorporation of Lorenz’s ‘Strange Attractors’ is a smart move, allowing this building to contribute to the surrounding landscape in a harmonious manner whilst evoking curiosity and wonder in each visitor.
References; GIACONIA, P (2000) Cranbrook Institute of Science. Area 48. pp.18 - 26 DUNLAP, P.W (1999) A Modern Master’s Spirit Soars Anew. The New York Times: House & Home. Published in New York (Thursday, June 3, 1999) FRAMPTON, K (2000) Cranbrook Institute of Science Bloomfeild Hills, Muchigan, USA. Domus. Issue 826. pp.16 - 25 INGERSOLL, R (1999) The Light Laboritory, The Story of Water, And Strange Attractors: Steven Holl’s Sensuous Alchemy at Cranbrooks Institute of Science. Architectura. Volume 3 (99). pp.79-86
AD2: InPlace / AnyPlace (ARCH8008) / Project 1 / Skills Seminar: Reading Into Place
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Plaça de les Camarelles Barri Gotico, Cuitat Vella, Barcelona
Centred within the heart of the city, Plaça de les Camarelles is located not far from the busy Las Ramblas, and Barcelona Port. Used by locals as a place of rest or quiet games such as Pétanque on the designated pitches, the atmosphere is surprisingly calm and peaceful. Our survey consisted of a ‘Journey’ by foot where analyses of a series of squares was carried out to gain an understanding of the larger urban fabric.
Location Plan (Scale 1:5000)
Section along Journey A-A (Scale 1:200)
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MACBA Storage Facility
FADS Gallery
Each square has different qualities, with Plaรงa de les Camarelles being the quietest and MACBA Square being the busiest. The CCCB Squares are generally quiet but have a very public feel to them, partly due to the use of contemporary cladding materials and larger openings of the surrounding buildings.
Plaรงa de les Camarelles
Urbanism - On a Micro and Macro Scale
Two facades are most active in terms of peoples movement. This largely consists of local residents and people travelling through the square as part of a larger journey.
Of particular interest was the degree
Residential Sheltered Accommodation
contrast between each square and how only one building stands between these very different atmospheres.
It was realised that regardless of the scale of any intervention on site, it would have a direct impact on how people circulate.
Building Uses Around the Site
Movement Across the Site (Orange Local
Routes; Red General Vehicular induced Routes)
2 MACBA Square
4 Square Behind MACBA
5 CCCB Square
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1 Plaรงa de les Camarelles
3 Underground Carpark
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Location plan showing our Journey AD2: InPlace / AnyPlace (ARCH8008) / Project 2 / Site Survey
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Plaça de les Camarelles Material Survey
A material survey was undertaken with a particular emphasis on ground materials and level changes. They play an important role in the use of the space which they pave. Different materials provide different opportunities which people have utilised in each of the different squares. Harder surfaces allow for a host of activities such as walking, skateboarding, cycling, sitting etc. This is what defines most busy destinations in the city of Barcelona, and within the MACBA square there is no exception. The square was busy with skateboarders, cyclists, tourists and clusters of young people. This was due to the availability of a large open, smooth surface with a range of level changes and objects to interact with.
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3 Ventilation Grid
4 Brick Texture Rubbing
5 Steel Used by Children
6 Brick Textures
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2 Pavement to Road Transition
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Square Materials Plan
8 Car Park Drain
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The Pétanque pitches found on the site allow for similar activity whilst also allowing for games of Pétanque to be carried out by seniors from the local sheltered housing unit.
7 Concrete Road Surface
Lower Car Park Plan (Scale 1:1000)
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Where softscape materials are in use, such as in the square between MACBA and CCCB, the atmosphere is tends to be less busy due to suitability for activities such as sitting, playing games and running (carried out by the local children). Their ability to absorb noise calms people as they walk through such environments.
Upper Car Park Plan (Scale 1:1000)
9 Granite Paving
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10 Sandy Softscape
11 Limestone Paving
12 Marble Stone Seating
South Facing Section B-B (Scale 1:200)
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Group Drawings
East Elevation (Scale 1:200)
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A North Elevation (Scale 1:200)
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Site Plan (Scale 1:2000)
Plaรงa de les Camarelles
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
B
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A
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AD2: InPlace / AnyPlace (ARCH8008) / Project 2 / Site Survey
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Plaรงa de les Camarelles Group Model
Plaรงa de les Camarelles (Photo by Luma Ifram)
MACBA
CCCB Auxiliary Buildings (Photo by Luma Ifram)
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Overall Model (Photo By Luma Ifram) AD2: InPlace / AnyPlace (ARCH8008) / Project 2 / Site Survey
Dance Centre: Evoking Performance and Gathering Project Abstract
The Dance Centre - A place where performance evolves and people gather to engage in one of humanity’s oldest cultural exhibits. Much Like the performance within, the project itself puts on a show. As an object which changes during the course of the day, it evokes curiosity and ambiguity using its differentiating transparency and the effects of the sun. Deliberately separating the site into two spaces, a place to accommodate the original users of the site and a space for spectacle to occur, two very different atmospheres are allowed to develop. The centre’s ability to perform in an environmentally friendly manner was important. Preserving a degree of the original square’s character, more intimate spaces provide places for reflection and thought.
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Abstract
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Dance Centre: Evoking Performance, Gathering and Curiosity Partii Overhangs and level changes were explored to create more intimate spaces and define the central axis that underpins the dance centre. This central axis is defined by the predicted movement of people from MACBA square to the large opening to the south east of the site along a sunken crevasse below the dance centre above.
Sun Study. June 30th 10AM
Where this axis slices the lower floor, frames are generated through the square. This is further explored by the use of different levels of transparency both within the ground floor and upper floor screening.
Small Level changes to achieve subtle definition of space.
Sun Study. June 30 3PM
Sun Study. October 30th 10AM
Sun Study. October 30th 3PM
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Natural ventilation is saught through cross ventilation
The form of the centre encloses the performance square with a walkway below it to provide intimate spaces and provide a degree of shade.
Dance Centre: Evoking Performance,Gathering and Curiosity Partii
Initial Design Plan showing routes through the now opened up square. Red indicates the routes through the site, with green routes being those of local residents.
Initial Design Maquette highlighting the overall form and usage of each space
Initial Design Maquette looking along the resulting pedestrian route.
Initial Design Maquette, showing the overall form.
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Partii
Dance Centre: Evoking Performance, Gathering and Curiosity The Centre The design centres around a central core, an atrium with the two wings coming off either side, terminating with the dance studios at each. This forms the arms which ‘hug’ an external performance square within.
The final resolution relies heavily on the play of transparency, both in the skin of the building and the difference between each floor.
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The Core facilitates visual communication between levels, allowing those in the cafe and seating spaces to see into the warm-up area above.
By placing the building in the centre of the site, two distinct spaces are created. The quieter space (red) provides a more private place for the existing users of the site to enjoy its current characteristics. The more lively space (green) offers spaces for performance and play as well as allowing public throughfare.
The building hugs a sunken square within the site square itself. People in the dance centre overlook this so they can watch any performance held within it, helping create a sense of community and gathering.
Long Section (Scale 1:300) Showing the development in context.
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Dance Centre
Dance Centre: Evoking Performance, Gathering and Curiosity PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT Ground Floor plan
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Office
Bookshelves
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Female Toilet
Informal Seating Space
Reception Space
Kitchen
Cafe
Toilet
Public Square with use as an informal Dance space
Ground Floor Plan (Scale 1:200)
Ground Floor Plan (Scale 1:200)
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The lower floor consists of the secondary functions and utility spaces for the dance studio. Largely glazed it allows for a light ‘touch’ on the site whilst allowing people a view out to the performance square it encloses. Concrete structural cores frame views through the centre.
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Male Toilet
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Reception
Dance Centre: Evoking Performance,Gathering and Curiosity
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First Floor Plan
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Storage
Secondry Dance Studio
Warm Up Area
Toilet
Toilet
Female Changing Male Changing
Primary Dance Studio
The upper floor reads as a more solid entity. Wooden screening is used to provide a semitranslucent skin whilst allowing no direct sunlight into the enclosed spaces keeping them cool and suitable for dance.
up lights are on, the building returns to a sense of solidarity and privacy.
At night the building glows from the inside, becoming more transparent allowing people a glimpse of the activity inside. When external
First Floor Plan (Scale 1:200)
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Dance Centre
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Dance Centre: Evoking Performance, Gathering and Curiosity North Elevation / Site Section
North Elevation (And Site Section) (Scale 1:200)
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Dance Centre: Evoking Performance,Gathering and Curiosity South Elevation
South Elevation (Scale 1:200)
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Dance Centre
Dance Centre: Evoking Performance, Gathering and Curiosity West Elevation
West Elevation (Scale 1:200)
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Dance Centre: Evoking Performance,Gathering and Curiosity East Elevation
East Elevation (Scale 1:200)
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Dance Centre
Dance Centre: Evoking Performance, Gathering and Curiosity Exploded Iso PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
The skin is constructed of several wooden slats that fully enclose the upper floor below. This ‘control layer’ is responsible for creating different transparencies, evoking curiosity in those passing by.
The lower floor consists of large glazed panels which hang off the columns that support the structure above and structural cores which enclose the private spaces on this floor. This allows for a light ‘touch’ on the ground, maintaining transparency and invitation.
The sunken performance square is floored in the same brick as the square to provide a seamless interaction between the two.
Exploded Axonometric (Scale 1: 500) Showing the main components of the centre.
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The upper floor is constructed of concrete walls, a material most suited to the climate in Barcelona. It’s large use as a local construction material means it can be locally sourced and built by local contractors.
Dance Centre: Evoking Performance,Gathering and Curiosity Visuals/Models
Model In Square
The Centre at night (Part Model): Appears Solid
Overall Model
The Centre at night (Part Model): Appears Translucent
The Centre at night (Part Model): Appears Solid once more
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AD2: InPlace / AnyPlace (ARCH8008) / Project 3 / Dance Centre
Dance Centre: Evoking Performance, Gathering and Curiosity Ground Floor plan
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Dance Studio: A Place of Change First Floor Plan
Chapter
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The primary dance studio is left plain allowing the dancer(s) to set up the space to there own requirements. The steel structural beams allow lights and other fixtures such as flight wire to be installed. Large openings to the west allow for indirect lighting from behind, with overhead openings on the eastern facade and roof to provide warmer light from the east and south. The placement also facilitates natural cross ventilation if so required.
Natural Air Ventilation Diagram
Opposite: Studio Section (Scale 1:50)
Studio Key
Section through studio and surrounding site (Scale 1:200)
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AD2: InPlace / AnyPlace (ARCH8008) / Project 4 / Studio
Dance Studio: A Place of Change Model/Visuals
Studio in the day.
Overall Closer View.
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Studio at night. Large mirrors and plain decoration allow a very light space, even at night.
Closer view.
AD2: InPlace / AnyPlace (ARCH8008) / Project 4 / Studio