the art of weathering
thesis draft 1 taylor hayda fall 2013
table of contents
abstract material honesty contextual harmony programatic content charette painting cultural functionality material intervention piedras blancas the earth and the sea lady of the night
2-3 4-5 6-7 8-9 10-11 12-13 14-15 16-17 18-19 20-21
Buildings should be crafted with integrity and get better with time, improve the world with time. The issue isn’t designing a building that doesn’t age, but instead designing a building that will become increasingly more beautiful as it does age.
Finishing ends construction. weathering constructs finishes. - Mohsen Mostafavi
abstract
Buildings are intended to be permanent structures, monuments that persist through time; however, that is not the case. Every building will eventually fall victim to weathering, an outcome that is undeniable and unavoidable. “Weathering does not construct, it destroys” (MM). This sobering end is known from the beginning, yet given far too little attention in the design process. If buildings were designed with a combined goal of longevity and beauty then there would be far less loss and deterioration.
Projects involving renovating, remodeling, or repurposing have been gaining in popularity lately, due partly to trends, but ultimately because there are an enormous amount of deteriorating buildings that have been neglected. Some of these buildings served an appropriate lifespan, most have aged far quicker than sustainably acceptable because the architect didn’t plan for the entire future of the building. While adaptive reuse projects are
necessary and important in this mod- the aim should be to design in such a ern time, they ultimately are a solu- way so the the problem never occurs. tion to a problem that could have been avoided from the beginning. Trying to reverse the effects of aging is a much harder task than designBuildings should be crafted with in- ing a building that uses aging to its tegrity and get better with time, advantage. The intent of my thesis improve the world with time. project is to design a programmatThe issue isn’t designing a building ically adaptable building in a harsh that doesn’t age, but instead design- weather impact environment that ing a building that will become in- uses the effects of climate and time creasingly more beautiful as it does in a beneficial and sustainable way. age. Rather than solving a problem,
- Vinegar + Aluminum Foil -
- potato + dish soap -
- baking soda + water-
- Vinegar soak -
- salt + lime -
material honesty
Take old wood floors, with the years they get polished by feet. The scratches become part of the wood’s fabric. The years of natural oils harden the surface further. With time they become more and more beautiful. Contrast this with a laminate floor. It begins shiny and new; however, this material is an impostor which will eventually wear out, peel at the corners and uncover its true self – If all of these factors are studied and crap particle board. Sooner or later age carefully considered in the design will reveal it for what it is, and it is nothprocess than the result would be ing. Buildings should mimic this idea. buildings that grow with the environment rather than against it, buildings If it is built with honest, quality, solid mathat last centuries rather than de- terials thoughtfully chosen for the landcades, buildings that age beautifully. scape and the environment then the It is an architects responsibility to know the site, the elements that will effect that site, as well as the projected future of the site. It is also the responsibility of the architect to fully understand the materials being built with, the effects of weathering on those materials, and the projected maintenance of all materials used.
building stands a chance at mimicking unique way. Some products produced the simple essence of old wood floors. immediate effects while others continued to develop and adapt over time. This example is not to say that wood is the optimal material choice for every project, in most weather intensive en- The weathering and aging a buildvironments wood will rot and ultimately ing experience should work to tell the decay. The intention of the example was story of the building, relying on time to point out that when quality, honest to reveal the materials for what they materials are selected, the natural pro- are. When architects design with this gression of aging can create beautifully honest mentality, building with maunique characteristics: i.e. rust swatch- terials that are good and solid all the es treated with everyday products. way through, time only reveals another I experimented applying different mate- interesting layer, just as beautiful as rials to a rusted metal 2 x 4, the result: the original layer the day it was built. engaging organic rust patterns. Each material effected the rusted metal in a
contextual harmony.
In Peter Zumthor’s essay “A Way of Looking at Things” he writes about the “presence of certain buildings” having an air of secrecy. As if those buildings fit so perfectly into their surroundings that “we do not pay any special attention to them... yet it is virtually impossible to imagine the place without them”. These hypothetical buildings he speaks of exist. They are the buildings that are so purposefully designed that they have no choice but
meticulous research, observation, and understanding from the architect the building that “engages in meaningful dialogue with the existing situation,” would stick out like a sore thumb, far from belonging to its environment. There are a variety of challenges in creating contextual harmony between a building and its surroundings depending on the area. A building in The architect’s conscious design de- a densely populated urban setting cisions are what led the building to will have much different site characsuch contextual harmony. Without the teristics than a free standing buildto “grow naturally into being part of the form and the history of the place”. Of course these buildings are, in a sense, contradictory to their very cores. They appear to so well accepted into their surroundings that it is almost unfathomable to think they could have been designed in any other way; however, that is the secret the building is hiding.
ing in nature. A strip mall in suburbia faces drastically opposing function implements compared to a small cathedral in a rural mountain village. The surroundings of a building play a vital role in shaping how the building will interact with its site visually, environmentally, socially, spatially, structurally, and functionally and the interaction between site and structure effects how an architect approaches the design process.
The si ture, is highwa ment i lenge buildin turb th speak ruin th There system of a b ticipate
This stump turned art supply stand is a prime example of using the site to shape and influence the project. The rough, gnarled appearance of the wood brings contextual harmony to the finished piece. The wood will only become more weathered from both natural elements as well as paint and ink from being used. That is the idea. The art stand will increase in uniqueness and character as it ages and begins to hold stories of its own.
charette # 4 - form analogue
ite of my thesis project is in nasolated from other buildings, busy ays and congested. The environis peaceful and pure. The chalto my project will be creating a ng that does not disrespect or dishe landscape. The building should for itself, but not dominate or he conversation of the landscape. is a fine balance that the ecom survives by and the addition building will have to carefully ane the needs of the environment.
picture of newstand
programatic content.
The programatic intent of a building influences not only the success of the building, but also its longevity. A building must address its specific program requirements with careful consideration to the future. It must provide a solution that addresses the needs of the present while keeping accountable to the projected needs of the future. This is a daunting task, as no architect can fully predict the needs of generations to come; however, there is a general consensus for the direction
society is headed and it should have an will, in all likelihood be phased out of influence on the way architects think. relevancy in the distant future. The need for public libraries, shopping cenThe world has become a technolog- ters, even schools will be diminished ical wonder. Nearly every part of the with the growth of our digital addiction. average persons day is influenced in some way by technology. The con- Children will attend school not in a stant need for digital connection has classroom at the local elementary taken over our built environment and school but from the comfort of their own will continue to do so as technologies homes in an online class taught by a advance and become more functional digital teacher. People will buy clothes, and sustainable. The sad truth of it is christmas presents, maybe even grothat buildings that are germane today ceries from an online source which
delivers these goods right to their doorsteps. Libraries that once provided a home to thousands of printed books will become desolate and deserted as the availability of digital technologies and internet services expand. While this theory is dramatic and a bit morbid in regards to our societal values, it raises awareness of the need for buildings that have sustainable lifespans.
cultural functionality
Architects are presented with two obvious options when attempting to extend the functional use of a building. Design a space that is programmatically adaptable or design a space that will be relevant forever. The first of those two options is presumably more practical in a design aspect due to the challenging nature of the second option: creating timeless architecture. Both options are viable. Designing a building with a temporary programatic function ensures that the building will not lay dor-
mant or deteriorate into ruins after the natural weathering starts occurring initial program is no longer applicable. and without regular maintenance the building starts to decay and deteriorate Imagine a town decides to build a brand becoming a blemish to the aesthetics new state of the arc five million dol- of the town. Here lies the problem. lar bowling alley. The alley does very well for a few years, generating profits, This building, now useless to the bringing people with a love of bowling eyes of the town, is overly specialtogether until the trends change and ized and unable to be adapted for people stop bowling. This once grandi- another function.The building is no ose structure with its very specific pro- longer valuable so it is torn down gram and structure now sits empty, ab- after far too short of a lifespan. sent of people and profitable use. Soon I’m not saying that a bowling alley can’t
be successful, or that people will stop bowling at any point in the foreseeable future, I’m using this trivial example to point out that the entire problem could have been avoided. If the architect had thought about the future of the building, its life after bowling, it could have been designed without permanent structure allowing for the possibility of another function. Buildings that have the ability to grow with changing environments and cultures are profoundly more sustainable than one time use structures.
The lat space tomati functio cultura with its it shou require materi site, as ing of ments
ter of the two options, designing a that will be relevant forever, is auically sustainable in regards to its onality. A building that withstands al changes and learns to grow s environment rather than against uld be the paramount goal. This es the use of properly selected iality, meticulous analysis of the s well as an in-depth understandf societies needs and requires both presently and in the future.
A prominent goal of my thesis project is to design in a culturally sustainable way. I intend to design a small bed and breakfast/cafe that will serve as a stopping point for visitors entering and leaving Big Sur. My aim is to effectively adapt existing buildings, blending the past and present while looking to the future. The project will pay its respect to the history of the areas environment and culture, while remaining current and functional in present day society.
A foosball table is inherently intended for the sole purpose of entertainment. The typical household foosball table is voluminous, clunky and ultimately, an enormous eyesore. The aim of this piece was to create a functional foosball table that brings beauty to its environment, acting more as an art piece than game. This foosball table captures the free-spirited essence of the game while embodying a modernist approach to design. A piece that is functionally adaptable to multiple environments.
material intervention
Materiality will play a crucial role in the design of my thesis project. The materials have a heavy burden to bare. They need to be durable, able to withstand harsh weather conditions that change frequently, from the environment, creating a connection to the existing conditions, and most importantly they need to age well. If the building is going to achieve its intended goal of becoming more beautiful with age then the materials built with need to reflect that same idea.
This landscape intervention utilized site found materials to create an artistic intervention. The materials are simple - sand and rock, yet the subtle manipulation into the surface of the sand draws attention to the beauty of the materials. The idea was simple, yet appeals to the most primal beach instincts - dig a hole, build a mound. The intervention flows effortlessly with the existing conditions. Its stands out from its surroundings yet echoes
back the same essence. While this intervention is not permanent, as my building will be, it contains the same material simplicity that I hope to achieve. My thesis project will be an intervention that connects the existing structures on the site with the simple beauty of the landscape and sea.
piedras blancas
The site I have chosen for my thesis project is a historic old light house on the Central Coast of California: Piedras Blancas Light Station. The light house sits on a rugged windswept point of land, six miles north of Hearst Castle, along California’s scenic Highway One. This stretch of The One is fairly secluded with few buildings dotting the highway as it leaves San Simeon, winding its way into the southern portion of Big Sur.
black trimming. Surrounding buildings were erected soon after the light station housing the keepers and their families, the fog signal, barn/garage, as well as a concrete oil house. Originally standing at one hundred feet tall, the light house suffered from earthquake damage in 1948 eventually leading to remove the upper three floors: the fourth landing, watch room, and lantern. The tower now stands at seventy feet fall, truncated, missing its ornate upper levels.
first time I drove by them on the way up the coast to big sur. The light house nearly blends into the soft pallet of colors in which the landscape is painted. It is evident that the dull cluster of buildings has served greatly to the history of the area. The buildings, while sitting silently along the shore, seem as if they are braggingly whispering of the stories they can tell, the things, they have seen, the storms they have fought.
Built in 1875, the tower boasts an appearance typical to that of a light sta- The light house and all of the surtion found on the Atlantic Seaboard - roundings buildings project a tired air conical in shape , a white exterior with of abandonment. I can remember the
The light house has stood for nearly one hundred and fifty years. It has seen this landscape change and adapt. Surviving different functions, people,
natural disasters, the light house has remained, wind battered, yet still standing tall for all to see. I do not few the light house as forgotten or deteriorating, rather as continuing its lifespan in a different stage. The aging process of this building has revealed new layers and new opportunities for growth. The light house today is beautiful, aged and weathered, confident in its rich history.
the earth and the sea
This stretch of freeway is one of the most beautiful I have ever had the privilege of driving: where the earth meets the sea. The area is desolate, with the exception of giant elephant seals basking in the warm sun on the sand, there are few visitors. The ocean here is a fascinating creature. It can be unforgivably brutal and breath-takingly beautiful at the same time. The gentile subdued tones of the earth in contrast to the dark, almost black waves crashing violently against the
white rocks. I imagine the changes this environment has gone though since the light house was built. The landscape changes drastically from night to day, sun to rain. Constantly adapting, returning to a balance within the ecosystem. Much like an hour glass.
pure and natural and wonderful. Both earth and water signify beauty, both represent light and dark, strong and soft, heat and chill. This site analogue is meant as a representation of shifting beauty. The shadow effect the draining sand has on the wood blurs the line between dark and light and emphasizes The water and the sand are entirely the ever changing nature of the object. different beings; yet, as the tides rise and fall the two separate entities blend, I aim to design a building that acts in mixing together, unidentifiable for a a similar way. Creating a conversashort period of time. Both elements are tion between land and sea, nature
and man, new and old. Allowing for an environment that blends together in a smooth harmonious way and becomes more integrated into the environment over time. Just as the sand falls and settles into the pile, the building will weather and age benefitting the landscape and the functionality of the building. Meeting the needs of the environment and society.
lady of the night
standing, abandoned collecting sand in the dark her light dully shines gracefully waiting she beacons you to come near tempting, with warm light warn by the winds touch harsh storms or sand, rain, and fright still, she stands good