material mechanical metaphysical

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3rd year Portfolio

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  • material

    mechanical

    metaphysical

  • 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.

    3

    Tadao Ando 1985

    HOUSTONBURNETTEmaterial mechanical metaphysical

  • precedent

    conception

    site analysis

    parti and design

    material, tectonics,

    and sutainability

    final

    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.

    5

    9

    11

    19

    29

    39

    4

  • 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

    fishing nets.

  • 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.

    2004

    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

    1919

  • 10

    project narrative

    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

  • 11

    site analysis

    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.

  • 12

    Impressive Conttours

    Trace

  • 13

    Site Topography

    Trace

  • 14

    Public v Private Site

    Trace

  • 15

    Organism Site

    Trace

  • 16

    Organism Site Network

    Trace

  • 17

    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.

  • 18

    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

    hibernate.

    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.

  • 19

    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.

  • 20

    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.

  • 21

    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

    might.

  • 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