paths of circulation
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Undergraduate PortfolioTRANSCRIPT
paths o f c i rcu lat ionchr is topher os terhoudt
Appl icant : Master o f Archi tecture
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ch r i s topher os terhoudtpor t fo l io l B .S . Arch. l 2009-2013
p. 4
p. 5-7
p. 8-15
2010 20112012present
p. 16-19
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10 jane cour t , s ta f ford, va 22554 l cwosterh@buf fa lo .edu l (540)604-8094
2011 2012 2012 2012
p. 20-23
p. 24-27p. 28-37
p. 38-40
Paths of circulation throughout a building, whether vertical or horizontal, are
created by establishing an unobstructed and maneuverable space to move from
one point to another. Most often, this is done by devoting a considerable amount
of a floor’s area strictly to circulation. These areas are usually surrounded by uniform
vertical walls, isolating them from the rest of the building as almost utilitarian spaces.
Hallways and stairwells serve as unprogrammable spaces that infest much of a
building’s floor plan, yet simply eliminating them altogether doesn’t seem to do
much justice for ordered circulation.
Contemporary designs in architecture should take into consideration the often
parasitic nature of hallways and stairwells. The formal design of a building mass can
respond by combining circulation with other elements, such as structure or
programmable space. Where circulation cannot be faded from view in plan and
section, or where it is an absolute necessity to be isolated by code, the paths should
be designed just as thoughtfully as the programmable spaces themselves. If a
designated path of circulation cutting through a space is justified, then it is
significant enough to be fully designed to strengthen, rather than be a hindrance to,
the overlying concept of the building itself.
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constructedcirculation
30 cardboard columns
1’ x 1’ x 8’ “T” shape
columns are spaced variably
throughout the space, close
together at the entrance to
the exhibition, constricting
movement, and then spread
out more and more as the
viewer walks through the
space.
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A fee l ing of const r ict ion at the beginn ing resembles a ha l lway; the arch i tecture s t r ic t ly gu ides the v iewer and can be used for noth ing more than a decorat ive table wi th a f lowerpot .
Moving th rough the ins ta l lat ion, the co lumns become more spread out , a l lowing for a more f ree f lowing course of c i rcu lat ion. Th i s space a l so begins to have the potent ia l to be programmed for uses other than c i rcu lat ion.
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THE HOOVERpart of a co l laborat ive pro ject
known as “The L iv ing Wal l”
semester 2 des ign s tud io
team leader andor ig ina l des ign proposa l byCHRISTOPHER OSTERHOUDT
support ing team membersPHIL GUSMANO
NICOLE NGUYENASHLEY RUBINO
RACHEL HEFT IKANE LEE
OWEN CORRENT I
facu l tyCHRISTOPHER ROMANO
SHADI NAZARIANNICHOLAS BRUSCIA
JAMES WILLEMS RANSOM (TA)
internet l ink<ht tp:// the l iv ingwal l .b logspot .com>
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THE L IVING WALLIns ta l la t ion Exh ib i t a t Gr i f f i s Sculpture Park
Cat taraugus County , New YorkSpr ing 2010 - Fa l l 2010
photo by chr i s topher os terhoudt
THE HOOVER
A bas ic and min imum dwel l ing un i t , der ived by two geometr ica l sh i f t s in a rectangular pr i sm (6’ ta l l x 6 ’ w ide x 8’ long) , wh ich accomodates s leeping areas for a min imum of th ree people, w i th a way to enter and c i rcu late.
The sh i f t s made to create “The Hoover” were cut and sh i f ted at angles that ref lected var ious ergonomic pos i t ions of the human body. These anglesa l lowed for comfor table ent ry , lounging, and s leeping pos i t ions . Every space was adaptable for use; no space was s t r ic t ly devoted to c i rcu lat ion.
Pre l iminary
F ina l
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modular assembly ser ies
f ina l assembly of four e lements to form the f ina l
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The following designs propose the use of the wall itself as a form of circulation. Rather than acting as a blank barrier between programmable and unprogrammable areas, the wall becomes an occupiable space that allows one to continuously circulate between floors. Having been rotated a uniform number of degrees, each 6 inch tall square serves as a step in a series of stairs that form the overall structure.
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VORTEX; a society of rooms that uses rotated squares to not only form walls that enclose a space, but also serve as a way to circulate throughout the space. The four rooms are placed with respect to a single axis of rotation. The vertical axis serves as the point of rotation for every square, creating a sense of continuity and establishing a physical relationship between all the rooms. By sharing a common axis of rotation and being placed atop each other, the circulation formed by the squares of one room can build upon the squares of another room, thereby resulting in a longer path of circulation that guides the user to different spaces.
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Just as in Vortex, a series of rotating squares creates the form for the Islamic Center, establishing a continuous path of circulation through-out the mosque without taking over any of the floor area. A single axis, represented by the elevator, serves as the point around which all the squares rotate.
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s tandard order of c i rcu lat ion in a mosque:
1 park ing lot2 shoe rooms (gender separated)3 ablut ion (wash) rooms (gender separated)4 prayer ha l l
other spaces :
a mul t ipurpose roomb reading roomb cour tyard
proposa l fo r I s lamic center
1 park ing lot to bottom of s i te2 bottom of s i te up to reading room3 reading room down to ablut ion/shoe rooms4 ablut ion/shoe rooms up to mul t ipurpose room5 mul t ipurpose room up to prayer ha l l6 bottom of s i te and park ing lot up to cour tyarda handicapped access to ablut ion/shoe rooms
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work ing in col laborat ion wi th theBuf fa lo and Er ie County Botanical Gardens
to des ign an expans ion to the ex is t ing s t ructure for use as an Orangery and Demonst rat ion Gardens
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Upon visiting the Botanical Gardens, the visitor should feel completely immersed in the environment being represented. Vegetation,
whether temporary or not, should be planted in the ground, with integrated paths of circulation that weave throughout the exhibits, like a path
winding through a forest. Information signs should be dispersed throughout the gardens, constantly keeping the visitor informed about and engaged
with the exhibits. Visitors are able to walk right up to the vegetation, able to touch it if safe.
There are no limitations to this sort of museum; no glass panes or walls separating exhibits; the
new proposal should be a single enclosure that encompasses a forest of unlimited information.
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concave form re�ects and echoes sound wavesideal for loud spaces such as rainforests
convex form absorbs and evenly distributes sound wavesideal for classrooms and quieter spaces
speaker
direct sound path
indirect sound path
re�ected sound path
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Developing an atmosphere that closely resembles the natural environment revolves around designing for more than just one or two senses. Sight and touch have already been addressed simply by the paths of circulation and integration of exhibits. Going one step further is the manipulation of sounds to mimick the environments being represented and further develop the placement of programs to make the experience more educational and visually striking.
One very important aspect of the proposal is the integration of classrooms with the plant exhibitions. A hands on experience is often the most effective way of teaching; therefore a secluded classroom off to the side of the gardens is unrealistic for this proposal. Establishing a classroom (with desks, signs, etc) in the heart of the gardens is in itself easy, the problem comes when trying to control the louder noises of the gardens with the quiet required for a learning environment. A single wall separating the classroom from the gardens solves the noise issue, but also visually separates the two. The solution comes about by establishing one massive undulating enclosure for both the gardens and the classrooms that changes in its curves based on formal requirements.
Sound waves behave in the very same way as light waves; when it hits a surface, it is reflected at the same angle it hits the surface. A concave form, such as a dome, causes sound waves to bounce back and forth multiple times before it reaches the listener. The difference between the direct sound wave reaching the listener and the indirect sound waves that bounce around before reaching the listener is known as an echo. Because of this bouncing around, concave forms are more appropriate for programs with generally loud noises.
On the other hand, when a sound wave hits a convex form, it hits it only once, bouncing in many directions but never hitting the same surface twice. The sound dissipates in energy quickly and echoes never occur. The result is a space that is comparitively quieter, and is appropriate for those programs where loud noises are unacceptable, such as classrooms or a library.
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Strong (Loud)
Sound Wave Strength(Dissipation of energy due to air and reverebration)
Weak (Quiet)
waffle structure
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TICKET DESK
COAT ROOM
GROW HOUSE
ORANGERY
CLASSROOMS
The majority of the proposed design is located below the existing main �oor,taking up the area that is currently mechanical space in the basement. Thisallows for a direct entrance from the parking lot through the existing servicetunnel to the north.
The Growing House and Orangery are largely separated from the proposedaddition by deep structure, yet paths of circulation connect all the spaces sothat one does not have to go outside to travel from one space to another.
Circulation between the proposed addition and the existing structure isestablished by a 20’ ramp sloping up from west to east, going over the mainentrance. From there it is connected to the main �oor of the northern mostexisting house.
5' 10' 15' 20' 25' 50' 100'
SEED LIBRARY
FIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLDFIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLDFIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLDFIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLD
28below grade level
GROWING HOUSE
ORANGERY
CAFE
OFFICES
HANDS ON LEARNING
GIFT SHOP, COAT ROOM
DEMONSTRATION GARDENS
at grade level
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Urban Presence
1 2 3
654Publ ic Ent r ies
Urban Presence Ter raced Form
Ind iv idual “ tweak ing”Establ i shed af ter analys i s o f ver t ica l penet rat ions
s tandard in hous ingEstabl i sh cross
vent i lat ion+
addi t ional natura l l ight ing
Southern Exposure
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ANALYS IS : Ver t ica l penet rat ions in a s tandard apartment bu i ld ing
-Egress Towers (2 min . )-E levator shaf t-F i re separat ion between un i t s-S t ructure (co lumns or shear wal l s )-A i r ducts ( supply + return)-Waste p ipes ( to i let s + k i tchen s ink)-Water p ipes ( s inks , tubs , to i le t s , spr ink le r s , f r idge)-E lect r ic cables-Exhaust vents (k i tchen + bathroom)-Chimney for bo i le r
St ructure Wet Wal l s
Cis ternsEgress
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Serv ices
Ut i l i ta r ian aspects located between tubes
Al l g round based, load-bear ing tubes
Circulat ion
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2 Hour F i re Rated Wal l s( requi red by code)
Egress S ta i r s
Areas of Refuge
*Note: 3 hour f i re rated const ruct ion prov ided by C. I .P . concrete s t ructure
Green Roof Terraces provide a space for tenants to grow their owncrops for individual food supply, as well as providing super-insulationto apartment units below
Vertical circulation and egress are provided by load bearing tubesthat extend below grade to the parking level
Mechanical room for freight elevator
2’ x 4’ concrete beams are anchored at theload bearing tubes, providing support for thehung tubes
All load bearing tubes extrude below grade,and those spaces below grade are used forservices, locating water chillers, boilers, ventilation,and gauge/valve rooms
Parking Level (below grade)
HUNG TUBES
Load bearing tubes that penetrate through units are serviced withall plumbing services for the units, allowing for 100% vertical pipingfrom the service spaces in the basement to the roof
“Cardok” vehicle elevator
LOAD BEARING TUBES
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DETAIL WALL SECTION + ELEVATION STUDYUrban Gardening Initiative
Corner of Elmwood Ave + Bryant StreetChristopher Osterhoudt
Brad Wales (Professor)
1. ROOF 6” Engineered Soil with plantings (Thickness varies, dependent on planting) Filter Fabric 3” Reservoir Layer with Optional Aggregate 1” Moisture Retention Layer 1” Aeration Layer 1/4” Drainage Layer 1/4” Root Barrier 1/4” Protection Course 1/4” Waterproo�ng Membrane 2” Concrete Topping 4” Corrugated Metal Decking 8” Steel I-Beam 2” Rigid Board Insulation
2. INTERIOR FLOORS 2” Concrete Topping 1/2” Hydronic heating tubes 4” Corrugated Metal Decking 2“ Rigid Board Insulation 8” Steel I-Beam 2” Rigid Board Insulation 6” Dropped Ceiling system w/ sprinklers
3. EXTERIOR FLOORS (EXPOSED ON BOTTOM OF TUBES) 2” Precast Concrete Panels 4” Rigid Board Insulation 8” Cast in Place Concrete (Keyed into Exterior Walls)
4. INTERIOR PARTITIONS Frosted Channel Glass (10” wide x 4” deep x 1/2” thick)
5. EXTERIOR WALLS 8” Cast in Place Concrete (Outer Tube) 1” Air Barrier 2” Rigid Board Insulation 2” Vertical Wood Panels (Inner Tube)
6. REINFORCED SITE CAST CONCRETE BEAMS 24” x 48” (in section) Site Cast Concrete Beam Reinforced by #4 Stainless Steel Rebar (56x)
7. CONNECTION BRIDGE FLOOR AND ROOF 3 layers of 1/2” Frosted Glass Panels (25% Transparency)
8. CONNECTION BRIDGE CURTAIN WALL Triple Glazing
9. STOREFRONT (FARMER’S MARKET FACADE) Clear Channel Glass (10” wide x 4” deep x 1/2” thick)
10. RETAINING WALL 12” Cast in Place Concrete
The main s t ructure i s p rov ided by 2’ x 4’ concrete beams, which are poured in p lace as the ground based tubes are be ing poured. The “hung” tubes are then cast around these concrete beams, g iv ing the f ina l fo rm.
Al l cor r idors that connect un i t s and the spaces wi th in each un i t are located between the tubes , a l lowing a l l the space wi th in each tube to be used programmat ica l ly . Each cor r idor i s made of t rans lucent f loors and ce i l ings and t ransparent wal l s , a l lowing s ign i f icant natura l l ight ing to enter the un i t s wh i le s t i l l p rov id ing some pr ivacy.
"CarDok"Car Elevator
GROUND FLOOR PLANUrban Gardening Initiative
Corner of Elmwood Ave + Bryant StreetChristopher Osterhoudt
Brad Wales (Professor)
0 2 4 8 16 32’
Water Cistern
1/8" = 1'-0"1 Level 4 1/8" = 1'-0"2 Level 5
1/8" = 1'-0"3 Section 2
1/8" = 1'-0"1 Level 6 1/8" = 1'-0"2 Level 7
1/8" = 1'-0"3 Section 3
Ground F loor Th i rd F loor F i f th F loor
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In a wor ld where everyth ing i s kept the same to es tabl i sh a utopian soc iety , where everyone sees in b lack and whi te to avoid d i f fe rences , a young boy suddenly begins to see the co lor red. He has no concept of co lor , however , and he s t ruggles to menta l ly grasp the sudden change in the way he interprets h i s wor ld .
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In th i s ins ta l lat ion, 500 whi te bal l s a re s t rung on a un i form gr id , es tabl i sh ing a utopia s imi la r to that in “The Giver” . E ight orange bal l s a re s t rung randomly amidst th i s utopia, each of which are out of reach of the v iewer . In th i s sense, jus t as the l i t t le boy in the s tory cannot menta l ly grasp the co lor changes , the v iewer in th i s exh ib i t cannot phys ica l ly grasp the co lor change.
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