Fall 2020 | Valeriu Gorobei | SACD Core Design Portfolio

valeriu GOROBEI CORE DESIGN PORTFOLIO

INTRODUCTION “My name is Valeriu Gorobei, and my portfolio is a representation of all that I’ve learned and accomplished as a Core Design student. During these three semesters, I learned that architecture is not only about building and creating an actual structure. On the contrary, true architecture is defined by spatial quality, hierarchy, scale, and much more. Understanding the essence of architecture allowed me to meditate and experiment that led to expanding my creativity.

The writing samples in this portfolio show how my critical thinking skills have evolved throughout the program. Learning the architectural language opened doors to opportunities. As well as, helped to visualize the language between the elements and create coherence. Finally, it improved my graphical representation of my ideas and designing process.

This knowledge will serve as a foundation towards creating future architecture, relying on experience, and striving to reach new heights and accomplishments.”

VALERIU GOROBEI The University of South Florida School of Architecture and Community Design ADDRESS 5227 Net Dr, Tampa FL 33634 EMAIL valeriu.gorobei@gmail.com CELL (813) 993-6693 WEBSITE vgorobei.myportfolio.com

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CONTENT core design ONE

Levent Kara

♦ THE MOTHERSHIP AND THE SATELLITE.............................................. 6 ♦ CHARLESTON INTERVETION: ART HOUSE........................................... 18

core design TWO

Mark Weston

♦ THE MEMORIAL WALL........................................................................ 40 ♦ CENTER FOR DISEASE CONTROL AND PREVENTION........................... 60

core design THREE

Mark Weston & Tommy Goodwill ♦ THE HIGH LINE................................................................................... 86

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core design ONE The Mothership and the Satellite Levent Kara - Fall 2019

* Draft Model

Draft Model

♌ Space Development Space, textures, and light are three key concepts to approach this project, concepts that merge into an architecture as simple as the fact of having a paradise to inhabit. The spaces are methodically distributed in two different scales that contain interior and exterior areas.

The draft model is composed of Mothership and Satellite tied together by the circulation, the Mothership invites the light to flow in through space in-between and enhances the dialogue between the interior and exterior as one flows through one space to another.

* Draft Model - Elevations

* Floor Plans 8

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Longitudinal Section

♌ Relationship with the existing building The longitudinal section investigates the relationship of enclosure and how the light and shadow interact. Light generates the path of circulation and transition between the spaces. These spaces of lights are experienced at different elevations in accordance with the time of the day. The building’s architecture was inspired by site conditions and raw materials, such as stone veneer and concrete, as a means to search for a cozy ambiance and to tie two areas with a roof-bridge.

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Final Model Final Model ♌ Elevations The architectural design reflects the simplicity of the white color through its concentric and orthogonal design that exemplifies the concept of equality.

Instead of large counters with different radius, a simple and equal module of the 90-degree angle is designed for each member to be aggregated to others, in order to promote individuality and identity, and at the same time express the strength. To emphasize the role of the center as a core, it has been developed as a skin element that will partially allow in the interior creating hierarchy in spaces. Connecting The Mothership and The Sattelite, the bridge/roof creates a narrow path between the two.

Color is an integral element of our world, not just in the natural environment but also in the man-made architectural environment. Color always played a role in the human evolutionary process. The environment and its colors are perceived, and the brain processes and judges what it perceives on an objective and subjective basis. For these reasons, the simple white model was made to preserve its pure spatial qualities.

* Front Elevation

* Side Elevation

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* Final Model

* Massing

* Structure

* Draft

* Final

Final Model ♌ Envelope

Envelope development starts with an orange peel that helps to generate the overall shape. The second phase is to add structure and understand how the massing holds in one peace. Next, the structure is infilled with solid surfaced, transparent, and opaque. After, three vertical columns where added that reinforce and brake the surface.

In the final model, these columns create separations that allow light to penetrate.

Another contrast is found in the main Mothership, which creates an attractive fusion of circular and majestic forms within plates. A giraffe figure is incorporated in the center of the model, a detail that breaks with the white design of the walls and turns it into a monumental totem that rises in the core. The interior has devised a spatial program that facilitates a variety of connections and transitions between levels.

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* Final Model - Isometric View

* Final Model - Top View

Final Model

♌ Light Distribution Lighting plays a vital role in the way people experience and understand architecture. By using the light coming from the interior and dark exterior we introduce the manipulation of light and color to affect the character of space. To create a successful balance between lighting and architecture, it’s important to remember three key aspects of architectural lighting: aesthetic, function, and efficiency. Finally, lighting enhances the way we perceive architecture even more.

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core design ONE Charleston Intervention: Art House Levent Kara - Fall 2019

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Project Intro

♌ Sectional Study The intervention in Charleston, South Carolina, creates a urban settlement in the manner of an old traditional city with individual buildings that are organically related to the surrounding landscape. The focus of the architectural composition centers on the existing lawn which forms a plateau for outdoor gathering and as a place of mediation between buildings and nature.

The new building embraces a central lawn, where gathering and activities for large groups of visitors take place. Sheltered outdoor spaces are also provided around the multi-purpose room, where small group activities and learning could be flexibly conducted amid nature. The lawns surrounding the buildings with trees as natural shade also serve as ideal places for concerts and leisure at all times. The first step to incorporate the building is through sectional drawing that reveals the layers in which the site blends with the new addition as well as experimenting with the circulation to tie the spaces and a fluent flow.

* Longitudinal Section - Draft

* Axonometric View - Draft

* Cross Section - Draft 20

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* Draft Model - Top View

Draft Model ♌ Site Analysis

* Draft Model - Elevation Views

Architectonic design, efficiency, and pleasant distributions were the main parameters followed in this project. With these factors as a core, the draft model has an experimental envelope that allows natural light to reach almost every space. Having the immediate landscape with the existing buildings as a guideline, the overall shape reaches the near constructions to connect. The textures and simple combination of materials are basic to understand that the lines can contain prominence and exclusivity. Such is the case of the massive transparent panels that contrast with the solid ones.

* Draft Model with Existing Site

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Cafe

Floor Plans

♦ Programming The first level has a welcoming reception with an open multi-purpose space where events can be held. In addition, the first level has a double-height cafe that opens to the backyard and extends the footprint of the building.

The second level is multicultural yard sale that will engage the people to interact and explore different cultures. Furthermore, there is a patio that overlooks the park that can be transformed into an even stage if needed. The third level features a terrace with some narrow balconies as well as administrative spaces.

The multi-purpose structure allows for flexible ground plan configurations and has a conscious natural lighting design, a light that flows organically in all corners

Reception

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* First Level Graphic Scale: 1 inch = 32 feet

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Multi-Purpose

Open to Below

Terrace

Multi-Purpose Office

MultiPurpose

Patio

* Second Level

* Third Level

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Building Section

♌ Relationship with the existing building The building does not have a clear main entrance. Only three exposed diagonal wooden posts at the front are used to define the entrance space. The cross-section size of the wooden posts is similar to that of the surrounding tree, making it easier to blend into the environment visually. The waviness of the roof is further enhanced. The relationship between the building and the place is the floating feeling that arises naturally. The symbolic architectural language is used to establish a connection with the historical environment. The curvilinear panels complement the curved ribs of the light scoops overhead, while the shift in materiality from transparent to opaque offers a softening counterpoint to the existing space.

* Cross Section

* Longitudinal Section

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Exploded Axoniometric ♌ Envelope

The exploded view helps to visualize the spatial design created. The design comprises two exterior envelopes in dark gray including multiple showcases and an intimate space preserved in the core. The two envelopes exude their own specific ambiance, arising from the desire to recreate that distinct intimate feeling of a transparent room. One of the highlights of the project is the circulation, a true contemporary staircase that has natural light and is mashed between the layers. The interior is an intimate interplay between the visitor exhibition held.

* Exploded Axonometric View

* NE Axonometric View

* SE Axonometric View

* NW Axonometric View

* SW Axonometric View

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Interior Perspective View ♌ Transparency

This perspective shows the spatial quality and transparency of the envelope. It provides as well as direct contact with nature, as it is surrounded by fabulous views, and landscape which is a very desired attribute in a public project. The sharpness of the edges contributes to the integration of a mass into a complex context; the offset façade is another trace of a new shape, creating a transition space. The floating sensation felt is due to the massive glass panels constructions which project out from the first up to the third level.

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* Final Model - Elevation Views

Dividing the Mass ♌ Elevations View

The building has two prominent languages, one being organic and another more triangular. The organic envelope has a narrow staircase leading to the second floor and it absorbs a massive amount of natural light. Being almost transparent, having only a few spandrel panels, the building embraces the light from the south side and welcomes the visitor trou this light path. On the other hand, the triangular envelope is more settle and an upward directionality that expands going up. These two languages blend cohesively thru the roof and vanish the interaction points.

* Final Model

* Final Model - Top View 32

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Building Positioning ♌ Within Existing Site

The environments are simple, basic, and structurally designed to engage and represent the community. With extensive open areas that allow the inhabitants, privacy that is lived in total freedom. The outdoor atmospheres are spacious, comfortable, designed to feel the warmth of Charleston. The multi-purpose room, designed as a glass pavilion facing the heart of the campus, relates directly to the lawn as a form of continuity between inside and outside. A semi-open study-terrace offers an incomparable view of the natural landscape as well as the park on the ground level.

* Final Model - Isometric View 34

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* Upper Patio

“Architecture is the learned game, correct & magnificent, of forms assembled in the light.�

- Le Corbusier

* Envelope

* Main Entrance

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Final Model

♌ Dramatic Lighting A concept was sought that not only addresses the technical requirements of the high flow of visitors but also addresses issues of sustainability in our time that takes a stand. The implemented design concept goes beyond that.

It uses existing architectural language repetitively and combines them to form an entrance building with a ramp system to receive visitors to the exhibition and to guide them into the multi-purpose hall. The diamond shape windows support this passive daylighting approach, while visually connecting the interior with the existing landscape.

* Final Model - Envelope

* Final Model - Rear Entrance

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core design TWO The Memorial Wall Mark Weston - Spring 2020

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Project Intro ♌ Site Analysis

The orientation of the project aimed to recompose the site’s original topography and inserting on it into an artificial element: floor ceiling, a wall, and the tower. The first step of the project was the cyanotype exercise that leads to abstract studies that explore the inherent materiality, texture, scale, and future three-dimensional quality. Multiple layers were applied to create a composition that would later be generated for site conditions as well as digital graphics. The tectonics of the graphics becomes the tectonics of the conceptual landscape. Certain frames were cut out to reveal specific scenes from that are present on the site.

The spatial design is divided into 3 sections and conceived as space. The three individual spaces exude their own specific ambiance, arising from the desire to recreate that distinct intimate feeling of a sacred space. The spatial design is innovative and quite physical. In the layout, the longitudinal shape is placed into the site diagonally, which not only elongates the moving line from one element to another but also makes the longitudinal shape more intuitive. The far-reaching cornice margins and extensive water applications present a directionless floating sensation. Accompanied by the swaying shadow of the future vertical elements, providing charming tranquility.

Cyanotype is a photographic printing process that produces a cyan-blue print. Architects and engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. Numerous contemporary artists employ the cyanotype process in their art: Christian Marclay, Marco Breuer, Kate Cordsen and John Dugdale.

*Cyanotype - Colaj for the Site Plan

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Site Analysis ♌ Draft Model

The Memorial Wall project is an emphasis on the development of manual and conceptual dexterity in drawing, sketching and model making. These skills are a fundamental tool to optimize a flexible and generative design process, especially in conjunction with a digital design that we will undertake in future design.

These threedraft models help to understand the coherence between spaces and connect them with the circulation system. Furthermore, based on them we have a clear view of the spaces and we can make changes if needed to find the right balance.

Through the development of richly layered drawings, we learn how these conventions can be enlivened by light and shadow, materiality, and other experiential phenomena. This abstrat site plan drawing is a combination of core, linear elements, massing, circulation system, and moving elements. In the first model, the emphasis is on the core as a mass and circulation system as a connection system between the spaces. The second model shows the linear elements in the form of floors and walls. The third model shows core as the main element with few vertical elements designsated for shading. Black and white colors help to choose the materials and understand the spirit of a building.

* Draft Models

* Site Plan

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* The Tower - Axonometric View

First Floor The first level has an innovative artistic spatial atmosphere through the comparison between the roughness of the cast-in-situ concrete and the exquisite space formed by the paralleled structure. This structure implies integration of inside and outside, while perfectly integrating into itself the lighting system. As for circulation, the lobby (exhibition hall) connecting the square, to which the structure directs, marks the prelude of the spatial sequence.

Third Floor The third floor is half-floor shifted to the adjacent one to alleviate the sense of steepness when one climbs up while extending the length of the circulation, thus a rich spatial sequence has been established. The exhibition rooms of different levels share spatial transparency, infiltrating into each other, offering the visitors a step-by-step sense of upward movement during the promenade inside.

Fifth Floor With a helix movement, the visitors ascend, layer by layer, in the enclosed structure, and ultimately reach the exhibition room on the top floor, where the space burst into through the opening and the orientation of the structure is also in line with the view. It has a conscious natural lighting design, a light that flows organically in all corners, and that inspires a living and transcendent project.

Thus not only a spatial trilogy has been accomplished, but the structure orientation has firmly linked and directed to the landscape.

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Longitudinal Section ♌ Site Analysis

The project has three components: a tower, a wall, and floor-ceiling. These elements were to be connected through a prominent. The conceptual landscape is an ancient one and the narrative behind it is about seeing the future and the transformation that will accrue. The composition has a hierarchy by having the floor-ceiling as a starting point. This takes you to a journey along the massive glass wall and the river. Guiding towards the tower that is the dominant element that serves as an observatory to the entire site.

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Wall Perspective ♌ The path

The south façade of the tower was also disposed of as a series of slightly concaved panels, as if it were the external extension of the inner structure, constituting the frontality of the tower towards the square. Combining the tower lobby with cultural and creative space such as cafÊ and art store, a unique place of entrance comes into being with the preservation of historical heritage. The terrace of the lobby is thus given the form of a bleacher, becoming a possible stage for potential public events in the future that is cantilevered on top of the river on both sides.

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Bridge View ♌ The Wall

The bridge over the river creates a sensation of floating. The overall structure follows a rigorous metric that shares its proportions with a large promenade that leads to the wall. The opening up of a large canopy in the center of the space alludes to the open-air patio that separates the roof-ceiling and the wall. Finishings are minimal, with concrete and white surfaces. Lines of lighting work to emphasize the exterior drama of the space. The small square plaza is embedded in architectural design as an integral part of the user experience.

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“Building art is a synthesis of life in materialised form. We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together.�

- Alvar Aalto

* Final Model - Top View

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Final Model

♦ Dramatic Lightning Lighting plays a vital role in the way people experience and understand architecture. Whether buildings and structures are lit naturally or artificially, lighting is the medium that allows us to see and appreciate the beauty in the buildings around us.

Lighting can bring an emotional value to architecture – it helps create an experience for those who occupy the space. Without lighting, where would architecture be? Would it still have the same impact? No, it wouldn’t. Whether it’s daylighting or artificial lighting, light draws attention to textures, colors, and forms of a space, helping architecture achieve its true purpose. Vision is the single most important sense through which we enjoy architecture, and lighting enhances the way we perceive architecture even more.

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“Most architects today strive to create spaces that are more than just four walls and a ceiling. Since it is our human nature to explore our senses, it is one of the architect’s responsibilities to continuously look for new ways to stimulate the built environment both on the exterior and on the interior. As architects, it is our challenge to continue to explore the elements that cross boundaries. We should continue to be more fertile in our approach to clients so they get a better understanding of the emotions we are trying to provoke in the spaces we design. The more spaces we build with this phenomenon in mind, the more we can begin to learn and became familiar with other natural senses we do not use as often as nature intended. In the end, this can provide a better living experience.�

- Eric Baugher

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core design TWO - Center for Disease Control and Prevention Mark Weston - Spring 2020

Project Intro The foundation of this project is the virus known as COVID-19 which is a new coronavirus that has spread throughout the world. This pandemic virus has shown that we are not ready to hospitalize and quarantine all the infectet patients. As a result, there is a need in additonal Centers for Disease Control and Prevention.

The site is located in Miami, FL. New addition will serve as a testing and research facility connecting to an existing hospitalization building.

The facility’s services also include: - monitor health - testing for infected - detect and investigate health problems - conduct research to enhance prevention - promote healthy behaviors - foster safe and healthful environments

* Site Location, Miami FL

Precedents Study The eight-floor building now serves as headquarters for the National Center for Chronic Disease Prevention and Health Promotion (NCCDPHP) and houses approximately 1000 health professionals who moved in during the summer months.

Location: Completion: Architect: Category: Area:

Chamblee, GA 2013 CUH2A, a division of HDR Smith Carter Federal & Military 269,139 sq ft

* National Center for Chronic Disease Prevention and Health Promotion (NCCDPHP)

This 11-story, 370,000-square-foot emerging infectious diseases laboratory facility for the CDC in Atlanta includes Biosafety Levels 2, 3 and 4 laboratories. Included is adjacent office areas, as well as an attached five-story facility to provide space for specialized functions, including analytical equipment labs, molecular biology suites and a central glass wash facility.

Location: Atlanta, GA Completion: 2004 Architect: Perkins + Will Category: Research and Development Area: 370,000 sq ft

Facility

* Centers for Disease Control and Prevention (CDC) Bld. 18 62

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Draft Model ♌ Massing

The draft model focuses on establishing a relationship with the existing buildings. Furthermore, the existing apartments will be reprogramed in a hospitalization wing for the new addition. The footprint of the building is limited and is rising vertical embracing the natural light from both sides.

Due to CDC requirements, the building has multiple entrances such as main/possible infected, infected, employees. In addition, the program includes a restaurant that is opened to the community separately from the main building, on top of which is a green area.

* Axonometric Views

* Draft Model with Existing Site

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* First Floor Plan 1- Reception 2- Waiting Area 3- Testing Room 4- Rapid Contamination Survey 5- Restrooms

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* Second Floor Plan 1- Rapid Contamination Survey 2- Complete Contamination Survey 3- Laboratory 4- Vaccination 5- Waiting Area 6- Restaurant

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Graphic Scale: 1 inch = 32 feet 0’ 2’ 4’

* Fourth Floor Plan 1- Restaurant 2- Dose Assessment 3- Laboratory 4- Office 5- Storage 6- Restrooms

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32’

* Fifth Floor Plan 1- Patio/Garden 2- Reception 3- Disinfecting Room 4- Storage 5- Restrooms

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* Site Plan

Longitudinal Section The design concept rests on the idea to offer a long lasting improved CDC facility involving the community through design and construction while adopting locally sourced materials and traditional techniques. The design is based on simple considerations of accessibility and strategic flows separation to avoid cross contamination between outpatients, in-

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* Site Plan

Cross Section The facility harmoniously intersects with the existing residential streetscape through the use of a refined material palette, tall curtainwall, and a glass roof. The balance of the program and the principles of proportion and orientation have been achieved by having an open core wrapping the circulation around.

The building takes on two masses divided by the glass “turning toward the sun� which are arranged to create a journey through the building that allows for ease of wayfinding, reduced circulation, and a functional program with minimal dead space.

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Ecological Footprint ♌ Building Elevations

* West Elevation

* North Elevation

* East Elevation

* South Elevation

This is an eco-friendly building utilizing such materials as non-toxic and derived from renewable raw materials as well as the sparing use of in-situ concrete.

The simple, compact structures impress with tall curtain walls on both sides that are shielded from most direct sunlight but at the same time allowing natural light to penetrate to almost every room. The optimally insulated façade and shady atria work towards the energetic requirements.

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“Architecture should speak of its time and place, but yearn for timelessness.�

Frank Gehry

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* Laboratory Hall

The narrative of this project focuses on the most striking aspects of the site and its heritage value, reinterpreting them using a contemporary architectural vocabulary while ensuring that the result is in harmony with the existing built environment. The interior has more warm and comfortable feeling with oak tree walls, white-tone floors and stairs.

* Atrium

* Main Entrance

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* Hospitalization Building Patio/Garden

* Employees’ Entrance

“Architecture is really about well-being. I think that people want to feel good in a space… On the one hand it’s about shelter, but it’s also about pleasure.”

Zaha Hadid

* Infected Entrance

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“The architect represents neither a Dionysian nor an Apollinian condition: here it is the mighty act of will, the will which moves mountains, the intoxication of the strong will, which demands artistic expression. The most powerful men have always inspired the architects; the architect has always been influenced by power.�

- Friedrich Nietzsche

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* Final Model - Section Cut

One of the great beauties of architecture is that each time, it is like life starting all over again.�

- Renzo Piano

* Enlarged Main Entrance View 82

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Exterior Elevations ♌ Isolated Views

The building showcases how the use of innovative design strategies and advanced digital tools combined with cost effective materials and simple construction systems can result in a novel design outcome. The building mass was pinched along solar paths and sun angles to facilitate the flow of natural daylight to the building interior. The interplay of positive and negative space is specifically developed to emphasize place-making and spatial quality. Consequently, light and visual connections are prominently featured while form and space complement each other in synergy.

* North Elevation

* West Elevation

* South Elevation

* East Elevation

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* NYC

* The High Line

core design THREE - The High Line Mark Weston & Tommy Goodwill- Summer 2020

Project Intro ♌ Site Analysis

The new High Line Museum is located in New York City, just in the heart of Midtown Manhattan. The purpose was a pretext for two major interventions. On one hand, it connects with the existing High Line and creates a grand entrance from it. On the other, its roof establishes a new urban square that both denote the museum and enables the celebration of public space, with a sky roof that overlooks the Manhattan.

The existing High Line is a stone-paved urban square that generates a subtle topography justified by the bay views and the nearby context, allowing rest, pathways, diverse public equipment, and redesigning its central ambition as a public space open to the city and the community life.

The first step is to adapt and organize the building site.

The building is thus arranged seven floors upwards so that the part out of the ground is controlled with a 16’ underground level.

Through the use of glazed panels, the museum opens up to the vast landscape and initiates a dialogue between the works of art and the city, continued on the high line.

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Massing Development ♌ Spatial Placement

These small models show the relationship between parts of the building, indicate scale, and reveal how light and shadow react with the building facades.

Furthermore, massing influences the sense of space that the building encloses, and helps to define both the interior space and the exterior shape of the building.

The building does not aim to dominate and reconstruct, nor to repair the old as old. Rather, it strives to follow the development and context of history, to put contemporary needs and consciousness into the city, to reorganize the layout, program the commercial ecology, and to create a dialogue between the new and the old. Based on this massing, we got a volume that blends with the high line. line. This volume gives the character that the city demands, an absolute unification without interrupting the path.

Core Circulation New addition will feuture a central core/ atrium that will orient visitors as they move through the galleries. The inclined wall on the other side is made of smooth fair-faced concrete.

* Beams and Columns

* Floor Slabs

Concrete Beams & Columns Reinforced concrete beams are structural elements that designed to carry transverse external loads, comprising a network of columns and connecting beams that forms the structural ‘skeleton’ of the building.

Under High Line The under High Line space will be used for mechanical rooms and a double-height art gallery preserving the existing structure to serve as a roof. The second level will host storage, security, and offices.

Underground Level The underground level is used for a Secret Lab that has a separate entrance from the back and a special key is needed to access it via elevator. The elevation is -14 ft and the program will have office space, storage, and two laboratories.

Floor Slabs - structural element, made of concrete, used to create flat horizontal surfaces such as floors, roof decks and ceilings. The slab is six inches thick and supported by beams, columns, walls, and the ground.

Exterior Envelope The façade consists of numeroe anodized organic-shaped glass panels, each unique in shape and size.

Each glass panel is animated by the extraordinary light quality, producing gradients of color and shade that give the building another sense of motion and dynamism.

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Secret Lab

Secret Lab

* Underground Level

Floor Plans

♌ Programming A 1,000 sqft cafe with an additional 400 sqft outdoor dining area is equipped to host a full-service restaurant as well as educational programs, providing a flexible meeting space across the plaza from the primary museum building. The second level includes two exhibition areas (permanent and temporary), complemented by public areas and an auditorium to support learning activities. Public spaces in the interior, which are visible from the exterior, allow natural light trou the large glass panels and creates warm luminous materiality.

Secret Lab

Elec

Awaiting Area

Art Gallery

Storage

Cafe

Cafe Service Prep

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W 26th St

* 1st Level

Graphic Scale: 1 inch = 32 feet 0’ 2’ 4’

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32’

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General Storage

Custodial Storage Open to Below

Security Office

Lecture

Storage

Multipurpose Hall

Restoration Room

* 2nd Level

Reception

Open to Below

Hign Line

Lecture Second Level

26th St Entrance

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* 3rd Level

Graphic Scale: 1 inch = 32 feet 0’ 2’ 4’

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Cryptozoologist

Open to Below

Conspiracy Room

Open to Below Vase Gallery

Art Gallery

Vase Gallery

Open to Below

Open to Below Patio W

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Archive

Office

Conference Room

* Fourth Level

* Fifth Level

Floor Plans

♦ Programming Combined with the “hidden” volume and the special and unique characteristics of the surrounding landscape, the roof is designed as a viewing platform for the city, providing people with the opportunity to see the cultural relics and heritage sites from a distance. The function of the building is magnified. It can be integrated into the environment and can express the environment at the same time; it can not only visit specific exhibits inwards and downwards but also appreciate the lively “World Heritage” upwards and outwards. The contemplative exhibition spaces, dedicated to exquisite pieces from American History. The museum includes a large, divisible exhibition hall with a daylight atmosphere and a smaller, more intimate graphics art gallery. The Center Core is open from the ground level to the roof. The ground floor contains the uses of reception and control of visitors, as well as the services rooms. An audiovisual room is located on the second floor, where the lecture hall and multipurpose room are located. On the intermediate floor, different exhibition rooms and a small staff spaces.

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M Office

Call Center Garden

Open to Below

Open to Below

Patio

Cafe

Open to Below Sky Room Archive

* Sixth Level

* Seventh Level Graphic Scale: 1 inch = 32 feet 0’ 2’ 4’

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32’

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* Key Plan

Longitudinal Section ♌ High Line Linkage

Centrally placed in the hall, and set adjacent to the permanent exhibition, core announces itself through the main lobby and connects directly to the temporary exhibition hall. Openings provide a natural flow through the gallery and the wider museum. From the main entrance at Exercisplan, a long view through all of the museum’s exhibition halls culminates. The interior is a tall, symmetrical, white rooms accessed by stairs and elevator. Characterized by a reduced visual expression and generous dimensions, it provides a neutral background for exhibitions and events of all varieties. The plan of the gallery is defined by classical double-square proportions with a threshold space at the main entrance to emphasize the transition from the temporary exhibition in the neighboring hall.

Roof Level +110’ -0”

7th Level +83’ -0”

6th Level +67’ -0”

5th Level +55’ -0”

4th Level +42’ -0”

3rd Level +30’ -0”

2nd Level +18’ -0”

1st Level 0’ -0”

Underground Le

vel -14’ -0”

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Roof Level +110’-0”

7th Level +83’-0”

6th Level +67’-0”

5th Level +55’-0”

4th Level +42’-0”

2nd Level +18’-0”

1st Level +0’-0”

nd Level -14’-0”

Undergrou

Cross Section

♌ Embracing the Street On their way to the entrance to the museum site, visitors walk through the elongated hallway of the new build. Conceived as a gallery its first exhibits are on show. The industrial character of the interior is characterised by rough, exposed concrete walls and visible technical installations that emphasise the linear flow of space. The oak furnishings and panels, specially designed for space, form an exciting contrast to the cool feel of the concrete, referencing the material of old railway sleepers. * Key Plan 100

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Circulation

Structural Frame

Curtrain Wall System

The stair wraps around the core, allowing visitors to view the exhibitions from multiple points in space. In this way, people are positioned as an integrated part of the atrium and feel external expression. Specific spatial relationships between the gallery and the surrounding hall appear as the stair ascends through space. The roof, lifted from the walls to connect the sky room to the surrounding hall, allows natural daylight to enter the main interior space.

The primary structure, with columns at irregular intervals, make up the mainframe of the atrium and is exposed externally. Cantilevering from the primary structure, the high line linkage begins at the main opening, passing by a viewing platform at a large circular opening, and ending with a balcony that stretches the entire length of the high line.

One side of the core is the curtain wall system, consisting of large panels of wood and glass. The layering of materials on the outside of the structure creates a filigree expression and a visual depth that, in concert with the multitude of openings, blur the boundaries between the inner gallery space, the external exhibition surface, and the surrounding museum atrium.

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* West Elevation

* South Elevation

* East Elevation

* North Elevation

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Final Model

♦ Sun Exposure The organic-looking tower functions as a radiant signal and at the same time serves as a museum. It provides a view into the narrow high line, with a large opening, offering an open view onto the museum. The linear and seemingly infinite vista of railway tracks is set spatially in scene here. In the tower, the horizontal axis is reflected in the vertical: the completely empty space, open at the top, directs the visitor’s gaze upwards. The original high line had a entrance from the street in a tunnel shape.These staggered “tunnels” become the intersection of the surrounding urban space, and also constitute the outdoor public maze of the museum.

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Architecture is the triumph of human imagination over materials, methods, and men, to put man into possession of his own Earth. It is at least the geometric pattern of things, of life, of the human and social world. It is at best that magic framework of reality that we sometimes touch upon when we use the word order.

- Frank Lloyd Wright

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“As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown�

- Norman Foster

Thank you for your consideration