material mechanical metaphysical
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DESCRIPTION3rd year Portfolio
I want to give natures power
a precence in contemporary
society and provide thereby
stimulating places that speak di-
rectly to every mans sense as a
living corporeal being.
Tadao Ando 1985
HOUSTONBURNETTEmaterial mechanical metaphysical
parti and design
Boston Childrens Museum and
SANAA 21st Century Museum
understanding of program
requirements and project goals.
iterations of site diagrams and
development of understanding.
diagrams that support program
arrangement and composition
taxonmy of the surface attributes,
structure and building function.
5precedent Boston Childrens Museum
The Boston Childrens Museum Served as the precedent for
my group, and each of us had different assignments to com-
plete the presentation. My assignment was to hard-draw or
construct perspectives that unlock the space ad form of the
building, and address the approaches to the expression of
systems and interior environments.
To the left is a drafted drawing of the green roof of the Bos-
ton Childrens Museum, expressing the layout and sectional
quality of the plants on the roof. On the next page are two
hand drawn perspectives one illustrating the view of the
building from the boardwalk in the typical rainy weather
of eastern Massachusetts. The other is a view of the inside
showing the exposed systems in the lobby. The swirling
suspended ball in the focus of the perspective is a sculp-
ture made form recycled steel poles, scrap lumber, and torn
6Throughout the precedent study, my group began to real-
ize not only the architectural concepts of the building, but
subtle sustainability strategies. How do building environ-
ments educate children about energy efficient design?
7precedent 21st Century Musuem
The 21st Century Museum was a self conducted precedent
that involved producing a tabloid (to the right) of images,
orthogaphics, and diagrams that explored the parts and
components of the building I was personally interested in.
For example the 21st Century Museum has a very complex
formal quality within the purity and unity of a circle. I ana-
lyzed the ways in which people might circulate through the
negative space, and how different spaces, depending on
their geometry be used to serve the museums function of
displaying and storing contemporary artwork.
821st Centruy Art Museum, Iwan Bann, 2006 - 2008. http://www.iwan.com/photo_index.php?category=photography
This museum was built by Sejima Kazuyo and Associates under the name SANAA in 2004 as a public building deticated to con-temporary art and culture in Kanazawa Japan. The form of this building as well as the technology expressed by tensile struc-ture and thin pieces of glass express the message of the 21st century.
In addition to providing a form and function that represents developing technologies, the museum offers a variety of inter-active art that captures all audiences, from a dry pool, to new concepts for furniture and fabric design.
The diagrams below demonstrate hierarchy, organization, pro-gram, and circulation respectively. In the initial concept of this building, the architect imagined a cluster of programatic spaces around an eccentric center. These diagrams eplain the use of geometry in determining the compisition of galleries, halls, and gathering spaces.
KANAZAWASHI ishikawa japan: SANAA tokyo21st Century Museum
9conception Childrens Museum
The Charlotte Nature Museum in Freedom Park ineffective-
ly responds to the energy of the park and local comunity.
The challege of our semester studio project is to replace the
existing edifice with place children can gather. In this de-
sign project children come to watch and play, learn about
natures elements and how earth, water, air, and sun inform
architecture, through technology, and site response. In ad-
dition this project must address the formal arrangements
unique to a childs experience, and educate to them the
principles of achitectural language and symbolism.
El Lissitzky Poun 10
The Charlotte Childrens Museum conforms to the con-
tours of th land and encircles a central space for gathering
and learning. This building explains how we are a part of
nature can utilize and retain energy from its four primary
elements, earth, air, water, and sun in relation to the four
annual seasons. The project consists of four pieces. A ring
functiond as an exhibition space nd relates the position of
the sun in the sky throughout the day. This architectural
element encircles a space for live demonstrations. This in-
terior open space also collects rainwater and stores it for
passive cooling. Within this space, a vertical totem rises
into the sky and provides cooling. Within this space, a ver-
tical totem rises into the sky, and povides not only a marker
on the landscape but a shaft for ventilation and wind pow-
ered active systems. Upon entry, a portion of the building
calmly unfolds from the earth and guides young minds to
the point where inspiration begins
First I visited the site at freedom park. Seen here is the
bridge connecting the site with the greater park seen be-
yond. Almost half of the site lies in a flood plain that frames
the eastern portion of the site. To the south and west are
roads the intersect at the sites bootom corner. To the north
are residences and an extension of the greater park. I be-
gan diagraming by looking closly at multiple scales of the
topography, then I moved to use, and networks, finally I
investigated the park at different times of year by expressing
the personal and metaphysical attributes of the site.
Public v Private Site
Organism Site Network
In Spring the colors, aromas, and elements of nature vibrate
intensely. This is the time of year with the tempurature is
almost perfect, and life teams within it.
Summer in the park is very hot. Life is supressed by the dull
heat and the draining humidity. The sounds of cicadas are
still loud and combine with the parched panting of my dog.
The temperature cools in autum, and things begin to slowly
die. As the harvest comes to an end many vegetables are
sold in the park. As they disapear, the essence begins to
Winters are dry. Wind cuts through thin fabric and burns
the skin. Snow is soft, but Ice is hard. This solstice is brutal,
when one is in need of shelter, comfort, and closeness.
parti and design
Diagrams illustrate the process through which a design was
discovered, delveloped and resolved. They are abstract
representation of a more complex function or organization.
I constructed a sequence which informs not only the pri-
mary ideas of the building, but integrated technologies, and
sensitive approaches to site, and project goals.
Through a series of rough
models I focused on
three possible configura-
tions for my parti. One
reflected the possibility
for a tall slender build-
ing while another was a
cluster of stacked boxes
with pasths extending
outward, while a third
was a long narrow strip
rsponding the site edge.
I chose two of these three possibilities and modeled them
in a more refined manner, the I proceeded to model a third
variation that expressed attributes from both configurations.
Although this model turned out to not meet the formal cri-
terial of the program, I cultivated the concept of parralleling
the vertical totem with the satacking of spaces in rlation-
ship to the sky and the earth.
The two paths that extend from the cluster form an intersec-
tion north of the center of the main geometry. These axes
identify the basis for my parti.
In my resolved parti diagram I combined the crossing of
these two axes with the formation of a primary circular
space and a secondary space cut within the landscape.
This is my parti model and conceptural perspective. They
capture my ideal expectation of tectonic mechanism and
The diagram above illustrates the experiencial sequence
one follows through the buildings spaces. on the long nar-
row path to the building from the greater park, one crosses
water in the river, earth in the ground and trees, air in the
clearing, and sun above head. Once inside, each of these
elements are portrayed in a way people understand.
This diagram is of the circulation through the arrangement
of linear and L-shaped walls within the circumferenc