Site Map, P3

Building Envelope Detail: Traverso Vighy Studio

Scarpa Detail: Castelvecchio

Scarpa Detail: Brion Cemetery

Sketch Detail of Choice: La Congiunta, Switzerland

Roof/Wall Joint: Musei Vaticani Lobby

Sketch Detail of Choice: Parco dello Musica

Wall/Ground Joint: London Aquatics Center

P3X4: Sectional Matrix & Details

P3X3 Schematic Design continued...

 

Lofting curves between horizontal layers: This form seems way too foreign for Vicenza. I'm going to continue to work with this to form a different connection.

Open space between horizontal layers: Although it would be a challenge to tie the layers down and not make them seem like they're floating, I think this space provides an opportunity for perhaps a communal garden space, or maybe a mediation space between the students and the artists. Maybe this is where they come together and the students are mentored. Does that take away from the park? I like the idea of a free plan layer between the structured layers of housing. It would form a dialogue between both free plan layers.

Extruded curves, layered: I didn't think this form would work because it would be too pancakey, but it provided great opportunities for balcony areas.

 

 

 

Pechakucha: Schematic Design

P3X2 Focus for P3 Programming and Schematic

1. Residential                                   50%      50,000 sf     9,290 sm

    - Temp. housing for artists:          (25%)    (25,000 sf)    (2,323 sm)

    - Temp. housing for students:      (25%)    (25,000 sf)    (2,323 sm)

2. Artistic Zones                              30%      30,000 sf     2,787 sm

    - Accessible only to artists:          (10%)    (10,000 sf)    (929 sm)

    - Accessible to public:                  (20%)    (20,000 sf)    (1,858 sm)

3. Communal Areas                        20%      20,000 sf     1,858 sm

    - Lounge:                                     (10%)    (10,000 sf)    (929 sm)

    - Kitchen:                                     (10%)    (10,000 sf)    (929 sm)

My program takes from the idea of the graffiti wall on Contra Porta Nova. A communal art wall throughout the site shapes different artistic zones (sculpture, dance, paint, graffiti, poetry) and forms a habitat for artists to live and create. Through communal areas and direct interaction with the public, the artists interact on both a personal and artistic level, allowing creative barriers to be crossed and broken down. This will not be a permanent place of residence, but a continuous influx of people and artistry, both people and art always temporary. The people of the city will visit this art haven to view artists creating/performing, and participate their selves through the use of the communal art wall.  This will activate the park and adjacent Contra Porta Nova with a steady flow of people discussing and creating art, fulfilling Valmarana's vision for a place of intellectuals and academics. 

This project explores the importance of reinforcing the idea of a flow of people through this area, as opposed to the current circulation barrier. The value of a continuous influx of people is both for added interest in this area, as well as an ever-changing flow of creative and intellectual energy. 

Rafi Sketch, Sagrada Familia

Structural Detail: Punta Della Dogana Museum.

Essay Part 2: The London Millennium Footbridge

Project: London Millennium Footbridge
     
Designed by: Norman Foster + Partners

     The circulation of the bridge was different than any other bridge I have encountered before. The pedestrian rose up to the level of the bridge through a middle ramp opening, much like a cargo plane bay. The bridge acted as a trajectory from The City to the Bankside, or, from the icons St. Paul's Cathedral to Tate Modern. The bridge is a steel suspension construction, supported from below, so that the views of London and the River Thames are not inhibited. 
     The scale of this pedestrian bridge is crucial to understanding the affect it has on the city of London. As the only pedestrian foot bridge crossing the Thames River, the small scale alters this area of the riverside. 
     Stan Allen's thought on form in that "form matters, but not so much the form of things, as the forms between things." I think this pedestrian bridge acts as a form between things, on the scale of two regions of London, as well as the scale between multiple paths of movement. 

     The context of the bridge plays into the importance of it's effect on the area. The bridge is an important link between the old and the new. It has a strong visual and physical connection between the Tate Modern and St. Paul's Cathedral. 

Essay Part 1: The Form in Between

    
    As I read about Cooper Union’s history and Stan Allen’s development as a student there, I questioned whether, or to what extent, his “Theater of Production” thesis had an effect on the school moving forward. The recently built academic building, designed by Morphosis, does not seem to take into account Allen’s idea that “Form matters, but not so much the form of things, but the form between things.” Yet, to what scale can this thought apply to? Allen does not define the “things” he’s referring to. Could the form between things mean something besides buildings? What about forms between paths of circulation and movement? Forms between individuals inhabiting that building? The change in scale alters the meaning behind Allen’s thought, in such that one can find the relationship between Morphosis’ design and Cooper Union’s thought process. It’s not so much the form between the buildings on the street that matters, but the form between the individual students occupying the building, particularly the public staircase. It definitely “sets a stage” and is a “site for action.”  
     When talking to Sarah about the framing of experiences, we agreed that our travels reiterated this immensely. There was no way we could capture Sagrada Familia in a picture frame. Sarah said, "the closest thing to capture it would be a video, but even a video still doesn't capture the other senses besides vision." There is no way to frame the feeling of the lofty heights, the sun hitting the stained glass, the sound of echoes reverberating throughout the space. Looking back at our experience, it's even difficult to frame it in my mind. I understand that even my memory of Sagrada Familia, much less the framed pictures I took, will never do that space justice. The only way to truly know it, is to experience it. In the article, Hays states that "Allen insists that its very lack of determinacy, its doubt, produces its own frame, or better, a field condition." Perhaps that is what Sagrada Familia does best. It is unable to produce a frame, but it can produce a field condition. A field condition consists of intersecting and conflicting rhythms and relations. 

The Motherland!

London Olympic Aquatic Center; Zaha Hadid

221 B Baker Street!

Lloyd's Building; Richard Rogers; London

Lloyd's Building; Richard Rogers; London

Quick trip to Hogwarts! Gryffindor! 

Howth Lighthouse, Costal Town of Dublin, Ireland

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Medieval Dublin Castle Door, Dublin, Ireland

Rope Bridge, Northern Ireland

Derry Cathedral, Derry, Northern Ireland

Giant's Causeway, Northern Ireland

Trajecting Linkage; Inhabiting the Barrier

Site Plan Intervention

Longitudinal Section; North

Cross-Section; West

Ritual Washing Wall Section

Cantilever Anchor

Wire Anchors along Cantilever 

Linear Community Space, Disintegrating the Edge

Original bridge site location

Curcial points

Dense Fabric

Prelim form

Locating entrances 

Ending landing location and alleyway for Mikveh waterway

Mikveh

Metal Designs

Metal Designs