Table of ConTenTs
Table of ConTenTs Thesis sTudio (spring 2010) - absTraCT Thesis prep i (fall 2009) - prospeCTus Thesis prep ii (fall 2009) - siTe Thesis sTudio (spring 2010) - siTe Thesis prep ii (fall 2009) - program Thesis sTudio (spring 2010) - program Thesis prep ii (fall 2009) - preCedenTs Thesis sTudio (spring 2010) - preCedenTs Thesis sTudio (spring 2010) - preliminary ConCepTual skeTChes Thesis sTudio (spring 2010) - siTe animaTion sTudies Thesis sTudio (spring 2010) - design phase 1 Thesis sTudio (spring 2010) - design phase 2 Thesis sTudio (spring 2010) - design phase 3 Thesis sTudio (spring 2010) - final design Thesis sTudio (spring 2010) - ConClusion bibliography
Table of Contents
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1
Thesis Studio - Abstract
Thesis sTudio(spring 2010)
AbstrAct
2
The arTisT CommuniTy is inTegral To The CulTure and vibranCy of The CiTy of bosTon. many Times The proCess of produCTion is disConneCTed from The final display of arT. many
people experienCe arT by viewing The final produCT wiTh liTTle or no undersTanding To The proCess assoCiaTed wiTh CreaTing These pieCes of work. This Thesis will look aT revealing This
proCess Through arChiTeCTural form. CreaTing TransparenCy beTween produCTion and display provides The viewer wiTh a mulTifaCeTed view of arT. This Thesis will explore how arChiTeCTure
Can ConneCT The produCTion and display of arT To The CiTy of bosTon.
The building will speCifiCally house faCiliTies Capable of manufaCTuring and displaying large-sCale sCulpTures. The main porTion of The building ConsisTs of exhibiT/produCTion
spaCes ThaT provide large, expansive spaCe Capable of manufaCTuring large sCale arT. flanking These spaCes are Three main Cores ThaT house The arTisTs’ sTudios, adminisTraTion offiCes,
lounges, Cafe, booksTore, lavaTories, egress and freighT elevaTors. primarily arTisT and sCulpTors who will be working on produCing sCulpTures will oCCupy The building during The
day. The arChiTeCTure aCTs as a desTinaTion for The CiTy in The evening as The building Transforms from produCTion mode To display mode. The produCTion areas will Transform inTo exhibiT
spaCes for The sCulpTures, allowing visiTors To pass freely from spaCe To anoTher.
a sTruCTure Capable of housing produCTion and display faCiliTies allows The publiC and The surrounding CommuniTy To experienCe The proCess from sTarT To finish. This Thesis
will explore The idea of projeCTing The proCess of arT on The CiTy of bosTon and The CommuniTy of souTh bosTon.
The siTe is loCaTed in souTh bosTon, near The arTisT for humaniTy building and adjaCenT To a new arTisT residenCe. The ConneCTion To The hisToriC indusTrial pasT of souTh
bosTon and The prevalenT arTisT CommuniTy in souTh bosTon was imporTanT in Choosing The siTe. The “arTisT iniTiaTive aCT” sTaTed on The bosTon redevelopmenT auThoriTies websiTe
provided The neCessary informaTion regarding The growing arTisT CommuniTy in The CiTy of bosTon. The arTisT CommuniTy in souTh bosTon CreaTes a dynamiC relaTionship beTween The CiTy
and The arT ThaT is produCed. merging The produCTion proCess of large sCale sCulpTures wiTh a TheaTriCal aesTheTiC CreaTes a unique arChiTeCTure in souTh bosTon. designing a building
Capable of merging These ideas and exposing The proCesses of manufaCTuring beCame The foCus of my Thesis exploraTion.
designing a sTruCTure Capable of Transforming iTself To meeT The needs of The sCulpTors and The publiC CreaTes a dynamiC TheaTriCal expression in souTh bosTon and in The CiTy
of bosTon.
Thesis Studio - Abstract 3
Thesis prep i(fall 2009)
ProsPectus
Thesis Prep I - Prospectus 4
overview sTaTemenT
This Thesis will explore The noTion of muTual inTeraCTiviTy beTween inhabiTanTs’ and The builT environmenT. Through The use of emerging TeChnologies, maTerials and programmaTiC
relaTionships, This Thesis will disCuss how mulTi-purpose spaCes Can adapT To The inhabiTanTs’ needs ThroughouT various Time spans. The inTeraCTion beTween inhabiTanT and building CreaTes
a ConsTanTly Changing dialogue ThaT allows for spaCes To be experienCed differenTly depending on use. The manipulaTion and ConTrol of lighT, spaCes, noise and views CreaTes a building
ThaT is in ConsTanT flux ThaT CaTers To The inhabiTanTs’ needs. The idea of an arTisT design sTudio Came from The noTion of engagemenT, inTeraCTion and adapTabiliTy. many arTisT design
sTudio require spaCes ThaT need To respond To The oCCupanTs’ needs ThroughouT various Times of The day. The varieTy of sTudio spaCes, galleries and exhibiTion spaCes require differenT
arraignmenTs depending on use. The ConsTanT Transfer of ideas, people and objeCTs wiThin an arTisT design sTudio CreaTes a need for inTeraCTion beTween building and oCCupanT.
The visual and physiCal ConneCTion To The surrounding ConTexT aids in CreaTing a dynamiC relaTionship beTween human and building. The publiC engagemenT To The builT environmenT
is an imporTanT aspeCT ThaT CreaTes spaCes ThaT are more Than jusT sTaTiC objeCTs in The landsCape. The siTe for This Thesis is loCaTed in souTh bosTon, jusT souTh of The bosTon ConvenTion
CenTer. The loCaTion of The siTe is on The Corner of The souTh bosTon bypass and wesT seCond sTreeT. This area is loCaTed aT a TransiTion poinT beTween residenTial neighborhoods and
CommerCial and indusTrial parks. The siTe CreaTes a link beTween living environmenTs and working environmenTs and plays an aCTive role in engaging The Two zones. jusT aCross The souTh
bosTon bypass is The arTisT for humaniTy building, whiCh eduCaTes inner CiTy Children in The various disCiplines of arT. direCTly aCross The sTreeT from The proposed siTe is an abandoned
building ThaT is being renovaTed inTo residenTial uniTs, wiTh TwenTy-one speCifiCally designed as arTisT sTudios. This Thesis will look aT ways To inTeraCT and engage wiTh The immediaTe ConTexT
as well as aT a muCh larger urban sCale.
ThroughouT The Thesis proCess, The idea of inTeraCTiviTy beTween The builT environmenT and humans will be explored. wiTh The inTegraTion of emerging TeChnologies, maTerials
and programmaTiC relaTionships, This Thesis will explore how buildings are Capable of responding To oCCupanTs’ needs Through various Time spans.
Thesis Prep I - Prospectus 5
researCh problem
This Thesis will examine The idea of mulTi-purpose buildings and address ways To provide inTeraCTion and adapTabiliTy depending on oCCupanTs’ needs. The CapaCiTy for These
spaCes To Transform and Change ThroughouT various Time spans allows for an experienTial relaTionship beTween human and building. This Thesis will explore new inTeraCTive media, emerging
smarT TeChnologies, maTerials and programmaTiC relaTionships. how Can arChiTeCTs and designers use emerging TeChnologies To enriCh The relaTionship beTween mulTi-purpose spaCes and
inhabiTanTs ThroughouT various Time spans?
objeCTives
• To inCorporaTe emerging digiTal TeChnologies and maTerials To allow building and oCCupanT To inTeraCT wiTh eaCh oTher.
• To CreaTe spaCes ThaT are Capable of adapTing To The oCCupanTs needs ThroughouT The Course of The day.
definiTions
inTeraCTive arChiTeCTure - emerging arChiTeCTural TeChnologies ThaT allow an oCCupanT To aCTively engage and parTiCipaTe wiTh The builT environmenT.
mulTi-purpose spaCe - spaCes ThaT allow for a varieTy of aCTiviTies To Take plaCe, for example, by re-arranging parTiTions or furniTure. an example of This would be a sChool gym, whiCh
allows The oCCupanT To modify The spaCe during The Course of The day for sporTing evenTs, danCes or presenTaTions.
mixed-use building - buildings ThaT Combine differenT programs, suCh as CommerCial plus residenTial. The way ThaT These programmaTiC elemenTs are designed TogeTher is imporTanT in
CreaTing a ConsisTenT pieCe of arChiTeCTure.
muTual inTeraCTion - The way inhabiTanTs inTeraCT wiTh The builT environmenT as well as The way The builT environmenT responds To The inhabiTanT.
Thesis Prep I - Prospectus 6
researCh essay
an emerging Trend in design, arChiTeCTure and arT is The noTion of muTual inTeraCTiviTy beTween oCCupanT and building. This relaTionship
CreaTes a new and inTriguing dialogue beTween buildings and how humans oCCupy Them. humans and buildings have inTeraCTed ThroughouT hisTory,
buT TeChnologiCal advanCes over The pasT TwenTy years, has inCreased ConneCTiviTy beTween people, ideas and plaCes. The emergenCe of smarT
maTerials and new media TeChnologies CreaTe ways for The builT environmenT To Change and inTeraCT direCTly wiTh The user. Through The use of
moTion, sound or TouCh, buildings Themselves are beComing muCh more inTeraCTive. The way ThaT oCCupanTs inTeraCT wiTh The builT environmenT
has sTarTed To influenCe The way arChiTeCTs and designers Think abouT spaCe, noT only on a building sCale, buT also aT a larger urban sCale.
The idea of mulTi-purpose spaCes has also Caused designers and arChiTeCTs To reThink The way programmaTiC elemenTs are organized in
order To respond To a wide range of aCTiviTies. This undersTanding of programmaTiC relaTionships allows for The building and inhabiTanT To adapT
To various needs ThroughouT The day.
InteractIvIty In archItecturehisToriCal preCedenTs
ThroughouT hisTory, There has been some noTion of human inTeraCTiviTy wiTh buildings. an early example of This is The window. This
CurrenTly Common elemenT developed over Time To allow for The ConTrol of lighT and ComforT in a spaCe. The window in iTs early sTages was
basiCally an opening in The wall, whiCh allowed The oCCupanT To regulaTe The amounT of fresh air inTo a spaCe as well as naTural lighT. The
romans were The firsT To inCorporaTe glass in windows, whiCh helped regulaTe The TemperaTure of The spaCe. The developmenT of The operable
window is one of The mosT primiTive examples of inTeraCTive TeChnologies.
anoTher example of building inTeraCTiviTy is The porTable dwelling, suCh as The asian yurT. This Type of porTable sTruCTure was
ConCeived speCifiCally for The ClimaTe, maTerials available and human neCessiTy. The yurT is a porTable sTruCTure ThaT Could be easily moved
depending on needs. “The form of suCh buildings is Closely relaTed To The requiremenTs of The users beCause The people who inhabiT Them have a
direCT link wiTh Those who build Them…”1 Thus The inhabiTanTs were able To manipulaTe and inTeraCT wiTh The sTruCTure depending on Their needs.
“in eiTher Case The building ConsummaTely fulfills The needs of iTs user.”2
forms of primiTive inTeraCTiviTy involve eiTher moving The building, or The elemenTs wiThin iT.
Thesis Prep I - Prospectus
1 - Robert Kronenburg, Spirit of the Machine:
Technology as an Inspiration in Architectural
Design (Great Britain: Wiley-Academy,
2001), 93
2 - Robert Kronenburg, Spirit of the Machine:
Technology as an Inspiration in Architectural
Design (Great Britain: Wiley-Academy,
2001), 93
7
early developmenT
inTeraCTive arChiTeCTure began To emerge in The early 1960s, wiTh The invenTion of CompuTers, CyberneTiCs and The sTudy of sysTems.
in 1969, andrew rabeneCk proposed “The use of CyberneTiC TeChnologies To produCe an adapTive arChiTeCTure ThaT would inCrease The useful
life span of a building Through adapTaTion.”3 designers, CyberneTiTions and arChiTeCTs began experimenTing wiTh various Types of CompuTaTional
sysTems, human ConTrolled inTeraCTions and building inTeraCTive TeChniques. CedriC priCe, john frazer and gordon pask beCame very influenTial
in The developmenT of inTeraCTive sysTems. “…influenCed an arChiTeCTure of proCess ThaT was indeTerminaTe, flexible and responsive To The
Changing needs of users and Their Times.”4
ThroughouT The Course of hisTory, The soCial, eConomiC and poliTiCal spheres have ConsTanTly been reworked and reshaped. wiTh The
developmenT of new TeChnologies, These spheres are onCe again Changing. The advanCemenTs of CompuTers and TeChnology Through The 1980’s,
allows arChiTeCTs and designers began To look aT arChiTeCTural spaCe and inTeraCTive mediums as inTerrelaTed. The digiTal age allows for an
unpreCedenTed ConneCTion beTween humans and infrasTruCTure. This ConneCTiviTy influenCes design and funCTion of The builT world. “The driving
forCe behind The renewed inTeresT in adapTable arChiTeCTure is The TeChnologiCal influenCed and Changing paTTerns of human inTeraCTion wiTh The
builT environmenT. Today’s inTensifiCaTion of soCial and urban Change, Coupled wiTh ConCern for issues of susTainabiliTy, amplifies The demand for
inTeraCTive arChiTeCTural soluTions.”5
advanCemenTs Today
developmenTs in inTeraCTive arChiTeCTure have seen an explosion over The pasT TwenTy years. a number of arChiTeCTs and designers are
developing various ways of CreaTing inTeraCTive spaCes. some of These meThods inClude insTallaTion arT, inTeraCTive building faCades, and smarT
homes. inTeraCTive arChiTeCTure affeCTs The soCial and CulTural realm of a speCifiC demographiC, The meThods in whiCh humans engage wiTh The
builT environmenT, as well as Taking on various programmaTiC forms. by sTudying how These Three elemenTs relaTe To eaCh oTher, arChiTeCTs and
designers Can look aT The way These inTeraCTions influenCe soCieTy and The urban realm.
The soCial and CulTural aspeCTs abouT a siTe have sTrong impliCaTions in designing inTeraCTive arChiTeCTure. working wiTh The speCifiC
needs of The CommuniTy, designers are Capable of developing sysTems ThaT supporT These desires. luCy bullivanT looks To formulaTe ideas ThaT
Thesis Prep I - Prospectus
3 - Michael Fox and Miles Kemp, Interactive
Architecture (New York: Princeton
Architectural Press, 2009), 15
4 - Michael Fox and Miles Kemp, Interactive
Architecture (New York: Princeton
Architectural Press, 2009), 15
5 - Michael Fox and Miles Kemp, Interactive
Architecture (New York: Princeton
Architectural Press, 2009), 18
8
Can ConneCT TeChnology, building and inhabiTanT in a way ThaT forCes arChiTeCTs and designers To reThink The idea of spaCe and form. in This way,
bullivanT addresses meThods in whiCh arChiTeCTure Can influenCe The soCial realm aT a varieTy of sCales. bullivanT looks aT Two projeCTs ThaT
influenCe The CommuniTy buT in differenT meThods. one is enTiTled “lighT sounds,” whiCh redefines The sTreeTsCape in london for shoppers and
pedesTrians by ConsTanTly Changing Colors and sounds as pedesTrians pass Through The spaCe. The oTher projeCT is enTiTled “liTmus,” whiCh in
ConTrasT addresses The fasT paCed TraffiC of The highway by Changing Colors and TexT depending on loCal TraffiC, eleCTriCiTy usage, Tides and
lighT levels. These ideas bring a new undersTanding To soCial and CulTural inTeraCTions. “The power of many of The responsive environmenTs…
is preCisely ThaT They are noT purely reaCTive or enTirely predeTermined. boTh They and Their users learn from experienCe and redefine Their
sense of plaCe.”6
Through The ever-Changing soCial and CulTural realm, as well as inTeraCTiviTy wiTh The builT environmenT, There is a need To design
buildings ThaT respond To soCieTies shifTing lifesTyles. Changing lifesTyle paTTerns affeCT The way people go To sChool, shop and work. a
Considerable number of people now are able To work from Their home offiCe, effeCTively minimizing The amounT of inTeraCTion wiTh The CommuniTy.
This idea of soCial and CulTural ConneCTion is ever Changing. arChiTeCTs and designers are looking aT ways of CreaTing flexible and adapTable
buildings ThaT help To define The soCial and CulTural realms. “people who are CuT off from The workplaCe environmenT need To disCover new
sourCes for aChieving personal saTisfaCTion and for making meaningful soCial ConTaCTs. suCh opporTuniTies for remoTe soCial inTeraCTions are
Therefore noT only neCessary for pragmaTiC reasons buT also serve an imporTanT humanisTiC role in our soCial fabriC.”7
inTeraCTive arChiTeCTure Can also direCTly engage The publiC. buildings are more Than jusT sTaTiC elemenTs in The landsCape, buT
raTher a pieCe of The urban fabriC ThaT musT adapT and inTeraCT aT The human sCale. The engagemenT and parTiCipaTion of The publiC CreaTes a
kineTiC pieCe of arChiTeCTure. howeler yoon arChiTeCTure is a firm ThaT sTrongly believes designers and arChiTeCTs noT only CreaTe buildings
for The inhabiTanTs, buT ThaT The oCCupanTs aCTively engage The builT environmenT. for The hoTel and spa design, They CreaTe a sysTem of Thermal
envelopes, whiCh develops spaTial arrangemenTs dealing wiTh publiC versus privaTe spaCes and weT and dry zones. The wrapping sysTem noT only
CreaTes a progression beTween volumes, buT responds To The movemenT of human aCTiviTy.
in The proposal for The rose kennedy greenway Called “infra green,” howeler yoon designed a series of roTaTing Tri-panel ground
planes ThaT are Covered in asphalT, hardsCape or Turf. The ground Can liTerally Change depending The aCTiviTy Taking plaCe aT The Time. Their
design proposal brings TogeTher arChiTeCTure, infrasTruCTure, TeChnology, landsCape and The CulTure To engage and inTeraCT wiTh The publiC.
in The projeCT “whiTe noise, whiTe lighT,” howeler yoon explores how The user Can parTiCipaTe in defining publiC spaCe. a field of 400
Thesis Prep I - Prospectus
6 - Lucy Bullivant, Responsive Environments:
Architecture, Art and Design (South
Kensington, London: V & A Publications,
2006), 17
7 - Michael Fox and Miles Kemp, Interactive
Architecture (New York: Princeton
Architectural Press, 2009), 141
Figure 1.2 – Light Sounds, Source: D-squared
Figure 1.3 – Infra Green, Source: Howeler
Yoon Architecture
9
fiber opTiC poles emiTs lighT and sound ThaT inCreases in inTensiTy as The parTiCipanTs approaCh Them. The fliCkering lighTs help CreaTe a spaTial
awareness To The presenCe of oTher parTiCipanTs. The noise from The insTillaTion helps To CanCel ouT The surrounding baCkground noise of The
CiTy. howeler yoon wanTed To CreaTe an insTallaTion ThaT provided an inviTing, playful experienCe for The visiTors. The field of lighTs Transforms
playful aCTiviTy inTo spaCe, lighT and sound.
by undersTanding The relaTionship beTween inhabiTanT, The publiC and The urban fabriC, designers and arChiTeCTs are able To CreaTe
spaCes ThaT engage The user. This is imporTanT in urban seTTings as The line beTween The publiC and inhabiTanT in blurred. looking noT only aT The
physiCal elemenTs of a building suCh as walls, floors and windows, buT also aT new mobile TeChnologies in Today’s soCieTy, helps CreaTe a dialogue
beTween The physiCal and digiTal world. wiTh The CorrelaTion beTween The physiCal and digiTal realms, There musT also be CollaboraTion beTween
disCiplines: arChiTeCTs, designers, arTisTs, sofTware engineers, sCienTisTs and inhabiTanTs musT all work TogeTher. “raTher Than being wholly
CompuTer generaTed, like virTual realiTy projeCTs, responsive environmenTs are a bridge beTween The physiCal and The virTual.”8
The appliCaTion of inTeraCTive arChiTeCTure Can also Take various programmaTiC forms. programmaTiC elemenTs are explained as working
environmenTs, living environmenTs, publiC environmenTs and enTerTainmenT environmenTs. These various programmaTiC Types have differenT needs
in Terms of inTeraCTiviTy. adapTable spaCes are ConsTanTly Changing depending on The users speCifiC needs.
inTeraCTive arChiTeCTure shows greaT promise in The work plaCe. many workplaCes have high aCTiviTy aT The beginning and end of The
workday, while during The middle of The day, many people are ouT of The building aT meeTings or visiTing ClienTs. ConferenCe rooms are TypiCally
only used for a shorT perCenTage of The day and usually have very limiTed flexibiliTy in wheTher four or sixTeen people use Them. how Can The
appliCaTion of inTeraCTive arChiTeCTure help reThink These issues? lighTing, privaCy, Cooling and aCousTiCs are all elemenTs ThaT affeCT any
building. adapTable spaCes have The abiliTy To help ConTrol and manipulaTe These forCes.
a projeCT by vinCenT james ThaT addresses issues dealing wiTh inhabiTanTs’ needs is The dayTon house. The ConneCTion beTween inTerior
and exTerior spaCes are used in adapTing The house To The various needs of The user as well as seasonal Changes. various operaTing meChanisms
Combine wiTh The layered wall sysTem To make iT responsive To speCifiC funCTional needs of The house and The arT ColleCTion.9 This is niCe example
of how spaCes Can adapT and Transform depending on The needs of The user on a muCh smaller sCale.
inTeraCTive arChiTeCTure Can also influenCe enTerTainmenT and publiC environmenTs. These program Types affeCT a broad range of
buildings suCh as muniCipal, CommerCial, insTiTuTional and residenTial. The appliCaTion of inTeraCTive media To The publiC realm, in The form of
faCades, sCulpTures and founTains, has CreaTed a greaTer ConneCTion beTween pedesTrians, inhabiTanTs and building. museums, for example, have
Thesis Prep I - Prospectus
8 - Lucy Bullivant, Responsive Environments:
Architecture, Art and Design (South
Kensington, London: V & A Publications,
2006), 9
9 - Vincent James and Associate Architects
- www.vjaa.com
Figure 1.4 – White Noise White Light, Source:
Howeler Yoon Architecture
Figure 1.5 – Smart Glass-Glass that
transforms from transparent to translucent
with the touch of a switch, Source: Smart
Glass International
Figure 1.8 – Dayton House, Source: Vincent
James Associate Architects
10
sTarTed To embraCe The noTion of inTeraCTiviTy as a way of eduCaTing Their audienCe by displaying and presenTing The arTifaCTs. “inTeraCTiviTy
Combined wiTh spaTial adapTabiliTy Can serve well The Temporal naTure of Changing displays and The ways in whiCh visiTors inTeraCT wiTh Them.”10
inTeraCTive arChiTeCTure foCuses on how people use and ConneCT To The buildings They live in, work in or play in.
MIxed use BuIldIngs
hisToriCal preCedenTs
There has been a need for Towns and CiTies To have mixed-use buildings. mixed-use buildings allow for CommuniTies To exChange ideas,
as well as permiT inTeraCTion amongsT CiTizens. looking aT The hisTory of mulTi-use buildings, how They have Changed Today and Their relaTionship
To The urban ConTexT, arChiTeCTs and designers Can address issues suCh as how pedesTrians engage The spaCe, soCial inTeraCTions and buildings
physiCal ConneCTion To The exisTing ConTexT.11 The need for buildings To merge varying programmaTiC elemenTs inTo one CoherenT pieCe of
arChiTeCTure is imporTanT for The overall funCTion of a spaCe. “…To examine whaT is There and To see how we Can aChieve a beTTer environmenT
Through The inTegraTion of The mulTi-use building in The urban fabriC.”12
The use and ConsTruCTion of mixed-use buildings have been around for CenTuries. The roman baThs and The greek agora are boTh
examples of early mixed-use sTruCTures. They employ a neTwork of soCial, poliTiCal and eConomiCal inTeraCTions. mixed-use buildings were
presenT in medieval CiTies as They allowed The CiTizen and Their job To be in Close proximiTy. as CiTies expanded, There began To be an inCrease in
mulTiple houses or aparTmenTs builT on Top of one anoTher wiTh The ground floor open for shops and sTores.
ThroughouT The 19Th CenTury, arChiTeCTs sTarTed quesTioning This idea of mixed-use sTruCTure wiThin The urban ConTexT. buildings
should noT be viewed as a fixed program buT be allowed To be adapTable and generous. “The quesTion is noT To build flexible buildings buT To
esTablish environmenTs in whiCh buildings appropriaTe To Their funCTion may oCCur, and To enCourage an inTeraCTion beTween These buildings and
Their environmenTs.”13 a mixed-use building program is sTill presenT in many Types of aparTmenT buildings Today.
The idea of mixed-use buildings has been ConsTanTly Changing and manipulaTed in CiTies for CenTuries. wiTh The advanCemenT of
TeChnology and The noTion of inTeraCTive arChiTeCTure, arChiTeCTs and designers are able To redefine mulTi-use spaCes.
Thesis Prep I - Prospectus
10 - Michael Fox and Miles Kemp,
Interactive Architecture (New York: Princeton
Architectural Press, 2009), 103
11 - Eberhard H. Zeidler, Multi-Use
Architecture in the Urban Context (New York:
Van Nostrand Reinhold, 1985)
12 - Eberhard H. Zeidler, Multi-Use
Architecture in the Urban Context (New York:
Van Nostrand Reinhold, 1985), 9
13 - Eberhard H. Zeidler, Multi-Use
Architecture in the Urban Context (New York:
Van Nostrand Reinhold, 1985), 17
11
MultI PurPose PrograMs
modern inTerpreTaTions
The way in whiCh inhabiTanTs oCCupy mulTi-purpose spaCes affeCT how These spaCes are designed. There are many buildings Today ThaT
are only oCCupied during The workday from around 8a.m.-6p.m., effeCTively only using The building for half The day, and allowing The building liTTle
room for flexibiliTy. arChiTeCTs and designers have sTarTed designing buildings ThaT allow for a varieTy of aCTiviTies To Take plaCe ThroughouT
The enTire day. These spaCes are oCCupied differenTly depending on The Time of day due To use groups, solar orienTaTion and programmaTiC needs.
how Can mulTi-purpose spaCes adapT and inTeraCT wiTh The oCCupanT ThroughouT The Course of The day To CreaTe a disCourse beTween oCCupanT
and building? The answer does noT only lie in The realm of TeChnologiCal inTeraCTive sysTems, buT also in The way arChiTeCTs and designers deal
wiTh lighT, maTerials and environmenT responses.
an example of a builT form ThaT uTilizes boTh mixed-use program and mulTi-purpose spaCes is The insTiTuTe of ConTemporary arT (iCa)
in bosTon. The iCa houses a gifT shop, a Café, an audiTorium, offiCes, and an exhibiTion spaCe; This is an example of a mixed-use building. The
exhibiTion spaCe is seen more as a mulTi-purpose spaCe ThaT Can be rearranged depending on The evenT or aCTiviTy Taken plaCe. The CombinaTion of
mulTi-purpose and mixed-use has a direCT CorrelaTion To The way oCCupanTs inTeraCT wiTh The building.
anoTher example of a mulTi-purpose building ThaT foCuses on The way programmaTiC elemenTs relaTe To eaCh oTher is The Charles
hosTler sTudenT CenTer loCaTed in beiruT, lebanon by vinCenT james assoCiaTes arChiTeCTs. The sTudenT CenTer ConsisTs of faCiliTies for
swimming, baskeTball, volleyball, as well as an audiTorium, amphiTheaTer and Café. The building form redisTribuTes air, aCTiviTy and shade To form
a ConTinuous field of habiTable spaCe and a varieTy of miCroClimaTes.14 The ClimaTe of beiruT allows for The inhabiTanTs To oCCupy The lower levels
during The day, whiCh provides shade, and The open-air roofTops aT nighT. This verTiCal relaTionship allows for a more Three dimensional sysTem
of CirCulaTion, gaThering spaCes and program.
Thesis Prep I - Prospectus
14 - Vincent James and Associate Architects
- www.vjaa.com
Figure 1.6 – Institute of Contemporary Art,
Source: Diller and Scofidio
Figure 1.7 – Charles Hostler Student Center,
Source: Vincent James Associate Architects
12
ConClusion
Though inTeraCTive arChiTeCTure and mulTi-purpose buildings have in a sense been around for CenTuries, The advanCemenT of TeChnology
allows for new ways To reThink The relaTionship beTween oCCupanT and The builT environmenT.
CriTeria for evaluaTion
• was The inTegraTion of inTeraCTive media a fully Comprehensive sTudy, or did iT feel as if iT was applied To The building?
• is There a Clear undersTanding of proCess ThaT is ConCise and ConsisTenT ThaT helps reinforCe The main Themes?
• does The arChiTeCTure suCCessfully inTeraCT wiTh The publiC and The inhabiTanT?
ideas for fuTure resulTs
This Thesis is one ThaT is siTed in an urban ConTexT, bosTon. a major quesTion ThaT one would pose would be, Can This Type of muTually
inTeraCTive arChiTeCTure be inCorporaTed inTo a rural ConTexT? The idea of buildings inTeraCTing wiTh iTs oCCupanTs ThroughouT The Course of
The day may noT be as benefiCial in an area wiTh liTTle ConsTanT aCTiviTy. anoTher quesTion ThaT may be asked is wheTher This Type of building Can
be inTegraTed inTo oTher CounTries urban ConTexT? Cairo? Tokyo? london? many CounTries are ahead of The uniTed sTaTes in TeChnologiCal
advanCemenTs and This form of inTeraCTive media may already be a Common design elemenT in fuTure ConsTruCTion. These are possible quesTion
ThaT i pose as a fifTh year arChiTeCTure sTudenT, ThaT i also feel should be addressed ThroughouT The arChiTeCTure CommuniTy.
Thesis Prep I - Prospectus 13
Thesis Prep II - Site
Thesis prep ii(fall 2009)
site
14
Artist for Humanity Building
Site
Proposed Residential Building
Thesis Prep II - Site 15
The site for this thesis is located
in South Boston on the corner of
West 2nd Street and B Street. The
northern side of the site is facing the
South Boston Bypass and railroad
lines. Two smaller roads that lead
into the surrounding residential
neighborhoods corn the southern
edge. The site is situated on a
transition zone between larger
scale industrial and commercial
buildings and smaller scale houses
and apartments.
siTe
souTh bosTo
n bypa
ss
wesT 2nd sTreeT
wesT 1sT sTreeT
wesT 3rd sTreeT bolTon sTreeT
b sTreeT
Thesis Prep II - Site
South Boston
16
Artist for Humanity Building
RCN Building
Financial District
Another important site consideration is the transition from small neighborhood
scale streets to larger city scale highways. This transition is usually consistent with the
idea of moving from the neighborhood scale to the larger commercial scale. Allowing the
building to respond to external forces may dictate programmatic choices. Sound levels,
light pollution and access are all essential characteristics of site selection. The variation in
highway velocity versus street movement may also help determine interior relationships.
This notion of a transition zone between various building typologies is an
important site feature that relates back to the overall theme of interactivity between the
human and building. This area of transformation has the capability of connecting the
public, the occupant and the built environment. The connection to the urban fabric not only
engages the public, but can also help revitalize the community.
Figure Ground: Transition Zone
Thesis Prep II - Site
South Boston
17
building Typologies - CommerCial
Thesis Prep II - Site 18
Thesis Prep II - Site
building Typologies - residenTial
19
building Typologies - mixed-use
Thesis Prep II - Site 20
Thesis Prep II - Site
building Typologies - indusTrial
21
On the southern side of the site is an abandoned building that is currently
being renovated to contain 75 residential units. 54 of the units are basic resi-
dential units, while 21 are designed to be artist studios. The close proximity
to residential units will create a new interaction between living and working.
There will become a direct link between the Artist for Humanity Building, the
proposed residential building and my own thesis proposal that will aid in revi-
talizing the site.
proposed residenTial building
siTe
arTisT for humaniTy building
proposed residenTial building
Site Relationships
Proposed residential building adjacent to site.
Thesis Prep II - Site 22
The sites’ close proximity to the existing Artist for Humanity building located just across the South Boston Bypass
creates a direct link to youth artists within the community. The Artist for Humanity building’s site location was chosen as a
way to empower the urban youth and bring identity to a developing neighborhood in South Boston. The goal of Artist for
Humanity is to bridge the gap between economical, racial and social barriers as a means to bring together underprivileged
children in the community through the field of art. The building houses studios for young teens in the disciplines of screen-
printing, photography, sculpture, painting, and urban media. The lower level, containing the gallery space, performs as a
place to display work that may also be rented out for larger gatherings.
Large Gallery/Exhibition Space
Woodworking Studio
Images: Courtesy of AIA COTE Top Ten Green Projects 2007
main gallery CourTyard
meChaniCal
sCulpTure woodworking
painTing
silk sCreen phoTo offiCe
Longitudinal Section varying room heighTsinTerior/exTerior spaCe
Artist for Humanity
Thesis Prep II - Site 23
The large overhead door allows for
the gallery space to spill outdoors,
creating a link between community,
street and building.
Gallery space open to exterior courtyard.
View from West 2nd Street
Ground floor plan: Relationship to exterior courtyard
CourTyard
main gallery
Images: Courtesy of AIA COTE Top Ten Green Projects 2007
Thesis Prep II - Site
Artist for Humanity
24
Thesis Studio - Site
Thesis sTudio(spring 2010)
site
25
Thesis Studio - Site
Existing Building Material Study
Aluminum Paneling
Brick
Copper Paneling
26
Thesis Studio - Site
Residential vs. Industrial Typologies
27
Thesis Studio - Site
Site Views
28
Thesis Studio - Site
Existing Railroad Track Analysis
29
Thesis Studio - Site
Artist Space Initiative
Artists help make boston a more livable city - a city of people and neighborhoods, a center of cultural life, and a vital economic center. They function as small businesses by providing jobs and services for Boston residents. Since the late 1960s, artists have helped transform marginal neighborhoods into dynamic communities. Frequently, festivals, galleries, small performance spaces and small retail spring up in these same areas though the work of resident artists, generating a vibrant street life that acts as a deterrent to crime, dramatically enhancing the quality of neighborhoods for both the people who live there and people who visit.
According to the Boston Zoning Code, artists in live/work units are the only occupational group permitted to live in industrially zoned ares of the city. For commercial and non-profit developers with an interest in developing space for artists, the BRA recently developed design guidelines to articulate minimum requirements to meet artists’ needs (i.e., live/work units must be at least 1,000 square feet.)
Images: Courtesy of Boston Redevelopment Authority
30
Artists for Humanity The Signal Building Artist Residence
ArtBlock Artist Community
Wilkes Passage Lofts
Fort Point Place
Present - Fort Point Arts CommunityPast- 1900 Wool Warehouse
Present - Midway StudiosPast - 1897 Factory Buildings
The Distillery
Boston Center for the Arts
1900 - American Railway Express Building
1902 - New England Confectionary Company Factory
Gillette
Shawmut Crane and Rigging
Site
Artist and Industrial Facilities around South Boston Industrial Facilities Artist Facilities Industrial transformed into Artist
Thesis Studio - Site 31
Press Release
Boston Targets $84 Million For Transportation Improvements
City submits application for federal stimulus grant for Port of Boston project; Project includes 4 sites that would immediately create 620 construction jobs.
Track Improvements for the South Boston Marine Industrial Park Rail Road - $14 Million
The Track 61 Project was initiated to restore freight rail lines at the BMIP and to extend the freight track to service additional areas of the BIMP. The BIMP is the only port to freight rail connection remaining in Boston. These improvements would provide the BIMP and region with a unique advantage in the market place as a result of the air, ship/barge, rail and highway connections that would be available to businesses. The project includes the rehabilitation of 2,860 linear feet of railroad track, the construction of 5,910 linear feet of new track, and associated roadway improvements and drainage modifications.
Thesis Studio - Site
Images: Courtesy of Boston Redevelopment Authority
32
siTeTraCk 61
Thesis Studio - Site
TraCk 61 improvemenTs
exisTing TraCk 61 To souTh bosTon
old Colony mainline
dorChesTer branCh, worCesTer line, and norTheasT Corridor
figure 6eConomiC evaluaTionTraCk 61 aCCess
nTs
Images: Courtesy of Boston Redevelopment Authority
33
The Signal Building - Proposed Residential Building
Ground Floor Plan
1st Floor Plan
2nd Floor Plan
3rd Floor Plan
Thesis Studio - Site
Images: Courtesy of www.154westsecond.com
34
Thesis Prep II - Program
Thesis prep ii(fall 2009)
ProgrAm
35
Interactive architecture along with multi-purpose spaces can take a wide range of forms. These conceptual ideas can influence anything from office buildings, residential
complexes, commercial buildings to institutional uses. The idea of program in this thesis is one that has the ability to interact and adapt with its inhabitants, not only through
occupants needs but also through various time spans. Looking at the program in this manner allows there to be a stronger connection between the occupant, the public and building.
The interaction between these various elements must influence the way spaces and rooms are designed to respond with each other. The idea of an artist design studio has a strong
correlation to these underlying themes.
Art design studios are very active and kinetic environments. The constant transfer of ideas, materials and people throughout the studio requires a space that can adapt
depending on the various needs. Artists and designers must be able to interact with their surroundings to best suit their demands. The three major elements of an artist design studio
(the studios, galleries and group rooms) are in constant flux depending on the requirements for that time period.
There are a variety of studio types that may be present in this type of building. Painting, drawing, sculpture, glass making, ceramics and textiles are all possible disciplines
within art. Each discipline has similar and unique characteristics associated with them. This can lead to ways in which these spaces can change or overlap one another. The gallery
space is an important aspect of any art studio. These spaces allow artist to display their works as well as engage the public. Various galleries may have different requirements
depending on size, allowable light or sound levels. These variables support the idea of interactivity between artist and flexible space. Having the ability to respond to these elements
gives the occupants a greater level of interaction with the built environment. Many spaces within an artist design studio call for small or large gatherings spaces, whether for
meetings, or for large public art displays. Many times these spaces are only used for those specific needs, but with the idea of building interactivity, these spaces have the ability to
respond to the building as well as the inhabitants’ needs.
• Artist Studios
- Drawings 4000 s.f.
- Painting 3000 s.f
- Sculpture 3000 s.f
- Glass Making 5000 s.f
• Exhibition Spaces
- Small (Flexible) 500-1000 s.f/each
- Large (Flexible) 1000-3000 s.f/each
- Public/Lobby 500-6000 s.f
• Community Spaces 1000-3000 s.f
• Offices 150-300 s.f/each
• Café 1500 s.f
• Crit Rooms
- Small Groups 500-1500 s.f/each
- Large Groups 1500-4000 s.f/each
• Services Total: 2000 - 3000 s.f
Thesis Prep II - Program 36
Thesis Prep II - Program
programmaTiC diagram
37
Thesis Studio - Program
Thesis sTudio(spring 2010)
ProgrAm
38
Gallery
Light: DiffusedSIze: Large - Very Large
Extra: Access to outdoors
Gallery
Light: DiffusedSIze: Small
Extra: Controlled Lighting
Small Painting
Light: NorthSIze: Medium
Extra:
Presentation Room
Light: No LightSIze: Small
Extra: Controlled Lighting
Media/Computer Art
Light: IndirectSIze: Medium
Extra: Room for Prosessors
Sculpture
Light: NaturalSIze: Large - Very Large
Extra: Access to outdoors, Equipment
Large Painting
Light: NorthSIze: Large
Extra: Access to outdoors and paintable walls
Wood Working
Light: NaturalSIze: Very Large
Extra: Access to outdoors, Machinery
Gallery
Light: DiffusedSIze: Large - Very Large
Extra: Access to outdoors
Lecture Hall/Auditorium
Light: DiffuseSIze: Large
Extra: Access to outdoors
Cafe
Light: NaturalSIze: Small
Extra: Access to Outdoors, Kitchen
Gallery
Light: DiffusedSIze: Small
Extra: Controlled Lighting, Access to
outdoors
Pottery/Ceramics
Light: NaturalSIze: Medium
Extra: Equipment
Offices
Light: NaturalSIze: Very Small
Extra:
Artist for Humanity
Proposed Artist Residence
Thesis Studio - Program
iniTial programmaTiC relaTionship sTudy 1
39
Gallery
Light: DiffusedSIze: Large - Very Large
Extra: Access to outdoors
Gallery
Light: DiffusedSIze: Small
Extra: Controlled Lighting
Small Painting
Light: NorthSIze: Medium
Extra:
Sculpture
Light: NaturalSIze: Large - Very Large
Extra: Access to outdoors, Equip-ment
Large Painting
Light: NorthSIze: Large
Extra: Access to outdoors and paintable walls
Wood Working
Light: NaturalSIze: Very Large
Extra: Access to outdoors, Machinery
Gallery
Light: DiffusedSIze: Large - Very Large
Extra: Access to outdoors
Cafe
Light: NaturalSIze: Small
Extra: Access to Outdoors, Kitchen
Gallery
Light: DiffusedSIze: Small
Extra: Controlled Lighting, Access to
outdoors
Offices
Light: NaturalSIze: Very Small
Extra:
Media/Computer Art
Light: IndirectSIze: Medium
Extra: Room for Prosessors
Presentation Room
Light: No LightSIze: Small
Extra: Controlled Lighting
Lecture Hall/Auditorium
Light: DiffuseSIze: Large
Extra: Access to outdoors
Offices
Light: NaturalSIze: Very Small
Extra:
Artist for Humanity
Proposed Artist Residence
Pottery/Ceramics
Light: NaturalSIze: Medium
Extra: Equipment
Thesis Studio - Program
iniTial programmaTiC relaTionship sTudy 2
40
Program Massing Studies
Thesis Studio - Program 41
Final Program List
Sculpture Facilities• Assembly/Display Areas (2)• Sculpture Mock-up area (1)• Material Storage
Offices/Studios• Artist Studios (3)• Administration Suites (4)• Conference Room (1)
Public Amenities• Lobby• Reception• Bookstore• Cafe• Lounge (2)
Support Spaces• Lavatories• Storage• Mechanical/Electrical• Freight Elevators
Thesis Studio - Program 42
Thesis Prep II - Precedents
Thesis prep ii(fall 2009)
Precedents
43
Thesis Prep II - Precedents
The Charles Hostler Student Center
in Beirut by Vincent James Associates
Architects is an important example of how
programmatic elements can respond to
occupants’ needs throughout the course
of the day. The student center consists of
facilities for swimming, basketball, volleyball,
as well as an auditorium, amphitheater and
café. The building form redistributes air,
activity and shade to form a continuous
field of habitable space and a variety of
microclimates.
Charles hosTler sTudenT CenTerarChiTeCT: vinCenT james assoCiaTe arChiTeCTs
Site Plan: Relationship of buildings to open spaces. Site lines directing views towards water.Images: Courtesy of www.architectureweek.com
44
The climate of Beirut allows for the inhabitants to occupy the lower levels during the day, which provides shade, and the
open-air rooftops at night. This vertical relationship allows for a more three dimensional system of circulation, gathering
spaces and program. The use of materials, light and transparency creates an interaction between the user and the building.
Charles hosTler sTudenT CenTerarChiTeCT: vinCenT james assoCiaTe arChiTeCTs
Vertical circulation exposed to exterior spaces. Images: Courtesy of www.vjaa.com
Connection of interior and exterior spaces.
Thesis Prep II - Precedents 45
Thesis Prep II - Precedents
sChool of arT and arT hisTory aT iowa universiTyarChiTeCT: sTeven holl
This building is important as it has a similar program to my own thesis. The building program includes studios for sculpture, painting, print making, offices galleries and a library.
The building was designed to be adaptive and flexible in order to accommodate many activities dealing with teaching and practice. Flexible spaces connect the studio to the outdoors,
creating a link between interior and exterior spaces. The relationship to the exterior and the way the users move through the space create an interaction to building and environment.
Relationship of building to existing natural surroundings. Images: Courtesy of www.stevenholl.com
46
sChool of arT and arT hisTory aT iowa universiTyarChiTeCT: sTeven holl
The main passages throughout the building are meant to create meeting places as well as reveal the work in progress.
The use of materials and the control of light create an overlap for experiential relationships.
Images: Courtesy of www.stevenholl.com Interior staircase Interior staircase
Natural Light Workspace Storage
Thesis Prep II - Precedents 47
Thesis Prep II - Precedents
loop ChairsarChiTeCT: howeler yoon arChiTeCTure
The loops chairs are made out of a single band of polypropylene plastic. Howeler and Yoon studied the fabrication
process, materiality and form to develop a chair that could be used in a variety of ways. The chair can accommodate
a single occupant or multiple occupants, encouraging the user to renegotiate the boundaries of a typical chair.
The chair is capable of slightly deflecting from the weight and subtle contours of a human body. Loop chairs not
only cause the users to interact with it and each other, but is constantly transforming due to the users presence.
Images: Courtesy of www.hyarchitecture.com
48
Thesis Studio - Precedents
Thesis sTudio(spring 2010)
Precedents
49
Milwaukee Art Museum• Santiago Calatrava
Charles Hostler Student Center• Vincent James Associates
Party Wall• N Architects
Kiefer Technic Showroom “Dynamic Facade”• Giselbrecht + Partner ZT GmbH
Interactive Fan Wall• Daan Roosegaarde
Target Breezeway• Electroland
I n s t i l l a t i o n F a c a d e K i n e t i c S i t e
S h a d i n g
I n t e r a c t i v e
V i e w s
S p a t i a l
S e n s o r y
Fabios Restaurant• BEHF Architekten
Nordic Embassies• Berger+Parkkinen
Moving House• dRMM
Lavin-Bernick Center• Vincent James Associate
RV - Room Bump Out
The Blur Building• Diller and Scofidio
Thesis Studio - Precedents 50
G a l l e r i e s S t u d i o s D i r t y C l e a n
D i f f u s e d L i g h t
N a t u r a l L i g h t
T r a n s f o r m a b l e S u r f a c e s
I n d u s t r i a l A e s t h e t i c
S u r f a c e s
Thesis Studio - Precedents 51
Thesis Studio - Preliminary Conceptual Sketches
Thesis sTudio(spring 2010)
PreliminAry concePtuAl sketches
52
Preliminary Facade Sketches
Thesis Studio - Preliminary Conceptual Sketches 53
Thesis Studio - Preliminary Conceptual Sketches
Concept Sketches
54
Thesis Studio - Preliminary Conceptual Sketches
Site Lines - Sketches and Model Site Forces - Sketches and Model
55
Thesis Studio - Preliminary Conceptual Sketches
Sketches diagraming Connection between Artist for Humanity Building and new Residential Building.
56
Thesis Studio - Preliminary Conceptual Sketches 57
Thesis Studio - Preliminary Conceptual Sketches
Conceptual Sections - Sketches and Models
58
Program Study Model - Studying Layering, Transparency and Spatial Relationships
Site Shadow Study Model - Analyzing shadow movement across the site at various times of the day.
Thesis Studio - Preliminary Conceptual Sketches 59
Thesis Studio - Site Animation Studies
Thesis sTudio(spring 2010)
site AnimAtion studies
60
Thesis Studio - Site Animation Studies
Semi-Truck Turning Radius
61
Thesis Studio - Site Animation Studies
Transformable Room Study
Walking Movement Study
Semi-Truck Turning Movement Study
62
Thesis sTudio(spring 2010)
design PhAse 1
Thesis Studio - Design Phase 1 63
Thesis Studio - Design Phase 1
Conceptual Image -Demonstrating idea of projecting art into the city.
64
Thesis Studio - Design Phase 1
Conceptual Image -Demonstrating idea of projecting art onto the Boston Skyline
65
Thesis Studio - Design Phase 1
Conceptual Facade Study -Interactive facade tracking movement of site forces (i.e. Pedestrians, Traffic, Solar conditions).
66
Thesis Studio - Design Phase 1 67
Thesis Studio - Design Phase 1 68
Thesis Studio - Design Phase 1
Conceptual Sketches -Studying various programmatic relationships and adjacencies.
69
Thesis Studio - Design Phase 1
Preliminary Building Plan -Exterior skins consists of a series of canvas panels that allow artist to paint on and then display on the facade of the building towards Boston and the neighborhood of South Boston.
70
Thesis Studio - Design Phase 1
Preliminary Building Sections -Showing artists studios in relationship to central exhibition space.
Artist Studios Central Exhibition Space Connection Zone
Artist Studios Central Exhibition Space Connection Zone
71
Thesis Studio - Design Phase 1
Preliminary Building Facade Design 1 -Showing canvas Panels that can be positioned and rotated in a variety of ways to display artists’ art to the public.
72
Thesis Studio - Design Phase 1
Preliminary Building Facade Design 2 -Showing portions of the building that can protrude in or out of the building dependent on the need for light, views or space. These spaces allow for the art to be exposed to the public throughout the day.
73
Thesis Studio - Design Phase 2
Thesis sTudio(spring 2010)
design PhAse 2
74
Thesis Studio - Design Phase 2
Preliminary Building Plan 1 -Further development from Design Phase 1. Attempts to resolve programmatic relationships with the integration of egress, freight elevators and gallery spaces. Transformation from the initial program of multiple kinds of artist studios, to specifically large-scale, industrial sculptures.
75
Thesis Studio - Design Phase 2
Preliminary Building Plan 1a -Further development of building plan 1. A closer, more in depth analysis at multiple scales, in relation to site density and sculpture size.
76
Thesis Studio - Design Phase 2
Building Section Diagrams -Studies showing possible programmatic transformations depending on occupants’ needs throughout the course of the day.
77
Thesis Studio - Design Phase 2
Preliminary Building Section
78
Thesis Studio - Design Phase 2
Preliminary Building Plan 2 -Further Development on Preliminary Building plan 1a, focusing on creating spaces that can transform in size, allowing various size sculptures to be manufactured.
79
Thesis Studio - Design Phase 2
Conceptual Building Massing -Studying how various scale sculptures can be displayed on the exterior of the building.
80
Thesis Studio - Design Phase 3
Thesis sTudio(spring 2010)
design PhAse 3
81
Thesis Studio - Design Phase 3
Conceptual Sketches -Looking at building form and ways to maintain views from the Proposed Residential Building. By locating the stairs, offices and services within three cores, allows the in between spaces to become open and transparent, maintaining views towards the skyline of Boston.
82
Thesis Studio - Design Phase 3
Conceptual Building Sections
83
Thesis Studio - Design Phase 3
Preliminary Building Plan -Located specific zones where galleries could be sited dependant on views, scale and usage.
84
StudioGalleryPublic
Thesis Studio - Design Phase 3
StudioGalleryPublic
StudioGalleryPublic StudioGalleryPublic
Concept Program Diagrams -Diagrams focus on possible arrangement of major programs within the building. The overlaps became transitional zones between various types of program, helping to reinforce the form of the primary building cores.
85
2nd Floor Plan16’ 32’0’
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes”
Fabrication/Artist Studios
Fabrication/Artist Studios
A
A
B
B
C
C
Thesis Studio - Design Phase 3
1st Iteration - 2nd Floor Plan
86
3rd Floor Plan16’ 32’0’
Assembly/Gallery “Nodes”
Fabrication/Artist Studios
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes”
Assembly/Gallery “Nodes”
Fabrication/Artist Studios
Thesis Studio - Design Phase 3
1st Iteration - 3rd Floor Plan
87
4th Floor Plan16’ 32’0’
Fabrication/Artist Studios
Assembly/Gallery “Nodes”
Fabrication/Artist Studios
Assembly/Gallery “Nodes”
Thesis Studio - Design Phase 3
1st Iteration - 4th Floor Plan
88
Longitudinal Section C-C
Longitudinal Section B-B
16’ 32’0’
16’ 32’0’
Cross Section A-A16’ 32’0’
Thesis Studio - Design Phase 3
1st Iteration - Building Sections
89
Thesis Studio - Design Phase 3
1st Iteration - Exhibit/Production Zones StudyThis diagram studies the way that the various exhibit/production zones located throughout the building are connected to one another. While these spaces are being utilize for the manufacturing of sculptures, they can be closed off; once an exhibit is in progress, the spaces can once again become connected via transformable stair cases.
90
Thesis Studio - Design Phase 3
1st Iteration - Exhibit/Production Zones
91
2nd Floor
3rd Floor
4th Floor
Thesis Studio - Design Phase 3
1st Iteration - Transformable Stair Analysis
92
Thesis sTudio(spring 2010)
FinAl design
Thesis Studio - Final Design 93
Thesis Studio - Final Design 94
Thesis Studio - Final Design
Design Sketches
95
f l y l o f Tf l y l o f T
s T a g es T a g e
supporT
prosCenium
lounge
g r e e n
r o o m b a C k s T a g e
lobby
C o n T r o l C o n T r o lC o n T r o l
Thesis Studio - Final Design
Concept Section
Theater Concept Section
96
Thesis Studio - Final Design
Concept Building Model
97
Thesis Studio - Final Design
Theatrical Precedents Industrial Precedents Large-Scale Industrial Sculptures Precedents Richard Serra Design Process
98
Thesis Studio - Final Design
Final Design - Ground Floor Plan
99
Thesis Studio - Final Design
Final Design - 2nd Floor Plan
100
Thesis Studio - Final Design
Final Design - 3rd Floor Plan
101
Thesis Studio - Final Design
Final Design - 4th Floor Plan
Final Design - 5th Floor Plan
102
Thesis Studio - Final Design
Final Design - Building Sections
103
Thesis Studio - Final Design
Final Design - Building Sections
104
Thesis Studio - Final Design
View from the Corner of West 2nd Street and B Street
View from the South Boston Bypass
105
Thesis Studio - Final Design
X-Bracing
Floor Slabs
Support Program
Interior Wood Paneling
Exterior Metal Fabric
Assembly Cub Floor Slabs
Moveable Walkways and Monumentall Stairs
Truss System
Structural Glass Fins
Assembly Cube Exterior Glazing Physical model detailing exterior metal fabric and structural x-bracing system.
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Material Selection
Scaffolding Connectors Metal Fabric Translucent Scrim Plywood Paneling
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Thesis Studio - Final Design
Scaffolding Analysis
Monumental Stair Assembly Construction Scaffolding Assembly Truss Assembly Movable Walkway Assembly
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Thesis Studio - Final Design
Roof Assembly Development - The roof system consists of trusses, structural glass fins, exterior glazing and two gantry cranes. This portion of the building is meant to represent a typical fly-loft present in theater buildings.
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Thesis Studio - Final Design
Exhibit/Production Cube Sketches - This portion of the building is where the manufacturing and production of sculptures takes place during the day by artists, fabricators and steel workers. During the evening, the space is transformed into an exhibit space, allowing visitors to experience the construction of sculptures at many stages of production. This zone consists of a series of moveable walkways that allow the workers to construct the sculptures, as well as act as circulation through the building for the public during exhibits.
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Thesis Studio - Final Design
Exhibit/Production Cube - Arranged for a media art projection scenario.
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Thesis Studio - Final Design
Exhibit/Production Cube - Arranged for a installation artist scenario.
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Thesis Studio - Final Design
WednesdayJune 2nd, 2010
Disassembly
WednesdayMay 26th, 2010
Final Production Phase
WednesdayMay 19th, 2010
Production Phase
WednesdayMay 5th, 2010
Assembly
Tuesday May 4th, 2010
Coordination Phase
MondayMay 3rd, 2010
Empty Space
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Thesis Studio - Final Design
FridayJune 4th, 2010
Final Display
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Thesis Studio - Final Design
Final Model
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Thesis Studio - Final Design
Final Model
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Thesis Studio - Final Design
Final Model
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Thesis Studio - Final Design
TheaTriCal arT: re-defining proCess
Graduation Exhibit Poster
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Thesis Studio - Conclusion
Thesis sTudio(spring 2010)
conclusion
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Thesis Studio - Conclusion
ConClusion - afTer CompleTing The spring 2010 semesTer and developing This Thesis, i was able To look baCk aT my iniTial Thesis prep i and ii doCumenTs and re-visiT goals ThaT i had seT up for
myself. alThough my iniTial ideas of CreaTing an “inTeraCTive arChiTeCTure” Changed slighTly over The Course of designing a building, some of my iniTial researCh and inTeresTs sTayed wiTh
me ThroughouT The semesTer. These preliminary goals were:
objeCTives
• To inCorporaTe emerging digiTal TeChnologies and maTerials To allow building and oCCupanT To inTeraCT wiTh eaCh oTher.
• To CreaTe spaCes ThaT are Capable of adapTing To The oCCupanTs needs ThroughouT The Course of The day.
CriTeria for evaluaTion
• was The inTegraTion of inTeraCTive media a fully Comprehensive sTudy, or did iT feel as if iT was applied To The building?
• is There a Clear undersTanding of proCess ThaT is ConCise and ConsisTenT ThaT helps reinforCe The main Themes?
• does The arChiTeCTure suCCessfully inTeraCT wiTh The publiC and The inhabiTanT?
Through ConsTanT and Thorough developmenTs and iTeraTions ThroughouT The semesTer, The inTegraTion of inTeraCTive media did noT supplemenT The direCTion my design was
heading. i was okay wiTh These Changes, as my overall design ideas were progressing wiTh eaCh review. i beCame very inTeresTed in CreaTing a spaCe ThaT engaged The publiC and The skyline
of bosTon aT mulTiple sCales. allowing The building To aCT as a maChine for displaying and produCing arT in a TheaTriCal, arTisTiC way beCame The foCus of my Thesis.
an imporTanT CriTiCism ThaT i reCeived aT my final review had a loT To do wiTh how my building inTeraCTs wiTh The CiTy of bosTon aT a more urban level. my building Could have been
able To disTribuTe sCulpTures on Trains and boaTs ThroughouT The CiTy, CreaTing anoTher level of inTeraCTion beTween whaT my building produCes and The CiTy of bosTon. i did noT spend a
loT of Time during The semesTer resolving issues regarding siTe and urban CondiTions. as my design beCame imporTanT in The disTribuTion of sCulpTures ThroughouT The CiTy, as well as The
CounTry, Thinking more abouT possible impliCaTions on The urban level would have furTher sTrengThened my argumenT.
anoTher aspeCT ThaT i Could have looked inTo in more depTh is The idea ThaT The building does noT need To be speCifiC To sCulpTure produCTion, buT manufaCTuring in general. The
building Can Then beCome a plaCe of manufaCTuring for The CiTy ThaT disperses iTs produCTs ThroughouT The CommuniTy, buT Can Then beCome a faCiliTy where arTisT Come from around The
CiTy and ConsTruCT Their pieCes of work. by noT limiTing The program To speCifiCally sCulpTure produCTion, i am Capable of CreaTing a mosT susTainable building in The CommuniTy.
as i have ConCluded my Thesis proposal, i feel sTrongly abouT The progress and developmenTs made from my iniTial Thesis prospeCTus. i have CreaTed a spaCe ThaT inTeraCTs wiTh
The oCCupanTs, pedesTrians and siTe aT a varieTy of sCales. CreaTing a spaCe ThaT was Capable of produCing large sCulpTures and exposing The proCess of manufaCTuring, in a TheaTriCal
aesTheTiC, beCame The foCus of my Thesis, whiCh emerged from my early Thesis researCh.
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bibliography
122
• bullivanT, luCy. 4d soCial: inTeraCTive design environmenTs 77, no. 4 (july/augusT 2007)
• bullivanT, luCy. responsive environmenTs: arChiTeCTure, arT and design. souTh kensingTon, london: v & a publiCaTions, 2006.
• fox, miChael, and miles kemp. inTeraCTive arChiTeCTure. new york: prinCeTon arChiTeCTural press, 2009
• kronenburg, roberT. spiriT of The maChine: TeChnology as an inspiraTion in arChiTeCTural design. greaT briTain: wiley-aCademy, 2001
• yoon, meejin j., and eriC howeler. expanded praCTiCe: howeler yoon arChiTeCTure/my sTudio. new york: prinCeTon arChiTeCTural press, 2009.
• zeidler, eberhard h. mulTi-use arChiTeCTure in The urban ConTexT. new york: van nosTrand reinhold, 1985
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