Table of Contents
Table of Contents
Table of Contents Thesis Studio (Spring 2010) - Abstract Thesis Prep I (Fall 2009) - Prospectus Thesis Prep II (Fall 2009) - Site Thesis Studio (Spring 2010) - Site Thesis Prep II (Fall 2009) - Program Thesis Studio (Spring 2010) - Program Thesis Prep II (Fall 2009) - Precedents Thesis Studio (Spring 2010) - Precedents Thesis Studio (Spring 2010) - Preliminary Conceptual Sketches Thesis Studio (Spring 2010) - Site animation Studies Thesis Studio (Spring 2010) - Design Phase 1 Thesis Studio (Spring 2010) - Design Phase 2 Thesis Studio (Spring 2010) - Design Phase 3 Thesis Studio (Spring 2010) - Final Design Thesis Studio (Spring 2010) - Conclusion Bibliography
1 2-3 4-13 14-24 25-34 35-37 38-42 43-48 49-51 52-59 60-62 63-73 74-80 81-92 93-118 119-121 122-123
1
Thesis Studio (Spring 2010) Abstract
Thesis Studio - Abstract
2
The artist community is integral to the culture and vibrancy of the city of Boston. Many times the process of production is disconnected from the final display of art. Many
people experience art by viewing the final product with little or no understanding to the process associated with creating these pieces of work. process through architectural form.
Creating transparency between production and display provides the viewer with a multifaceted view of art. This thesis will explore how architecture
can connect the production and display of art to the city of
This thesis will look at revealing this
Boston.
The building will specifically house facilities capable of manufacturing and displaying large-scale sculptures. The main portion of the building consists of exhibit/production
spaces that provide large, expansive space capable of manufacturing large scale art. lounges, cafe, bookstore, lavatories, egress and freight elevators. day.
Flanking these spaces are three main cores that house the artists’ studios, administration offices,
Primarily artist and sculptors who will be working on producing sculptures will occupy the building during the
The architecture acts as a destination for the city in the evening as the building transforms from production mode to display mode. The production areas will transform into exhibit
spaces for the sculptures, allowing visitors to pass freely from space to another.
A structure capable of housing production and display facilities allows the public and the surrounding community to experience the process from start to finish. This thesis will explore the idea of projecting the process of art on the city of
Boston and the community of South Boston.
The site is located in South Boston, near the Artist for Humanity Building and adjacent to a new artist residence. The connection to the historic industrial past of South
Boston and the prevalent artist community in South Boston was important in choosing the site. The “Artist Initiative Act” stated on The Boston Redevelopment Authorities website provided the necessary information regarding the growing artist community in the city of and the art that is produced.
Boston. The artist community in South Boston creates a dynamic relationship between the city
Merging the production process of large scale sculptures with a theatrical aesthetic creates a unique architecture in South Boston. Designing a building
capable of merging these ideas and exposing the processes of manufacturing became the focus of my thesis exploration.
Designing a structure capable of transforming itself to meet the needs of the sculptors and the public creates a dynamic theatrical expression in South Boston and in the City of
Boston.
Thesis Studio - Abstract
3
Thesis Prep I (Fall 2009) Prospectus
Thesis Prep I - Prospectus
4
Overview Statement
This thesis will explore the notion of mutual interactivity between inhabitants’ and the built environment. Through the use of emerging technologies, materials and programmatic
relationships, this thesis will discuss how multi-purpose spaces can adapt to the inhabitants’ needs throughout various time spans. The interaction between inhabitant and building creates a constantly changing dialogue that allows for spaces to be experienced differently depending on use. that is in constant flux that caters to the inhabitants’ needs.
The manipulation and control of light, spaces, noise and views creates a building
The idea of an artist design studio came from the notion of engagement, interaction and adaptability. Many artist design
studio require spaces that need to respond to the occupants’ needs throughout various times of the day. arraignments depending on use.
The variety of studio spaces, galleries and exhibition spaces require different
The constant transfer of ideas, people and objects within an artist design studio creates a need for interaction between building and occupant.
The visual and physical connection to the surrounding context aids in creating a dynamic relationship between human and building. The public engagement to the built environment
is an important aspect that creates spaces that are more than just static objects in the landscape. The site for this thesis is located in South Boston, just South of the Boston Convention
Center. The location of the site is on the corner of the South Boston Bypass and West Second Street. This area is located at a transition point between residential neighborhoods and commercial and industrial parks. The site creates a link between living environments and working environments and plays an active role in engaging the two zones. Just across the
South
Boston Bypass is the Artist for Humanity Building, which educates inner city children in the various disciplines of art. Directly across the street from the proposed site is an abandoned building that is being renovated into residential units, with twenty-one specifically designed as artist studios. This thesis will look at ways to interact and engage with the immediate context as well as at a much larger urban scale.
Throughout the thesis process, the idea of interactivity between the built environment and humans will be explored. With the integration of emerging technologies, materials
and programmatic relationships, this thesis will explore how buildings are capable of responding to occupants’ needs through various time spans.
Thesis Prep I - Prospectus
5
Research Problem
This thesis will examine the idea of multi-purpose buildings and address ways to provide interaction and adaptability depending on occupants’ needs. The capacity for these
spaces to transform and change throughout various time spans allows for an experiential relationship between human and building. smart technologies, materials and programmatic relationships.
This thesis will explore new interactive media, emerging
How can architects and designers use emerging technologies to enrich the relationship between multi-purpose spaces and
inhabitants throughout various time spans?
Objectives •
To incorporate emerging digital technologies and materials to allow building and occupant to interact with each other.
•
To create spaces that are capable of adapting to the occupants needs throughout the course of the day.
Definitions Interactive Architecture - Emerging architectural technologies that allow an occupant to actively engage and participate with the built environment. Multi-Purpose Space - Spaces that allow for a variety of activities to take place, for example, by re-arranging partitions or furniture. An example of this would be a school gym, which allows the occupant to modify the space during the course of the day for sporting events, dances or presentations.
Mixed-Use Building - Buildings that combine different programs, such as commercial plus residential. The way that these programmatic elements are designed together is important in creating a consistent piece of architecture.
Mutual Interaction - The way inhabitants interact with the built environment as well as the way the built environment responds to the inhabitant.
Thesis Prep I - Prospectus
6
Research Essay An emerging trend in design, architecture and art is the notion of mutual interactivity between occupant and building. This relationship creates a new and intriguing dialogue between buildings and how humans occupy them.
Humans and buildings have interacted throughout history,
but technological advances over the past twenty years, has increased connectivity between people, ideas and places.
The emergence of smart
materials and new media technologies create ways for the built environment to change and interact directly with the user. motion, sound or touch, buildings themselves are becoming much more interactive.
Through the use of
The way that occupants interact with the built environment
has started to influence the way architects and designers think about space, not only on a building scale, but also at a larger urban scale.
The idea of multi-purpose spaces has also caused designers and architects to rethink the way programmatic elements are organized in
order to respond to a wide range of activities.
This understanding of programmatic relationships allows for the building and inhabitant to adapt
to various needs throughout the day.
Interactivity in Architecture Historical Precedents
Throughout history, there has been some notion of human interactivity with buildings. An early example of this is the window. This
currently common element developed over time to allow for the control of light and comfort in a space.
The window in its early stages was
basically an opening in the wall, which allowed the occupant to regulate the amount of fresh air into a space as well as natural light.
The
Romans were the first to incorporate glass in windows, which helped regulate the temperature of the space. The development of the operable window is one of the most primitive examples of interactive technologies.
Another
1 - Robert Kronenburg, Spirit of the Machine:
example of building interactivity is the portable dwelling, such as the
conceived specifically for the climate, materials available and human necessity. depending on needs.
The
Asian Yurt. This
type of portable structure was
yurt is a portable structure that could be easily moved
“The form of such buildings is closely related to the requirements of the users because the people who inhabit them have a
direct link with those who build them…”1
Thus the inhabitants were able to manipulate and interact with the structure depending on their needs.
“In either case the building consummately fulfills the needs of its user.”2 Forms of primitive interactivity involve either moving the building, or the elements within it. Thesis Prep I - Prospectus
Technology as an Inspiration in Architectural Design
(Great
Britain:
Wiley-Academy,
2001), 93 2 - Robert Kronenburg, Spirit of the Machine: Technology as an Inspiration in Architectural Design
(Great
Britain:
Wiley-Academy,
2001), 93 7
Early Development Interactive architecture began to emerge in the early 1960s, with the invention of computers, cybernetics and the study of systems. In 1969, Andrew Rabeneck proposed “the use of cybernetic technologies to produce an adaptive architecture that would increase the useful life span of a building through adaptation.”3
Designers, cybernetitions and architects began experimenting with various types of computational
systems, human controlled interactions and building interactive techniques. in the development of interactive systems.
“…influenced
Cedric Price, John Frazer and Gordon Pask became very influential
an architecture of process that was indeterminate, flexible and responsive to the
changing needs of users and their times.”
4
Throughout the course of history, the social, economic and political spheres have constantly been reworked and reshaped. With the
development of new technologies, these spheres are once again changing.
The advancements of computers and technology through the 1980’s,
allows architects and designers began to look at architectural space and interactive mediums as interrelated. unprecedented connection between humans and infrastructure.
The digital age allows for an
This connectivity influences design and function of the built world. “The driving
force behind the renewed interest in adaptable architecture is the technological influenced and changing patterns of human interaction with the built environment.
Today’s intensification of social and urban change, coupled with concern for issues of sustainability, amplifies the demand for
interactive architectural solutions.”5
Advancements Today Developments in interactive architecture have seen an explosion over the past twenty years. A number of architects and designers are developing various ways of creating interactive spaces. homes.
Some of these methods include installation art, interactive building facades, and smart
Interactive architecture affects the social and cultural realm of a specific demographic, the methods in which humans engage with the
built environment, as well as taking on various programmatic forms.
By studying how these three elements relate to each other, architects and
designers can look at the way these interactions influence society and the urban realm.
Thesis Prep I - Prospectus
Architecture
(New
York:
Princeton
Architectural Press, 2009), 15 4 - Michael Fox and Miles Kemp, Interactive Architecture
(New
York:
Princeton
Architectural Press, 2009), 15
The social and cultural aspects about a site have strong implications in designing interactive architecture. Working with the specific
needs of the community, designers are capable of developing systems that support these desires.
3 - Michael Fox and Miles Kemp, Interactive
Lucy Bullivant looks to formulate ideas that
5 - Michael Fox and Miles Kemp, Interactive Architecture
(New
York:
Princeton
Architectural Press, 2009), 18 8
can connect technology, building and inhabitant in a way that forces architects and designers to rethink the idea of space and form. In this way,
Bullivant addresses methods in which architecture can influence the social realm at a variety of scales. Bullivant looks at two projects that influence the community but in different methods.
One is entitled “Light Sounds,” which redefines the streetscape in London for shoppers and
pedestrians by constantly changing colors and sounds as pedestrians pass through the space.
The other project is entitled “Litmus,” which in
Figure 1.2 – Light Sounds, Source: D-squared
contrast addresses the fast paced traffic of the highway by changing colors and text depending on local traffic, electricity usage, tides and light levels.
These ideas bring a new understanding to social and cultural interactions. “The power of many of the responsive environments…
is precisely that they are not purely reactive or entirely predetermined.
Both they and their users learn from experience and redefine their
sense of place.”6
Through the ever-changing social and cultural realm, as well as interactivity with the built environment, there is a need to design
buildings that respond to societies shifting lifestyles.
Changing
lifestyle patterns affect the way people go to school, shop and work.
A
considerable number of people now are able to work from their home office, effectively minimizing the amount of interaction with the community.
This idea of social and cultural connection is ever changing. Architects and designers are looking at ways of creating flexible and adaptable buildings that help to define the social and cultural realms.
“People who are cut off from the workplace environment need to discover new
sources for achieving personal satisfaction and for making meaningful social contacts.
Such opportunities for remote social interactions are
therefore not only necessary for pragmatic reasons but also serve an important humanistic role in our social fabric.”7
Interactive
architecture can also directly engage the public.
Buildings
are more than just static elements in the landscape, but
rather a piece of the urban fabric that must adapt and interact at the human scale.
The engagement and participation of the public creates a
kinetic piece of architecture.
Howeler Yoon Architecture is a firm that strongly believes designers and architects not only create buildings
for the inhabitants, but that the occupants actively engage the built environment.
Figure 1.3 – Infra Green, Source: Howeler Yoon Architecture
For the hotel and spa design, they create a system of thermal
envelopes, which develops spatial arrangements dealing with public versus private spaces and wet and dry zones.
The wrapping system not only
creates a progression between volumes, but responds to the movement of human activity.
6 - Lucy Bullivant, Responsive Environments:
In the proposal for the Rose Kennedy Greenway called “Infra Green,” Howeler Yoon designed a series of rotating tri-panel ground
Architecture,
planes that are covered in asphalt, hardscape or turf.
The ground can literally change depending the activity taking place at the time. Their
design proposal brings together architecture, infrastructure, technology, landscape and the culture to engage and interact with the public.
In the project “White Noise, White Light,” Howeler Yoon explores how the user can participate in defining public space. A field of 400 Thesis Prep I - Prospectus
Art
and
Design
(South
Kensington, London: V & A Publications, 2006), 17 7 - Michael Fox and Miles Kemp, Interactive Architecture
(New
York:
Princeton
Architectural Press, 2009), 141 9
fiber optic poles emits light and sound that increases in intensity as the participants approach them. awareness to the presence of other participants. city.
The flickering lights help create a spatial
The noise from the instillation helps to cancel out the surrounding background noise of the
Howeler Yoon wanted to create an installation that provided an inviting, playful experience for the visitors. The field of lights transforms
playful activity into space, light and sound.
By understanding the relationship between inhabitant, the public and the urban fabric, designers and architects are able to create
Figure 1.4 – White Noise White Light, Source:
spaces that engage the user.
Howeler Yoon Architecture
This is important in urban settings as the line between the public and inhabitant in blurred. Looking not only at the
physical elements of a building such as walls, floors and windows, but also at new mobile technologies in today’s society, helps create a dialogue between the physical and digital world.
With the correlation between the physical and digital realms, there must also be collaboration between
disciplines: architects, designers, artists, software engineers, scientists and inhabitants must all work together.
“Rather than being wholly
computer generated, like virtual reality projects, responsive environments are a bridge between the physical and the virtual.”8
The application of interactive architecture can also take various programmatic forms. Programmatic elements are explained as working
environments, living environments, public environments and entertainment environments. in terms of interactivity.
These various programmatic types have different needs
transforms from transparent to translucent
Adaptable spaces are constantly changing depending on the users specific needs.
Interactive architecture shows great promise in the work place. Many workplaces have high activity at the beginning and end of the workday, while during the middle of the day, many people are out of the building at meetings or visiting clients.
Conference rooms are typically
only used for a short percentage of the day and usually have very limited flexibility in whether four or sixteen people use them. application of interactive architecture help rethink these issues? building.
Lighting,
Figure 1.5 – Smart Glass-Glass that with the touch of a switch, Source: Smart Glass International
How can the
privacy, cooling and acoustics are all elements that affect any
Adaptable spaces have the ability to help control and manipulate these forces.
A project by Vincent James that addresses issues dealing with inhabitants’ needs is the Dayton House. The connection between interior and exterior spaces are used in adapting the house to the various needs of the user as well as seasonal changes.
Various operating mechanisms
combine with the layered wall system to make it responsive to specific functional needs of the house and the art collection.9
This is nice example
Interactive architecture can also influence entertainment and public environments. These program types affect a broad range of The application of interactive media to the public realm, in the form of
facades, sculptures and fountains, has created a greater connection between pedestrians, inhabitants and building.
Thesis Prep I - Prospectus
James Associate Architects 8 - Lucy Bullivant, Responsive Environments:
of how spaces can adapt and transform depending on the needs of the user on a much smaller scale.
buildings such as municipal, commercial, institutional and residential.
Figure 1.8 – Dayton House, Source: Vincent
Museums, for example, have
Architecture,
Art
and
Design
(South
Kensington, London: V & A Publications, 2006), 9 9 - Vincent James and Associate Architects - www.vjaa.com 10
started to embrace the notion of interactivity as a way of educating their audience by displaying and presenting the artifacts.
“Interactivity
combined with spatial adaptability can serve well the temporal nature of changing displays and the ways in which visitors interact with them.”10
Interactive Architecture focuses on how people use and connect to the buildings they live in, work in or play in.
Mixed Use Buildings Historical Precedents
There has been a need for towns and cities to have mixed-use buildings. Mixed-use buildings allow for communities to exchange ideas,
as well as permit interaction amongst citizens.
Looking at the history of multi-use buildings, how they have changed today and their relationship
to the urban context, architects and designers can address issues such as how pedestrians engage the space, social interactions and buildings physical connection to the existing context.11
The
need for buildings to merge varying programmatic elements into one coherent piece of
architecture is important for the overall function of a space.
“…to examine what is there and to see how we can achieve a better environment
through the integration of the multi-use building in the urban fabric.”12
The use and construction of mixed-use buildings have been around for centuries. The Roman Baths and the Greek Agora are both
examples of early mixed-use structures.
They
employ a network of social, political and economical interactions.
present in medieval cities as they allowed the citizen and their job to be in close proximity.
Mixed-use
buildings were
As cities expanded, there began to be an increase in
Interactive Architecture (New York: Princeton
multiple houses or apartments built on top of one another with the ground floor open for shops and stores.
Throughout the 19th century, architects started questioning this idea of mixed-use structure within the urban context. Buildings
should not be viewed as a fixed program but be allowed to be adaptable and generous.
10 - Michael Fox and Miles Kemp,
“The question is not to build flexible buildings but to
Architectural Press, 2009), 103 11 - Eberhard H. Zeidler, Multi-Use Architecture in the Urban Context (New York:
establish environments in which buildings appropriate to their function may occur, and to encourage an interaction between these buildings and
Van Nostrand Reinhold, 1985)
their environments.”13
12 - Eberhard H. Zeidler, Multi-Use
The
A mixed-use building program is still present in many types of apartment buildings today.
idea of mixed-use buildings has been constantly changing and manipulated in cities for centuries.
With
technology and the notion of interactive architecture, architects and designers are able to redefine multi-use spaces.
the advancement of
Architecture in the Urban Context (New York: Van Nostrand Reinhold, 1985), 9 13 - Eberhard H. Zeidler, Multi-Use Architecture in the Urban Context (New York: Van Nostrand Reinhold, 1985), 17
Thesis Prep I - Prospectus
11
Multi Purpose Programs Modern Interpretations
The way in which inhabitants occupy multi-purpose spaces affect how these spaces are designed. There are many buildings today that
are only occupied during the workday from around 8a.m.-6p.m., effectively only using the building for half the day, and allowing the building little room for flexibility. the entire day.
Architects and designers have started designing buildings that allow for a variety of activities to take place throughout
These spaces are occupied differently depending on the time of day due to use groups, solar orientation and programmatic needs.
How can multi-purpose spaces adapt and interact with the occupant throughout the course of the day to create a discourse between occupant and building?
The answer does not only lie in the realm of technological interactive systems, but also in the way architects and designers deal
with light, materials and environment responses.
An example of a built form that utilizes both mixed-use program and multi-purpose spaces is the Institute of Contemporary Art (ICA) in
Figure 1.6 – Institute of Contemporary Art, Source: Diller and Scofidio
Boston. The ICA houses a gift shop, a café, an auditorium, offices, and an exhibition space; this is an example of a mixed-use building. The
exhibition space is seen more as a multi-purpose space that can be rearranged depending on the event or activity taken place.
The combination of
multi-purpose and mixed-use has a direct correlation to the way occupants interact with the building.
Another
example of a multi-purpose building that focuses on the way programmatic elements relate to each other is the
Hostler Student Center
located in
Beirut, Lebanon
by
Vincent James Associates Architects. The
swimming, basketball, volleyball, as well as an auditorium, amphitheater and café. a continuous field of habitable space and a variety of microclimates.14
Charles
student center consists of facilities for
The building form redistributes air, activity and shade to form
The climate of Beirut allows for the inhabitants to occupy the lower levels
during the day, which provides shade, and the open-air rooftops at night.
This vertical relationship allows for a more three dimensional system
Figure 1.7 – Charles Hostler Student Center, Source: Vincent James Associate Architects
of circulation, gathering spaces and program.
14 - Vincent James and Associate Architects - www.vjaa.com Thesis Prep I - Prospectus
12
Conclusion
Though interactive architecture and multi-purpose buildings have in a sense been around for centuries, the advancement of technology
allows for new ways to rethink the relationship between occupant and the built environment.
Criteria for Evaluation • Was the integration of interactive media a fully comprehensive study, or did it feel as if it was applied to the building? • Is there a clear understanding of process that is concise and consistent that helps reinforce the main themes? • Does the architecture successfully interact with the public and the inhabitant?
Ideas for Future Results
This thesis is one that is sited in an urban context, Boston. A major question that one would pose would be, can this type of mutually
interactive architecture be incorporated into a rural context?
The idea of buildings interacting with its occupants throughout the course of
the day may not be as beneficial in an area with little constant activity. be integrated into other countries urban context?
Another question that may be asked is whether this type of building can
Cairo? Tokyo? London? Many countries are ahead of the United States in technological
advancements and this form of interactive media may already be a common design element in future construction.
These are possible question
that I pose as a fifth year architecture student, that I also feel should be addressed throughout the architecture community.
Thesis Prep I - Prospectus
13
Thesis Prep II (Fall 2009) Site
Thesis Prep II - Site
14
Artist for Humanity Building
Proposed Residential Building
Site
Thesis Prep II - Site
15
South Boston
The site for this thesis is located in South Boston on the corner of West 2nd Street and B Street. The northern side of the site is facing the st on
By
pa s
s
South Boston Bypass and railroad h
Bo
lines. Two smaller roads that lead
So
ut
into the surrounding residential neighborhoods corn the southern
Site
edge. The site is situated on a
W
es
transition zone between larger scale industrial and commercial
t
1s
t
St
re
et
buildings and smaller scale houses and apartments.
W
es
t
2n
d
St
re
3r
d
St
et
re
re et
t
et
St
es
B
W
Bo
lt on
St
re
Thesis Prep II - Site
et
16
South Boston
This notion of a transition zone between various building typologies is an
important site feature that relates back to the overall theme of interactivity between the human and building. This area of transformation has the capability of connecting the public, the occupant and the built environment. The connection to the urban fabric not only engages the public, but can also help revitalize the community.
Another important site consideration is the transition from small neighborhood
scale streets to larger city scale highways. This transition is usually consistent with the idea of moving from the neighborhood scale to the larger commercial scale. Allowing the building to respond to external forces may dictate programmatic choices. Sound levels, light pollution and access are all essential characteristics of site selection. The variation in highway velocity versus street movement may also help determine interior relationships.
Artist for Humanity Building
Financial District
RCN Building
Figure Ground: Transition Zone Thesis Prep II - Site
17
Building Typologies - Commercial
Thesis Prep II - Site
18
Building Typologies - Residential
Thesis Prep II - Site
19
Building Typologies - Mixed-Use
Thesis Prep II - Site
20
Building Typologies - Industrial
Thesis Prep II - Site
21
Proposed Residential Building
Artist for Humanity Building
On the southern side of the site is an abandoned building that is currently being renovated to contain 75 residential units. 54 of the units are basic residential units, while 21 are designed to be artist studios. The close proximity
Site
to residential units will create a new interaction between living and working. There will become a direct link between the Artist for Humanity Building, the
Proposed Residential Building
proposed residential building and my own thesis proposal that will aid in revitalizing the site.
Site Relationships
Proposed residential building adjacent to site. Thesis Prep II - Site
22
Artist for Humanity The sites’ close proximity to the existing Artist for Humanity building located just across the South Boston Bypass creates a direct link to youth artists within the community. The Artist for Humanity building’s site location was chosen as a way to empower the urban youth and bring identity to a developing neighborhood in South Boston. The goal of Artist for Humanity is to bridge the gap between economical, racial and social barriers as a means to bring together underprivileged children in the community through the field of art. The building houses studios for young teens in the disciplines of screenprinting, photography, sculpture, painting, and urban media. The lower level, containing the gallery space, performs as a place to display work that may also be rented out for larger gatherings.
Large Gallery/Exhibition Space
Mechanical
Painting
Sculpture
Woodworking
Silk Screen
Photo
Office
Woodworking Studio Courtyard
Main Gallery
Longitudinal Section Thesis Prep II - Site
Interior/Exterior Space
Varying Room Heights
Images: Courtesy of AIA COTE Top Ten Green Projects 2007 23
Artist for Humanity
The large overhead door allows for the gallery space to spill outdoors, creating a link between community, street and building.
View from West 2nd Street
Main Gallery
Courtyard
Images: Courtesy of AIA COTE Top Ten Green Projects 2007 Gallery space open to exterior courtyard. Thesis Prep II - Site
Ground floor plan: Relationship to exterior courtyard 24
Thesis Studio (Spring 2010) Site
Thesis Studio - Site
25
Existing Building Material Study
Aluminum P
aneling
Copper
Paneling
k
Bric
Thesis Studio - Site
26
Residential vs. Industrial Typologies
Thesis Studio - Site
27
Site Views
Thesis Studio - Site
28
Existing Railroad Track Analysis
Thesis Studio - Site
29
Artist Space Initiative Artists help make boston a more livable city - a city of people and neighborhoods, a center of cultural life, and a vital economic center. They function as small businesses by providing jobs and services for Boston residents. Since the late 1960s, artists have helped transform marginal neighborhoods into dynamic communities. Frequently, festivals, galleries, small performance spaces and small retail spring up in these same areas though the work of resident artists, generating a vibrant street life that acts as a deterrent to crime, dramatically enhancing the quality of neighborhoods for both the people who live there and people who visit. According to the Boston Zoning Code, artists in live/work units are the only occupational group permitted to live in industrially zoned ares of the city. For commercial and non-profit developers with an interest in developing space for artists, the BRA recently developed design guidelines to articulate minimum requirements to meet artists’ needs (i.e., live/work units must be at least 1,000 square feet.)
Images: Courtesy of Boston Redevelopment Authority Thesis Studio - Site
30
1900 - American Railway Express Building Present - Fort Point Arts Community Past- 1900 Wool Warehouse 1902 - New England Confectionary Company Factory Fort Point Place Present - Midway Studios Past - 1897 Factory Buildings Gillette Site Artists for Humanity
The Signal Building Artist Residence
Boston Center for the Arts The Distillery
Wilkes Passage Lofts
Shawmut Crane and Rigging
ArtBlock Artist Community Artist and Industrial Facilities around South Boston Thesis Studio - Site
Industrial Facilities
Artist Facilities
Industrial transformed into Artist 31
Press Release Boston Targets $84 Million For Transportation Improvements
City submits application for federal stimulus grant for Port of Boston project; Project includes 4 sites that would immediately create 620 construction jobs.
Track Improvements for the South Boston Marine Industrial Park Rail Road - $14 Million The Track 61 Project was initiated to restore freight rail lines at the BMIP and to extend the freight track to service additional areas of the BIMP. The BIMP is the only port to freight rail connection remaining in Boston. These improvements would provide the BIMP and region with a unique advantage in the market place as a result of the air, ship/barge, rail and highway connections that would be available to businesses. The project includes the rehabilitation of 2,860 linear feet of railroad track, the construction of 5,910 linear feet of new track, and associated roadway improvements and drainage modifications.
Images: Courtesy of Boston Redevelopment Authority Thesis Studio - Site
32
Track 61 Improvements NTS
Existing Track 61 to South Boston
Track 61
Site
Thesis Studio - Site
Old Colony Mainline Dorchester Branch, Worcester Line, and Northeast Corridor
Figure 6 Economic Evaluation Track 61 Access
Images: Courtesy of Boston Redevelopment Authority 33
The Signal Building - Proposed Residential Building
Ground Floor Plan
2nd Floor Plan
1st Floor Plan
3rd Floor Plan
Thesis Studio - Site
Images: Courtesy of www.154westsecond.com 34
Thesis Prep II (Fall 2009) Program
Thesis Prep II - Program
35
Interactive architecture along with multi-purpose spaces can take a wide range of forms. These conceptual ideas can influence anything from office buildings, residential
complexes, commercial buildings to institutional uses. The idea of program in this thesis is one that has the ability to interact and adapt with its inhabitants, not only through occupants needs but also through various time spans. Looking at the program in this manner allows there to be a stronger connection between the occupant, the public and building. The interaction between these various elements must influence the way spaces and rooms are designed to respond with each other. The idea of an artist design studio has a strong correlation to these underlying themes.
Art design studios are very active and kinetic environments. The constant transfer of ideas, materials and people throughout the studio requires a space that can adapt
depending on the various needs. Artists and designers must be able to interact with their surroundings to best suit their demands. The three major elements of an artist design studio (the studios, galleries and group rooms) are in constant flux depending on the requirements for that time period.
There are a variety of studio types that may be present in this type of building. Painting, drawing, sculpture, glass making, ceramics and textiles are all possible disciplines
within art. Each discipline has similar and unique characteristics associated with them. This can lead to ways in which these spaces can change or overlap one another. The gallery space is an important aspect of any art studio. These spaces allow artist to display their works as well as engage the public. Various galleries may have different requirements depending on size, allowable light or sound levels. These variables support the idea of interactivity between artist and flexible space. Having the ability to respond to these elements gives the occupants a greater level of interaction with the built environment. Many spaces within an artist design studio call for small or large gatherings spaces, whether for meetings, or for large public art displays. Many times these spaces are only used for those specific needs, but with the idea of building interactivity, these spaces have the ability to respond to the building as well as the inhabitants’ needs. •
Artist Studios
- Drawings
4000 s.f.
- Painting
3000 s.f
•
Community Spaces
1000-3000 s.f
- Sculpture
3000 s.f
•
Offices
150-300 s.f/each
- Glass Making
5000 s.f
•
Café
1500 s.f
•
Crit Rooms
•
Exhibition Spaces
- Small (Flexible)
500-1000 s.f/each
- Small Groups
500-1500 s.f/each
- Large (Flexible)
1000-3000 s.f/each
- Large Groups
1500-4000 s.f/each
- Public/Lobby
500-6000 s.f
•
Thesis Prep II - Program
Services
Total: 2000 - 3000 s.f 36
Programmatic Diagram
Thesis Prep II - Program
37
Thesis Studio (Spring 2010) Program
Thesis Studio - Program
38
Initial Programmatic Relationship Study 1 Artist for Humanity
Large Painting Light: North SIze: Large Extra: Access to outdoors and paintable walls
Gallery Light: Diffused SIze: Large - Very Large Extra: Access to outdoors
Gallery
Light: North SIze: Medium Extra:
Light: Diffused SIze: Small Extra: Controlled Lighting
Media/Computer Art
Cafe
Light: Indirect SIze: Medium Extra: Room for Prosessors
Light: Natural SIze: Small Extra: Access to Outdoors, Kitchen
Small Painting
Lecture Hall/Auditorium Light: Diffuse SIze: Large Extra: Access to outdoors
Presentation Room Light: No Light SIze: Small Extra: Controlled Lighting
Gallery
Pottery/Ceramics
Sculpture
Light: Diffused SIze: Large - Very Large Extra: Access to outdoors
Light: Natural SIze: Large - Very Large Extra: Access to outdoors, Equipment
Gallery Offices Light: Natural SIze: Very Small Extra:
Light: Diffused SIze: Small Extra: Controlled Lighting, Access to outdoors
Light: Natural SIze: Medium Extra: Equipment
Wood Working Light: Natural SIze: Very Large Extra: Access to outdoors, Machinery
Proposed Artist Residence
Thesis Studio - Program
39
Initial Programmatic Relationship Study 2 Artist for Humanity Large Painting
Pottery/Ceramics
Light: North SIze: Large Extra: Access to outdoors and paintable walls
Small Painting
Offices Gallery
Light: Natural SIze: Very Small Extra:
Light: Diffused SIze: Large - Very Large Extra: Access to outdoors
Light: North SIze: Medium Extra:
Presentation Room
Gallery
Offices
Light: Diffused SIze: Small Extra: Controlled Lighting, Access to outdoors
Light: Natural SIze: Very Small Extra:
Light: Natural SIze: Medium Extra: Equipment
Light: No Light SIze: Small Extra: Controlled Lighting
Lecture Hall/Auditorium Light: Diffuse SIze: Large Extra: Access to outdoors
Cafe
Media/Computer Art
Light: Natural SIze: Small Extra: Access to Outdoors, Kitchen
Light: Indirect SIze: Medium Extra: Room for Prosessors
Gallery Light: Diffused SIze: Large - Very Large Extra: Access to outdoors
Gallery
Sculpture
Wood Working Light: Natural SIze: Very Large Extra: Access to outdoors, Machinery
Light: Natural SIze: Large - Very Large Extra: Access to outdoors, Equipment
Light: Diffused SIze: Small Extra: Controlled Lighting
Proposed Artist Residence
Thesis Studio - Program
40
Program Massing Studies
Thesis Studio - Program
41
Final Program List Sculpture Facilities • Assembly/Display Areas (2) • Sculpture Mock-up area (1) • Material Storage Offices/Studios • Artist Studios (3) • Administration Suites (4) • Conference Room (1) Public Amenities • Lobby • Reception • Bookstore • Cafe • Lounge (2) Support Spaces • Lavatories • Storage • Mechanical/Electrical • Freight Elevators Thesis Studio - Program
42
Thesis Prep II (Fall 2009) Precedents
Thesis Prep II - Precedents
43
Charles Hostler Student Center
Architect: Vincent James Associate Architects
The Charles Hostler Student Center in Beirut by Vincent James Associates Architects is an important example of how programmatic elements can respond to occupants’ needs throughout the course of the day. The student center consists of facilities for swimming, basketball, volleyball, as well as an auditorium, amphitheater and cafÊ. The building form redistributes air, activity and shade to form a continuous field of habitable space and a variety of microclimates.
Images: Courtesy of www.architectureweek.com Thesis Prep II - Precedents
Site Plan: Relationship of buildings to open spaces. Site lines directing views towards water. 44
Charles Hostler Student Center Architect: Vincent James Associate Architects The climate of Beirut allows for the inhabitants to occupy the lower levels during the day, which provides shade, and the open-air rooftops at night. This vertical relationship allows for a more three dimensional system of circulation, gathering spaces and program. The use of materials, light and transparency creates an interaction between the user and the building.
Connection of interior and exterior spaces.
Vertical circulation exposed to exterior spaces. Thesis Prep II - Precedents
Images: Courtesy of www.vjaa.com 45
School of Art and Art History at Iowa University Architect: Steven Holl
This building is important as it has a similar program to my own thesis. The building program includes studios for sculpture, painting, print making, offices galleries and a library. The building was designed to be adaptive and flexible in order to accommodate many activities dealing with teaching and practice. Flexible spaces connect the studio to the outdoors, creating a link between interior and exterior spaces. The relationship to the exterior and the way the users move through the space create an interaction to building and environment.
Relationship of building to existing natural surroundings. Thesis Prep II - Precedents
Images: Courtesy of www.stevenholl.com 46
School of Art and Art History at Iowa University Architect: Steven Holl The main passages throughout the building are meant to create meeting places as well as reveal the work in progress. The use of materials and the control of light create an overlap for experiential relationships.
Natural Light
Images: Courtesy of www.stevenholl.com Thesis Prep II - Precedents
Interior staircase
Workspace
Storage
Interior staircase 47
Loop Chairs Architect: Howeler Yoon Architecture The loops chairs are made out of a single band of polypropylene plastic. Howeler and Yoon studied the fabrication process, materiality and form to develop a chair that could be used in a variety of ways. The chair can accommodate a single occupant or multiple occupants, encouraging the user to renegotiate the boundaries of a typical chair. The chair is capable of slightly deflecting from the weight and subtle contours of a human body. Loop chairs not only cause the users to interact with it and each other, but is constantly transforming due to the users presence.
Images: Courtesy of www.hyarchitecture.com Thesis Prep II - Precedents
48
Thesis Studio (Spring 2010) Precedents
Thesis Studio - Precedents
49
Instillation
F
a
c
a
d
e
K i n e t i c
S
i
t
e
Interactive Party Wall
RV - Room Bump Out
• N Architects
Target Breezeway • Electroland
S h a d i n g Nordic Embassies • Berger+Parkkinen
V
i
e
w
Kiefer Technic Showroom “Dynamic Facade” • Giselbrecht + Partner ZT GmbH
s Lavin-Bernick Center
• Vincent James Associate
Moving House • dRMM
S p a t i a l
Fabios Restaurant
• BEHF Architekten
Milwaukee Art Museum • Santiago Calatrava
Charles Hostler Student Center • Vincent James Associates
S e n s o r y Interactive Fan Wall • Daan Roosegaarde Thesis Studio - Precedents
The Blur Building
• Diller and Scofidio 50
G a l l e r i e s
Natural
S
t
u
d
i
o
s
D
i
r
t
y
C
l
e
a
n
Light
Diffused Light
Transformable S u r f a c e s
I n d u s t r i a l A e s t h e t i c
S u r f a c e s
Thesis Studio - Precedents
51
Thesis Studio (Spring 2010)
Preliminary Conceptual Sketches
Thesis Studio - Preliminary Conceptual Sketches
52
Preliminary Facade Sketches
Thesis Studio - Preliminary Conceptual Sketches
53
Concept Sketches
Thesis Studio - Preliminary Conceptual Sketches
54
Site Lines - Sketches and Model
Thesis Studio - Preliminary Conceptual Sketches
Site Forces - Sketches and Model
55
Sketches diagraming Connection between Artist for Humanity Building and new Residential Building.
Thesis Studio - Preliminary Conceptual Sketches
56
Thesis Studio - Preliminary Conceptual Sketches
57
Conceptual Sections - Sketches and Models
Thesis Studio - Preliminary Conceptual Sketches
58
Program Study Model -
Studying Layering, Transparency and Spatial Relationships
Thesis Studio - Preliminary Conceptual Sketches
Site Shadow Study Model -
Analyzing shadow movement across the site at various times of the day.
59
Thesis Studio (Spring 2010)
Site Animation Studies
Thesis Studio - Site Animation Studies
60
Semi-Truck Turning Radius
Thesis Studio - Site Animation Studies
61
Transformable Room Study
Walking Movement Study
Semi-Truck Turning Movement Study
Thesis Studio - Site Animation Studies
62
Thesis Studio (Spring 2010)
Design Phase 1
Thesis Studio - Design Phase 1
63
Conceptual Image -
Demonstrating idea of projecting art into the city.
Thesis Studio - Design Phase 1
64
Conceptual Image -
Demonstrating idea of projecting art onto the Boston Skyline
Thesis Studio - Design Phase 1
65
Conceptual Facade Study -
Interactive facade tracking movement of site forces (i.e. Pedestrians, Traffic, Solar conditions).
Thesis Studio - Design Phase 1
66
Thesis Studio - Design Phase 1
67
Thesis Studio - Design Phase 1
68
Conceptual Sketches -
Studying various programmatic relationships and adjacencies.
Thesis Studio - Design Phase 1
69
Preliminary Building Plan -
Exterior skins consists of a series of canvas panels that allow artist to paint on and then display on the facade of the building towards Boston and the neighborhood of South Boston.
Thesis Studio - Design Phase 1
70
Preliminary Building Sections -
Showing artists studios in relationship to central exhibition space.
Thesis Studio - Design Phase 1
Artist Studios
Central Exhibition Space
Connection Zone
Artist Studios
Central Exhibition Space
Connection Zone 71
Preliminary Building Facade Design 1 -
Showing canvas Panels that can be positioned and rotated in a variety of ways to display artists’ art to the public.
Thesis Studio - Design Phase 1
72
Preliminary Building Facade Design 2 -
Showing portions of the building that can protrude in or out of the building dependent on the need for light, views or space. These spaces allow for the art to be exposed to the public throughout the day.
Thesis Studio - Design Phase 1
73
Thesis Studio (Spring 2010)
Design Phase 2
Thesis Studio - Design Phase 2
74
Preliminary Building Plan 1 -
Further development from Design Phase 1. Attempts to resolve programmatic relationships with the integration of egress, freight elevators and gallery spaces. Transformation from the initial program of multiple kinds of artist studios, to specifically large-scale, industrial sculptures.
Thesis Studio - Design Phase 2
75
Preliminary Building Plan 1a -
Further development of building plan 1. A closer, more in depth analysis at multiple scales, in relation to site density and sculpture size.
Thesis Studio - Design Phase 2
76
Building Section Diagrams -
Studies showing possible programmatic transformations depending on occupants’ needs throughout the course of the day.
Thesis Studio - Design Phase 2
77
Preliminary Building Section
Thesis Studio - Design Phase 2
78
Preliminary Building Plan 2 -
Further Development on Preliminary Building plan 1a, focusing on creating spaces that can transform in size, allowing various size sculptures to be manufactured.
Thesis Studio - Design Phase 2
79
Conceptual Building Massing -
Studying how various scale sculptures can be displayed on the exterior of the building.
Thesis Studio - Design Phase 2
80
Thesis Studio (Spring 2010)
Design Phase 3
Thesis Studio - Design Phase 3
81
Conceptual Sketches -
Looking at building form and ways to maintain views from the Proposed Residential Building. By locating the stairs, offices and services within three cores, allows the in between spaces to become open and transparent, maintaining views towards the skyline of Boston.
Thesis Studio - Design Phase 3
82
Conceptual Building Sections
Thesis Studio - Design Phase 3
83
Preliminary Building Plan -
Located specific zones where galleries could be sited dependant on views, scale and usage.
Thesis Studio - Design Phase 3
84
Concept Program Diagrams -
Diagrams focus on possible arrangement of major programs within the building. The overlaps became transitional zones between various types of program, helping to reinforce the form of the primary building cores.
Public
Gallery
Public
Thesis Studio - Design Phase 3
Studio
Gallery
Studio
Public
Public
Gallery
Gallery
Studio
Studio
85
1st Iteration - 2nd Floor Plan
C
B
Fabrication/Artist Studios
Assembly/Gallery “Nodes”
A
Assembly/Gallery “Nodes”
Fabrication/Artist Studios
Assembly/Gallery “Nodes”
A
C
B
0’
Thesis Studio - Design Phase 3
16’
32’
2nd Floor Plan
86
1st Iteration - 3rd Floor Plan
Fabrication/Artist Studios
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes” Fabrication/Artist Studios
Assembly/Gallery “Nodes”
0’
Thesis Studio - Design Phase 3
16’
32’
3rd Floor Plan
87
1st Iteration - 4th Floor Plan
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes”
Fabrication/Artist Studios
Fabrication/Artist Studios
0’
Thesis Studio - Design Phase 3
16’
32’
4th Floor Plan
88
1st Iteration - Building Sections
Thesis Studio - Design Phase 3
Cross Section A-A
0’
16’
32’
0’
16’
32’
Longitudinal Section B-B
0’
16’
32’
Longitudinal Section C-C
89
1st Iteration - Exhibit/Production Zones Study
This diagram studies the way that the various exhibit/production zones located throughout the building are connected to one another. While these spaces are being utilize for the manufacturing of sculptures, they can be closed off; once an exhibit is in progress, the spaces can once again become connected via transformable stair cases.
Thesis Studio - Design Phase 3
90
1st Iteration - Exhibit/Production Zones
Thesis Studio - Design Phase 3
91
1st Iteration - Transformable Stair Analysis
2nd Floor
3rd Floor
4th Floor Thesis Studio - Design Phase 3
92
Thesis Studio (Spring 2010) Final Design
Thesis Studio - Final Design
93
Thesis Studio - Final Design
94
Design Sketches
Thesis Studio - Final Design
95
Concept Section
Theater Concept Section
f
l
o u
s
e
ConTrol Thesis Studio - Final Design
r
s
o
u
s
T a g e
s
C
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l y l o f T
p
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f
l y l o f T
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T a g e
p o
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u
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Co
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b
T
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Co
n T r o l
96
Concept Building Model
Thesis Studio - Final Design
97
Theatrical Precedents
Thesis Studio - Final Design
Industrial Precedents
Large-Scale Industrial Sculptures Precedents
Richard Serra Design Process
98
Final Design - Ground Floor Plan
Thesis Studio - Final Design
99
Final Design - 2nd Floor Plan
Thesis Studio - Final Design
100
Final Design - 3rd Floor Plan
Thesis Studio - Final Design
101
Final Design - 4th Floor Plan
Final Design - 5th Floor Plan
Thesis Studio - Final Design
102
Final Design - Building Sections
Thesis Studio - Final Design
103
Final Design - Building Sections
Thesis Studio - Final Design
104
View from the Corner of West 2nd Street and B Street
View from the South Boston Bypass
Thesis Studio - Final Design
105
X-Bracing
Floor Slabs
Assembly Cub Floor Slabs
Moveable Walkways and Monumentall Stairs
Support Program
Truss System
Interior Wood Paneling
Structural Glass Fins
Exterior Metal Fabric
Assembly Cube Exterior Glazing
Thesis Studio - Final Design
Physical model detailing exterior metal fabric and structural x-bracing system. 106
Material Selection
Scaffolding Connectors
Thesis Studio - Final Design
Metal Fabric
Translucent Scrim
Plywood Paneling
107
Scaffolding Analysis
Monumental Stair Assembly Thesis Studio - Final Design
Construction Scaffolding Assembly
Truss Assembly
Movable Walkway Assembly 108
Roof Assembly Development -
The roof system consists of trusses, structural glass fins, exterior glazing and two gantry cranes. This portion of the building is meant to represent a typical fly-loft present in theater buildings.
Thesis Studio - Final Design
109
Exhibit/Production Cube Sketches -
This portion of the building is where the manufacturing and production of sculptures takes place during the day by artists, fabricators and steel workers. During the evening, the space is transformed into an exhibit space, allowing visitors to experience the construction of sculptures at many stages of production. This zone consists of a series of moveable walkways that allow the workers to construct the sculptures, as well as act as circulation through the building for the public during exhibits.
Thesis Studio - Final Design
110
Exhibit/Production Cube - Arranged for a media art projection scenario.
Thesis Studio - Final Design
111
Exhibit/Production Cube - Arranged for a installation artist scenario.
Thesis Studio - Final Design
112
Empty Space
Production Phase
Monday May 3rd, 2010
Wednesday May 19th, 2010
Coordination Phase
Final Production Phase
Tuesday May 4th, 2010
Wednesday May 26th, 2010
Assembly Wednesday May 5th, 2010 Thesis Studio - Final Design
Disassembly Wednesday June 2nd, 2010 113
Final Display Friday June 4th, 2010 Thesis Studio - Final Design
114
Final Model
Thesis Studio - Final Design
115
Final Model
Thesis Studio - Final Design
116
Final Model
Thesis Studio - Final Design
117
Graduation Exhibit Poster
Theatrical Art: Re-Defining Process
Thesis Studio - Final Design
118
Thesis Studio (Spring 2010) Conclusion
Thesis Studio - Conclusion
119
Conclusion After completing the spring 2010 semester and developing this thesis, I was able to look back at my initial Thesis prep I and II documents and re-visit goals that I had set up for myself.
Although my initial ideas of creating an “interactive architecture” changed slightly over the course of designing a building, some of my initial research and interests stayed with
me throughout the semester.
These preliminary goals were:
Objectives
•
To incorporate emerging digital technologies and materials to allow building and occupant to interact with each other.
•
To create spaces that are capable of adapting to the occupants needs throughout the course of the day.
Criteria for Evaluation
• Was the integration of interactive media a fully comprehensive study, or did it feel as if it was applied to the building?
• Is there a clear understanding of process that is concise and consistent that helps reinforce the main themes?
• Does the architecture successfully interact with the public and the inhabitant?
Through constant and thorough developments and iterations throughout the semester, the integration of interactive media did not supplement the direction my design was
heading. of
I was okay with these changes, as my overall design ideas were progressing with each review. I became very interested in creating a space that engaged the public and the skyline
Boston at multiple scales. Allowing the building to act as a machine for displaying and producing art in a theatrical, artistic way became the focus of my thesis.
An important criticism that I received at my final review had a lot to do with how my building interacts with the city of Boston at a more urban level. My building could have been able to distribute sculptures on trains and boats throughout the city, creating another level of interaction between what my building produces and the city of lot of time during the semester resolving issues regarding site and urban conditions.
Boston. I did not spend a
As my design became important in the distribution of sculptures throughout the city, as well as the
country, thinking more about possible implications on the urban level would have further strengthened my argument.
Another aspect that I could have looked into in more depth is the idea that the building does not need to be specific to sculpture production, but manufacturing in general. The building can then become a place of manufacturing for the city that disperses its products throughout the community, but can then become a facility where artist come from around the city and construct their pieces of work.
By not limiting the program to specifically sculpture production, I am capable of creating a most sustainable building in the community.
As I have concluded my thesis proposal, I feel strongly about the progress and developments made from my Initial Thesis Prospectus. I have created a space that interacts with the occupants, pedestrians and site at a variety of scales.
Creating a space that was capable of producing large sculptures and exposing the process of manufacturing, in a theatrical
aesthetic, became the focus of my thesis, which emerged from my early thesis research.
Thesis Studio - Conclusion
120
Thesis Studio -Conclusion
121
Bibliography
122
• Bullivant, Lucy. 4D Social: Interactive Design Environments 77, no. 4 (July/August 2007) • Bullivant, Lucy. Responsive Environments: Architecture, Art and Design. South Kensington, London: V & A Publications, 2006. • Fox, Michael, and Miles Kemp. Interactive Architecture. New York: Princeton Architectural Press, 2009 • Kronenburg, Robert. Spirit of the Machine: Technology as an Inspiration in Architectural Design. Great Britain: Wiley-Academy, 2001 • Yoon, Meejin J., and Eric Howeler. Expanded Practice: Howeler Yoon Architecture/My Studio. New York: Princeton Architectural Press, 2009. • Zeidler, Eberhard H. Multi-Use Architecture in the Urban Context. New York: Van Nostrand Reinhold, 1985
Bibliography
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