Thesis book2a

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SOATHESIS

UNCC SCHOOL OF ARCHITECTURETHESIS WORK2013-2014

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SOATHESIS

UNCC SCHOOL OF ARCHITECTURETHESIS WORK2013-2014

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Credits/Publishing info/students

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SOATHESIS

INTRODUCTION

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[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL

The spatial sweep is about the experiential quality of moving from the theater mezzanine to a rooftop terrace and the quality of space and experience along a path. Initially, leaving the theater, the views are to the street below and then slowly lead your view to the sky above into a rooftop terrace.

The booleaned space connects the circulatory spaces with the entry and lobby spaces of the Carolina Theater. This connective volume is carved out by the context to incorporate views, light and program.

The lofted space is about the program functionality of a fire exit. The Carolina Theater had an existing narrow fire exit that functionally needed to get three floors of people down to one. The loft space was about the manipulation of control sections and the use of the digital tool that help generate the spatial experience of the fire exit.

F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A

A: MEZZANINE + THEATER LOBBY

LONGITUDINAL SECTION VIGNETTES TRANSVERSE SECTION VIGNETTES

B: ENTRY LOBBY SPACE + ROOF TERRACE C : FIRE EXIT

B

c

ROOF TERRACEROOF TERRACE

THEATER LOBBY

LIGHT WELL

SECOND FLOOR LOBBY FIRE EXIT

FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY

SECOND FLOOR LOBBY TERRACE

GROUNDED EXCAVATIONS:UNCOVERING THE SECTIONAL ATTRIBUTES OF LANDSCAPE AND BUILDING

[1] [2] [3] [1] [2] [3]

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SOATHESIS

2014 Design Thesis

MacKenzie Canaday Ritual Architetcure: A Cultural Investigation of Procession and Social Sequences Ryan Mayo The Transparency of Architectural Security

Christine Chlebda

The Mediating Landscape:Bridging Architectural Phenomenology of Site & Landscape Urbanism

JP MaysRejectamental: Reimaginging Waste as a Source of Building Material

Lindsey MayesToward an Ecology of Building: The Symbiotic Relationship Between Habitats

Anna R. KingVizualizing Protest

Stefan Pinheiro[In]formalism: A Reconsideration of the Shanty Town

Nicole BrownGround Excavations: Uncovering the Sectional Attributes of Landscape and Building

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14

20

28

34

40

48

56

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SOATHESIS

MacKenzie L. Canaday

But architecture needs slowness to re-connect itself with this source of silent knowledge. Architecture requires slowness in order to develop again a cumulative knowledge, to accumulate a sense of continuity and to become enrooted in culture.

- Juhani Pallasma

Cultural values shape individuals and become identifiers in the immense landscape of the world. Traditions are results of these cultural values and begin to provide a dialogue with the rest of the world through many different lenses. Architecture indwells culture and is an inherent symbol that depicts a culture through physical manifestations. There are many cultures where architecture provides the quintessential lens for illustrating a tradition, however in the Finnish culture, the sauna is a vital element in the life of a Finn, thus providing the ideal model for exploration.

I am interested in studying the role of procession in the Finnish sauna ritual because I’d like to know how processions and social sequences could form the architecture. My research will expand the field by outlining how traditional architecture can provide cues for creating contemporary ritual architecture.

Ritual ArchitectureA Cultural Investigation of Procession and Social Sequences

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2. Preparation:A journey through a dark, tranquil environment - labyrinth path – a narrow passage to help prepare for darkness

MACKENZIE CANADAY

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SOATHESIS

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MACKENZIE CANADAY

The sauna is a cultural “symbol” of the Finnish people, a ritual that is inherently Finnish to the core. The varying levels of engagement of the body in space are highly important in the architectural realm of design as well as in the sauna ritual. The transitional landscape between the outside public sphere and the enclosed vapor intensified private sphere consists of many different thresholds; separation from social order, the transitional stage, and reintegration into society. Arnold van Gennep puts emphasis on the threshold of transition or liminality of the sauna by defining these moments of separation. A combination of written narrative and collage drawing present a methodology for exploring the [6] Threshold conditions that exist along the procession of the Finnish sauna ritual. It is in these processions that the sauna has meaning and is experienced. The sauna is an innate ritual defined by an ephemeral procession of the body in space.

This thesis seeks to identify [6] specific thresholds that exist along procession of the Finnish sauna ritual and use these as identifiers and design tools for creating ritual architecture. How can processions and social sequences help shape, define, and form the architecture? Henry Plummer’s Nordic Light defines [9] different themes in his meditation on the influence of light in modern Scandinavian architecture. Combinations of these themes begin to define the environment per each threshold. These combinations provoked a series of collages that investigate the threshold environments and overlapping conditions of space. The architectural narrative generates a script for a ritual environment and procession.

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SOATHESIS

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SOATHESIS

The Transparency of Architectural Security

Ryan Mayo

These facilities should represent American values and the best in American architecture, design, engineering, technology, sustainability, art, culture and construction execution.

- U.S. Department of State, Bureau of Overseas Buildings Operations’ Mission Statement

Based on recent events both within and outside the United States (such as the attacks in Benghazi, Libya and in Herat, Afghanistan along with others here at home such as the Boston Marathon bombings), architectural security has become a more pressing issue. Specifically, the integration of security within architecture early on in the design process must be balanced with the need for a more open design in embassies, along with the increased desire for better security elements due to the variety of threats against such institutions. Therefore, an investigation into the necessity of openness among United States foreign diplomatic institutions while incorporating the need for heightened security standards and the implementation of digital security may utilize a specific focus on embassies. In contributing to the field, the research may explore the possibilities of making architects more aware of the integration of security within the early stages of design, while emphasizing its impact on the overall process, especially in considering the design of critical infrastructures such as embassies andother institutions that may receive a variety of threats that are not as common in the mainland United States. Throughout the process, a design for a United States’ embassy may be composed while taking into consideration a more dangerous geographic location, thus accounting for the variety of threats and possible complications that result from such areas. The study may also help integrate knowledge from the various industries involved in such a project ranging from blast-resistant facades to landscape planning. Overall, the intended objective explores an attempt to gain a better understanding of the balance needed between making the structure more secure (and capable of future upgrades) while maintaining a sense of openness to demonstrate the values represented by such an institution.

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RYAN MAYO

Diagrams depicting the process taken in the site design including: raining the site, stepping down at inter-vals, development of an exterior and interior plaza, and ramp-up entry points

DESIGNFinal Scheme

Ryan Mayo // The Transparency of Architectural Security 51

Exploded Program

OFFICE

RESIDENT HOUSING

ATRIUM / PUBLIC OFFICES

VERT. CIRCULATION / MECHANICAL

CAFETERIA / PRIVATE FUNCTIONS

CLANDESTINE SERVICE SPACE

PARKING

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SOATHESIS

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RYAN MAYO

DESIGNModels

Ryan Mayo // The Transparency of Architectural Security 80

Site Model (Plan View)

Site Section (Partially Open)

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SOATHESIS

After studying the various methods and integrated systems (or at least the few that are publicly available) required for securing a building such as an embassy, the concepts presented here are intended to evoke a more integrated nature and approach to designing such structures. Serving as the face for a foreign nation- in this case, the United States- the embassy serves as a very symbolic representation of the country’s values, including openness and transparency. While security and the safety of inhabitants is the top priority, consideration that is given to security requirements during the early stages of the design process may enable designers to provide a more cohesive solution to mitigating threats via more clandestine and subtle methods while providing a more inviting atmosphere to visitors and employees.

Site model

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Station plan at level 2

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SOATHESIS

The Mediating LandscapeBridging Architectural Phenomenology of Site& Landscape Urbanism

Christine Chlebda

The relationship between landscape and the built environment has been discussed by Architectural Phenomenologists and Landscape Urbanists. Although these discourses have distinct motivations and primarily operate at different scales, both paradigms consider the potential and temporal aspects of landscape to be more important than the physical relationship between ground and building, and both sets of writings seem to suggest that landscape concepts can be used to understand part-to-whole relationships.

Based on their mutual connection to landscape, a dialectic may be established between a Phenomenological reading of site and Landscape Urbanism. This speculative dialectic suggests that landscape may be a physical and conceptual mediator between large and small scales of an architectural project. Furthermore, this thesis speculates that a dialectic Landscape Urbanist and Phenomenological approach might result in a design intervention that considers both infrastructure and the individual’s experience equally.

If topography is something landscape architects and architects should endeavor to understand, not to produce, two remaining questions require attention:

what bearing does such understanding have on these practices, and how does that understanding help with the distinction between design work in each field?

- David Leatherbarrow

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acceleratingboth green wall and market start to blur

slowboth green wall and market in relative focus

fastwall “disappears” to reveal blur of color behind

Middle: Phenomenon of market views from the train changing with speedBottom: Plan of proposed greenway through Uptown, with station roof plan and market plan

CHRISTINE CHLEBDA

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SOATHESIS

Station plan at street level

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1-A|USER| station main entrance

1-A|L.URB| the entrance to the station hovers above actual ground while the elevated surface climbs up to the left

1-A|PHEN| multiple ground conditions allow for a parallax of views to cross through the station main entrance space

1-B|PHEN| split corridor allows for views in parallax

1-B|L.URB| circulation spaces behave like a surface

1-B|USER| walkways to waiting areas

1-C|PHEN| the waiting areas reveal oblique views of trains as well as views in parallax

1-C|L.URB| the views from the waiting areas reveal other nearby infrastructure

1-C|USER| lower waiting area

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SOATHESIS

1-D|PHEN| views in parallax in waiting areas with a single moment of temporal light

1-D|L.URB| the flow of interstitial circulation spaces behave like a surface

1-D|USER| stair to upper waiting area and escalators to bus depot

1-E|PHEN| crisp, geometric light patterns reveal the passage of time while waiting for a train

1-E|L.URB| the flow of interstitial circulation spaces behave like a surface

1-E|USER| upper waiting area looking towards entrance

1-F|PHEN| trains shift quickly through rhythms of light that shift across the tracks

1-F|L.URB| skylights reveal glimpses of park space spanning over the tracks

1-F|USER| amtrak train platforms

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2-A|USER| park access along graham street

2-A|L.URB| the ground appears to rise from street level towards the station

2-A|PHEN| a narrow opening frames a glimpse of the station on graham st

2-B|USER| view to duke tower and baseball stadium along lower ramp

2-B|L.URB| halfway up the ramp, the view is directed towards other nearby park spaces

2-B|PHEN| with a slight turn, the user approaches a framed view of Charlotte skyline landmarks

2-C|USER| elevated station entry plaza

2-C|L.URB| at the top of the ramp, the user becomes aware that he is on a bridging ground surface

2-C|PHEN| at the top of the lower ramp, the user encounters simultaneous oblique views of traffic and streetcar movement

View sequence along station surface park, showing what the user would see (top row) and diagramming the potential that a Landscape Urbanist would see (middle row, green) and the potential that a Phenomenologist would see (bottom row, blue) in the same space.

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SOATHESIS

The dialectic design approach revealed new opportunities for each paradigm to enrich the other through its unique design agenda. For example, Landscape Urbanist concepts related to infrastructure presented Phenomenology with a variety of unique ground situations in which to embed a sense of place by harnessing phenomena of light and views. Likewise, Phenomenology provided Landscape Urbanism with a deliberate experiential agenda to shape a surface condition unique to a place, imbuing that surface with deep meaning and purpose unlike stereotypical Landscape Urbanist surfaces that are often too much about an overall aesthetic gesture of ‘greenness’. Additionally, the market charrette, which overlapped these paradigms at the scale of a single architectural element (i.e. a wall), revealed that the dialectic design process could operate as successfully at a very small scale as at the scale of a landform building.

2-E|USER| approaching rooftop park

2-E|L.URB| at the top of the upper ramp, the user can see multiple ground planes and the park bridging over the tracks

2-E|PHEN| the view from the top of the ramp reveals an oblique view of crossing movement systems

2-F|USER| trade and tryon skyline overlook

2-F|L.URB| moving around the roof, the lower ground conditions become revealed below

2-F|PHEN| the roof of the station points towards an oblique skyline view

2-G|PHEN| the park space viewed in parallax from the station roof, platform, and greenway

2-G|L.URB| a park connects the station to the greenway by bridging over the tracks, using leftover

infrastructural space

2-G|USER| rooftop park

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SOATHESIS

RejectamentalReimagining Waste as a Source of Building Material

J.P. Mays

Transporting and breaking down enormous amounts of material to be regenerated and reconstructed is daily practice. Instead, there just may be methods to reuse what has already been made to circumvent this waste of effort. ... The important thing is awareness of the interaction between design and the availability of existing materials. - Ed van Hinte, Césare Peeren, + Jan Jongert, “Superuse: Constructing new architecture by shortcutting material flows”

The act of architecture has been historically dependent upon and preceded by the procurement of raw materials from the natural environment. Until recent decades, exploiting the earth’s resources was commonplace, but increased awareness of the negative environmental impact of such practices demands reexamination of traditional material sources. In tandem with natural resource depletion and harmful extraction procedures, millions of cubic feet of human refuse end up in landfills across the country as part of a ‘cradle-to-grave’ process of waste. While modern efforts have made significant advances in diverting material from these landfills, there remain substantial quantities outside of conventional practices that could be given new life. In light of this, traditional sources of building material can and should be expanded to include pre-consumer, municipal, and construction/demolition waste, to reduce both the consumption of non-renewable resources and the size of landfills.

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JP MAYS

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SOATHESIS

Durability

DisassemblyHazar

d

Paint/finish

Cond

ition

Thermal

Process EnergyEmbo

died E

nergy

Ease of Transport

Dista

nce

Potential

ColorTextur

e

Symbolic Value

Geom

etry

Galvalume Roofing

Source MaterialProperties

Energy Aesthetics Total

Metal Wall Panels (New)

Metal Wall Panels (Old)

Brick

Pine Flooring

Pine Roof Decking

Heavy Timber (16x16)

Concrete Footings

Tires

Automobile body panels

Liquid transport tank

5.0

4.3

3.5

1.6

1.5

2.1

2.5

1.0

1.9

1.5

3.7

Rejectamental succeeded in incorporating a wide range of material salvaged from the adjacent warehouse, including concrete footings, brick walls, timber frame, and metal panels. It resulted in an elegant buidling design and functional programmatic space. However, the program had a conveniently fitting connection to the building’s design and construction, and perhaps it would have been more challenging and illuminating to employ the same techniques in a completely different typology. Sourcing material, beyond the warehouse, proved more difficult than imagined and requires a longer and more rigorous investigation. Learning from this design effort, future projects need to be both assessed for their suitability for reused material and the local availability of sources. This is certainly not a one-size-fits-all technique, and demands astuteness and creativity for successful realization.

Left: Site model with design iterationsRight: Re-used material analysis

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JP MAYS

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SOATHESIS

Left: Longitudinal section perspectives through community arts, gallery, and work spacesRight: Model close-ups

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80,000 Bees x 1,000 flowers per

day =80,000,000 flowers pollinated per day per hive.

The waggle dance, done by bees to let the other bees know distance and direction to nectar.

> 1 , 0 0 0 flowers per bee per day

NE

Distance

13.8 POUNDS

M

ILES

Average change in Hive

Weight over 18 days

Distance Travelled to get Food

0

.5

1

2

5

1.5

18.1 POUNDS

POUNDS

21.3 POUNDS

MIL

ES

MILE

S

23.3 31.6

4

5.1

-3.0 POUNDS

MILE

S

MILE

S

M

ILES

POUN

DS PO

UND

S

M

ILES

3

Capacity of bee hive is usually

80,000 bees. Once reached a group of bees leave to form a new hive.

Foraging Behavior

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SOATHESIS

Toward an Ecology of Building:The Symbiotic Relationship Between Habitats

Lindsey Mayes

...we need to view the fragility of the planet and its resources as an opportunity for speculative design innovations rather than a form of technical legitimation for promoting conventional solutions...Imagining an urbanism that is other than the status quo requires a new sensibility - one that has the capacity to incorporate and accomodate the inherent conflictual conditions between ecology and urbanism.

- Mohsen Mostafavi

The built environment versus the natural environment, seen by architects as separate entities and by ecologists as unified.1 The natural environment works to sustain life and biodiversity, which is contrary to the built environment, which works against it.2 The maintenance of the environment is essential to the quality of human life. This thesis seeks to challenge the way we think about architecture by designing not only for human occupation but also designing for keystone species essential to a sustainable environment for both humans and other organisms. This thesis challenges the notion of having both a built and natural environment and redefines them as one in the same, thus allowing for integration of habitats.Ecology provides architects the lens to view the built environment and natural environment as unified and thus has the potential to form symbiotic relationships between them, allowing them to work together. Ecology is defined as the study of the interconnected, complex relationships between organisms and their environment, and for this thesis focuses on humans and keystone species essential to humans, meaning species that are an integral part of the maintenance of human life and also play a large role in the overall maintenance of an ecosystem, thus allowing architects to design for humans and species in order to maintain and redefine natural and built environments.

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CONFERENCE

MEETING

LAB

LAB

LAB

MECH.

EQUIP/STOR.

LOUNGE

OFFICES

TELE.

RECORDS

LOBBY

SAMPLES

SEATINGBAR

PRODUCTION

KITCHEN

TASTING/BEEPRODUCTS

GATHERING/FEEDING AREA

PARKING

hives Beekeepers

Gardens

Brewery ProductionOffice

Mechanical

Bottling

BarCoolers

SeatingKitchen

Research Lab Containment

Equipment

Conference

Meeting

Lobby

Offices

Lounge

Storage

Records

Tele

visitorscenter

Lobby

ViewingGallery

LINDSEY MAYES

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SOATHESIS

BAT ZONE

BEE ZONE

NIGHT POLLINATION

DAY POLLINATION

3/4” GAP

1/2” PINE WOOD UNFINISHED

VENTILATION

GUANO

FERTILIZER

PLANTS

BATS

ENTRY AND EXIT

3/4” OPENING1 1/2”

ENTRY AND EXIT

SMOKE ADDED TO CALM BEES

LOWERED HIVE FOR VIEWING

BEEKEEPER HIVES

1/8” = 1’ BEEKEEPER SECTION

OUTER COVER

INNER COVER

HONEY SUPER

HIVE BODY

HIVE BODY

BOTTOM BOARD

6 5/8”

9 5/8”

TYPICAL HIVE

9 5/8”

BROOD

Relationship between the existing tower on the site and hives

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LINDSEY MAYES

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SOATHESIS

This thesis explores how architecture can respond positively to other organisms that can benefit an ecosystem. The goal of this thesis was to create a body of work that could be expanded upon and to explore the many opportunities this thesis creates. Many concerns are raised about our environment and the problems we face, many of these problems come from over population and the ripple effects we create. We continually develop land for our personal use for either business, agriculture or homes and this thesis questions how this development can begin to work not only for ourselves but other organisms as well, in order to sustain our own populations. Architecture already tries to minimize the impacts of our lifestyles through sustainable design and reducing energy usage, but as our populations continue to expand we are still increasing energy needs and there are many more problems than just energy. By creating habitats within the design of a site or building we can begin to restore as well as reduce, thus changing how we currently think about design.

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SOATHESIS

Visualizing Protest

Anna R. King

Recent international protests have highlighted the increasingly temporal and circumstantial context of public space in an era of rapid technological development, re-contextualizing public space through the lens of a social city comprised of virtual community and social networks rather than a material city comprised of buildings and infrastructure. As the world population becomes more and more urban, the lasting phenomenon of dissent in public space necessitates the design of innovative spatial forms of gathering. This thesis project seeks to explore the appropriation of public space in contemporary protest culture. Specifically, how demonstrations as a spatial type of occupation relate to and physically alter the urban environment. Observations regarding how demonstrations use space or create space will form a social rubric, which, along with specific case studies focusing on the spatial forms of protest and space as a medium, will be iteratively mapped and diagrammed in order to methodologically identify and develop a visual language of protest.

This visual language, along with the resulting empirical analysis of coexisting “site-specific” topics and temporal themes, will serve as the primary source(s) in development of a “how-to” primer, providing information-based graphics on spatial occupation using proposed “typologies” in varied urban environments and socio-political contexts as a vehicle of analysis to drive home criticality of the thesis topic. The matrix and pamphlet will be used to further clarify and situate a set of design interventions for two selected protest program types within the context of Charlotte, North Carolina as an experimental commentary promoting a greater understanding of what role architecture can play in promoting contemporary protest/occupation; specifically, the temporal aspects of occupation re-purposing the existing permanent elements of the city’s architecture to activate space(s).

Architecture is not simply about space and form, but also about event, action, and what happens in space.

- Bernard Tschumi

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ANNA R. KING

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SOATHESIS

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Left: Perspective collage diagram of wheatpaste overhead plane intervention beneath LYNX rail line.

Who are the clients for this kind of architectural intervention? What are their spatial needs? Why is a particular nook or cranny of the permanent city fabric suited for a specific type of protest? Are there elements left behind from the tectonic response(s) temporarily engaging with the site? Are the interventions “playing by the rules”? When do they break the rules? How + why would they leave a mark or vanish without any trace?

How does architectural intervention serve to foreground and activate memory? How should the spatio-temporal thresholds of protest be represented?

ANNA R. KING

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SOATHESIS

46

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SOA

Guest Critic: Joshua Prince-Ramus

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SOATHESIS

48

I don’t want to romanticize poverty, but I want to suggest that this informal development … is a set of social and economic procedures that we can translate. To put it bluntly: There are other ways of constructing cities.

-Teddy Cruz

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SOATHESIS

[In]formalism:A Reconsideration of the Shanty Town

Stefan Pinheiro

In the most abject occupied conditions, how can design arise out of necessity and intervene to provide hope and a much improved way of living for those in need?

The world’s population is increasing rapidly and one-sixth of humanity resides in poverty – a problem recognized as the most significant of our time. Currently, there are six billion people on the planet, and one billion of who live in slums – a figure that’s projected to double by 2030 - according to the United Nations.

Cities have long possessed a dynamic magnetic force that attracts millions of people in unprecedented numbers annually in search of economic opportunity, political stability and a better future.

Currently the scale of poverty on the planet has overpowered the capacity of the formal city, the formal market, to accommodate the large numbers of impoverished settlers moving to urban districts all across the planet. But this progression of urbanization is not without its associated difficulties - governmental neglect, underemployment, insufficient low-income housing, social inequality and lack of resources are prominent contributors to the development of poverty and impoverished communities.

This thesis seeks to utilize materials from an adjacent landfill, in conjunction with a kit-of-parts that will facilitate in the construction of much needed dwelling units that will allow residents the freedom to erect their own homes and nurture their own community.

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STEFAN PINHEIRO

32.4%21.5% 8.74% 1.79%16.9%2.8%4.8% 3% 1.7%2.37%2.6%1.4%

Taxonomy of resourced materials from the adjacent landfill used to construct dwelling units.

Resourced materials used to construct dweling units - crushed soda cans, bamboo, plastic rice bags, shipping pallets, plastic bottles and wood.

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SOATHESIS

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STEFAN PINHEIRO

53

SOATHESIS

builtenvironment natural

environment

habitatsworking together

“In the early 21st century the building of shelter (in all its forms) consumed more than half of the world’s resources-translating into 16 percent of the Earth’s freshwater resources, 30-40 percent of all energy supplies supplies, and 50 percent by weight of all the raw materials withdrawn from Earth’s surface. Architecture was also responsible for 40-50 percent of waste deposits in landfills and 20-30 percent of greenhouse gas emissions.” Wines

“as we are an indivisible part of nature’s ecosystems, what does not sustain nature’s ecology cannot as a bottom line sustain us.” Crowther

“Simply stated our health as human beings depends on the continued health of our natural environments...societies use the natural world to construct culture and meet their needs.” Orr

“integrating the built environment’s impacts with the natural environ-ment.” Yeang

“our present...artificial environs are

counter to nature...our encumber-

ing impact upon and mutilation

and defilement of nature’s ecosys-tems...”

Crowther

Birds build nests, spiders build webs and humans build cities

Toward an Ecology of Building: the symbiotic relationship between habitats

MERGE

CARRYING CAPACITY

INTELLIGENTDESIGN

AUTONOMY

BoeriMcHarg

Crowther

Yeang

CornerWines

Sprin

Mostafavi

Waldheim

Williams

MostafaviCorner

Waldheim

Beatley | Manning

Crowther

Yeang

McDonough

Orr

Williams

ThomasStitt

Beatley | Manning

“spaces for a nature that is close to us and yet is not controlled, toned down, or made artificial...we must think of accepting a relationship with nature on equal terms in cities, ensuring that it has its own autonomy and is not unendingly influenced by the needs of man” Boeri

“conjoining of ecology and urbanism...incorporat[ing] and accomodat[ing] the inherent conflictual conditions between ecology and urbanism”

“ecology with its emphasis on the interrelationship of organisms and the environment-an emphasis that invariably excludes human intervention” Mostafavi

“Ecological design...requires not just a set of generic design skills but rather the collective intelligence of a community of people applied to particular problems in a particular place over a long period of time.” Orr

“the notion that a given ecosystem or environment can sustain a certain animal population, and that beyond that level, overpopulation and species collapse will occur...certain physical and ecological limits that exist in nature, if exceeded, will have ripple effects that bring population back in line with capacity.” Beatley and Manning

Ecology redefinedthe study of a system of places and habitats, at differing scales, which, influence, relate and affect both the land and the beings living, working and existing there.

54

As this thesis seeks to recognize issues on-site and turn those issues into design opportunities by utilizing materials from a landfill in conjunction with a kit-of-parts to create much needed housing, it exemplifies the need for basic shelter by 1 billion people worldwide. The urban dissemination of the units on-site also proved challenging in this thesis – how to design an urban plan that remains informal, was challenging. Learning from the existing patterns of occupation on site – close proximity of roads and water supplies – the new plan mimicked most of these basic necessities. Using materials from a landfill to construct housing proved to be challenging, due to the limited availability of materials needed for construction.

With the unfortunate circumstances of poverty, architecture must arise – in every which way possible - to facilitate those in need. We as designers must be a part of change in the impoverished world.

STEFAN PINHEIRO

55

SOATHESIS

56

Without boundary, there can be no discernible form and consequently no figure… Thus section, cutting through… extends the closed figure of the plan and connects it to possibilities not yet imagined.

- Robin Dripps in “Groundwork”

[L] : LOFTS | CONTEXTUAL

57

SOATHESIS

Ground ExcavationsUncovering the Sectional Attributes of Landscape and Building

Nicole Brown

The dialogue between architecture, landscape and human experience has been addressed historically through the use of representation. While the importance of the human experience is not equally addressed in all discourses, the building section emerges as a common device for restoring the architect’s focus on the human experience and questions how the architectural section can generate design.

This thesis explores the relationship between the two-dimensional representation and the three-dimensional space through a series of sectional taxonomies that analyze programmatic elements based on spatial experiences. These programmatic spatial conditions will assess spaces that typically result from digital methods like extrusions, pulls, boolean, loft and sweep spaces. From this taxonomy of sections, a series of vignettes will be developed and 3D-printed that start to blend these sections. These sections analyze the spatial quality through potential social situations and phenomenal characteristics creating a dialectic between architecture, landscape and human experience. While the field has shifted towards digital drawing methods like Revit, AutoCAD and Rhino, these programs still favor the use of the plan and object-based form as the primary design generators. The architectural section gives dimensionality to the architecture that the plan does not. In the digital realm, the section is allowed to extend beyond orthographic projection, which then allows a designer to better understand the human and cultural implications. The section has the potential to transition back to an architecture imbued with experiential meaning and away from the purely formal architecture.

58

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

59

SOATHESISNICOLE BROWN

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

[L]: PROGRAM

[B]: CONTEXT

[S]: EXPERIENTIAL




F:01

F:PR

F:02

F:01

LIGHT WELL

SPATIAL VOLUME

VIEW CORRIDOR

A




B

c


THEATER LOBBY

LIGHT WELL


FIRE EXIT

FIRE EXIT

STREET LEVEL

PLAZAENTRY



[1] [2] [3] [1] [2] [3]

60

MORPHING SPATIAL SEQUENCE:-‐ LOBBY-‐ CIRCULATION

01

02

SECTION PROFILES IMPLIED PATH MANIPULATED FORM

+ +

[L]

+ =

FLAT GROUND

SEPARATION OF SPACE

GROUND INCLINE

UPPER SIDE LIGHT

IMPLIED SECONDARY PATH

LIGHT + DARK DEMARCATING THRESHOLD

ROOM SEPARATION

L: 01 L: 02 L: 03 L: 04 L: 05

THROUGH PATH

PRIMARY PATHWAY

[L]

1998 20001997

L: 01

L: 02L: 03

L: 04

L: 05

DIG

ITAL

-‐ LOBBY-‐ GALLERY

FORMAL OBJECTS

+

[B]

=

B: 01 B: 02 B: 03

[B]

[B2]: SPATIAL CLARITY

[B]:01 INITIAL VOLUME [B]:02 INITIAL SECTION CONCEPT INTRODUCING LIGHT + MOVEMENT [B]:03 INTERIOR SPATIAL COMPLEXITY

[B1]: PROCEDURAL OPERATIONS :

19892007

2006

DIG

ITAL

-‐ LOBBY-‐ GALLERY

FORMAL OBJECTS

+

[B]

=

B: 01 B: 02 B: 03

[B]

[B2]: SPATIAL CLARITY

[B]:01 INITIAL VOLUME [B]:02 INITIAL SECTION CONCEPT INTRODUCING LIGHT + MOVEMENT [B]:03 INTERIOR SPATIAL COMPLEXITY

[B1]: PROCEDURAL OPERATIONS :

19892007

2006

MORPHING SPATIAL SEQUENCE:-‐ LOBBY-‐ CIRCULATION

01

02

SECTION PROFILES IMPLIED PATH MANIPULATED FORM

+ +

[L]

+ =

FLAT GROUND

SEPARATION OF SPACE

GROUND INCLINE

UPPER SIDE LIGHT

IMPLIED SECONDARY PATH

LIGHT + DARK DEMARCATING THRESHOLD

ROOM SEPARATION

L: 01 L: 02 L: 03 L: 04 L: 05

THROUGH PATH

PRIMARY PATHWAY

[L]

1998 20001997

L: 01

L: 02L: 03

L: 04

L: 05

OF SPACE AND PROGRAM-‐ CIRCULATIONSECTION PROFILE VERTICAL PATH

[S]

+ =

[S]

[S]

[S]

[S]

[S]

20111999

[S]: PROCEDURE DIAGRAM

[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐


[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐


[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐


[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐

61

SOATHESIS

e[X]trusion

ANALO

GAN

ALOG

+

TECH

NOLOGY

STACKED PROGRAM:-‐ OFFICE TOWER-‐ SKYSCRAPER

01

02

03

ROOM BOUNDARY

SEQUENTIAL PROGRAM:-‐ ARCADE-‐ OFFICE

01

02

03

SECTION PROFILE

[P]

=

=

1592 1951

1958

1990

19511949 20111910

[B] [X]: 01INITIAL VOLUME EXTRUDED

[B]: 01ENTRY CONDITIONS OVERLAID WITHINITIAL VOLUME

[B]: 02LIGHT AND VIEW CORRIDORS OVERLAID WITHNEW VOLUME

[B]: 03PROGRAM SPACES OVERLAID WITHUPDATED NEW VOLUME

DIAGRAM KEY

NEW VOLUME

UPDATED NEW VOLUME

FINAL NEW VOLUMEBOOLEANED SPACE

[P]: 01ENTRY SPATIAL CONDITIONS MADE

[P]: TYPE OF TAXONOMYTYPE OF CONDITION (EXPERIENTIAL, CONTEXT, PROGRAM)

DIRECTION OF ARROW = DIRECTION OF OPERATION

START OF OPERATION AND SECTION INFLUENCE

[P+E]: 02VOLUME OF LIGHT AND VIEWCORRIDORS MADE

[P]: 03PROGRAM SPACES PULLED

[P+E]: 03PROGRAM SPACES PULLEDAND EXTRUDED

PRIMARY VOLUME SEQUENCESECONDARY VOLUME SEQUENCE

F: PR

F: 02

F: 02


[S]

+ =

[S]

[S]

[S]

[S]

[S]

20111999


[S]

+ =

[S]

[S]

[S]

[S]

[S]

20111999

e[X]trusion

ANALO

GAN

ALOG

+

TECH

NOLOGY

STACKED PROGRAM:-‐ OFFICE TOWER-‐ SKYSCRAPER

01

02

03

ROOM BOUNDARY

SEQUENTIAL PROGRAM:-‐ ARCADE-‐ OFFICE

01

02

03

SECTION PROFILE

[P]

=

=

1592 1951

1958

1990

19511949 20111910

62

NICOLE BROWN

[#2] BOOLEANS| STRAIGHT

[B:1] series of sections from boolean space --> interior is where the formal complexity occurs

[B:2] VOLUME VS. SECTIONS

INTERIOR SECTION SPACE





[#3] BOOLEANS | LONGITUDINAL + SERIES OF TRANSVERSE

|

[L2: loft] to create volume --> volume boolean out[L2] : volume along LIGHT concept

[L3: L + T]

[L1: loft] to create volume --> volume boolean out[L1] : volume along a PATH --> circulation idea

Section | boolean light + movement

PROGRAM SPACE SPLIT BY BOOLEAN VOLUMES LIKE LIGHT + CIRCULATION

| volume shape of light void along [LOFT]

PRIVATE PROGRAM

PUBLIC PROGRAM

Initial study between the relationship of the longitudinal section and the transverse sections.[L: Longitudinal] = path/ sequence[T: Transverse] = light movement

63

SOATHESIS

The dialogue between architecture, landscape and human experience has been addressed historically through the use of representation. While the importance of the human experience is not equally addressed in all discourses, the building section emerges as a common device for restoring the architect’s focus on the human experience and questions how the architectural section can generate design.

F: 01

F: 02

F: PROJECTION ROOM

F: 01

F: 02

F: PR

F: PR

F: 02

F: 01

[L]: 05

[L]: EVOLUTION OF FORM WITH PROGRAMMATIC CONSTRAINTS

[L]: 04

[L]: 03[L]: 02

[L]: 01

[L]: 01NARROW FE WITH THREE LEVELS

[L]: 02SHIFTING OF THREE LEVELS TO ACCOMMODATEHEAD HEIGHTS

[L]: 03MERGING OF TWO LEVELS INTO ONE FIRST FLOOR

DROPS TO ACCOMMODATEHEAD HEIGHT AND LESSEN THE TIGHT, NARROW SPACE

[L]: 04MERGING OF TWO LEVELS INTO ONE AND OPENING OF SPACE INTO SPILL OUT AREA

[L]: 05ALL THREE LEVELS MERGED INTO ONE LEVELWITH SPILL OUT AREAS ALONG THE WAY

[L]

+

F: 01

F: 02

F: PROJECTION ROOM

F: 01

F: 02

F: PR

F: PR

F: 02

F: 01

[L]: 05


[L]: 04

[L]: 03[L]: 02

[L]: 01







[L]

+

F: 01

F: 02

F: PROJECTION ROOM

F: 01

F: 02

F: PR

F: PR

F: 02

F: 01

[L]: 05


[L]: 04

[L]: 03[L]: 02

[L]: 01







[L]

+





DIAGRAM KEY

NEW VOLUME

UPDATED NEW VOLUME










F: PR

F: 02

F: 02





DIAGRAM KEY

NEW VOLUME

UPDATED NEW VOLUME










F: PR

F: 02

F: 02





DIAGRAM KEY

NEW VOLUME

UPDATED NEW VOLUME










F: PR

F: 02

F: 02

[B]


[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐


[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐


[S]

[S]:04

[S]:03

[S]:02

[S]:01

[S]:04

[S]:02 -‐ 03

[S]:PATH

[S]:01

-‐

-‐-‐

[S]





64

The majority of this thesis lived in the abstract world and even while it answered to a specific site and program question, the result was still purely experimental. The thesis demonstrated how by designing in section, the quality of the space becomes unique and rich.

The use of designing in section starts to challenge one’s notion of what a section typically is because critics understand the premise of how the section is being used as a tool and it’s ability to generate complex forms bounded by functional uses. However, there still seems to be unanswered questions about how does one start to represent space that was generated from an inherent 2D representation.

NICOLE BROWN

BooleanPullExtrusion

65

SOATHESIS

Loft Sweep

Top left:Split model

Top right: 3D printed model of final

investigation

Bottom:3D printed models of taxonomies

Thesis book2a

Documents

theater mezzanine

quality of space

carolina theater

lobby spaces

lofted space

booleaned space

immense landscape

loft space