The first exercise of the semester consisted of designing an abstract model that was to be 3D printed. We were asked to uses three systems, vector, object, and surface in order to explore formal and spacial possibilities. When our model was complete, we were then asked to create abstract drawings based on what we had created. For my abstract drawing I collaged parts of my model to create new interactions between systems, forms, and spacial qualities. After presenting our abstract exercise, we received a prompt to design a house that incorporated ideas of glitch and camouflage for a theoretical client, DJ Spooky. My design process began by insetting a section of my abstract exercise onto the site and using the langue from the exercise to produce spatial qualities that resembled a house. I began to question how the user would move through the project and what could be defined as interior and exterior spaces. As the thresholds of these spaces were blurred, they started to produce spatial glitches that challenged the client's spatial experience. Courtyards and semi-exterior spaces began to emerge when these boundaries interacted.
diagram of circulation and sequence
Jason Scroggin’s Love Hotel studio revolved around using the idea of narrative as a part of our design process. We began by making digital collages using architectural elements. Then we made abstract physical models which explored various kinds of materials. The models also became part of our design process, which allowed us to begin to think about broader concepts we wanted to explore in our designs for a hotel. In making these models models, I became interested in distorting a plastic grid and layering it with other materials. I was exploring the mediation of normative conditions, such as the regular square grid, and non-normative conditions, such as the distortion that occurred when I introduced heat and other materials. The next step in our processwas to introduce the models we had made into a new series of narrative collages. The models became a setting for a new story and the grid help me organize different materials in each vignette. By making the narrative collages and the abstract physical models I gained ideas that would help me drive my design for a hotel. The interaction between the normative and non-normative conditions became an import concept that would be explored in the hotel. Furthermore, The organization of materials and elements on a grid would also become an important idea of the design.
The design for the hotel began at the micro level. We began by thinking what the spatial experience of a typical hotel room would be. The idea of the distorted grid became a major theme of the room. Parts of the floor and the walls were pushed in and out according to more intimate programatic needs, such as a bed, shower, mirror, and seating area. Less important feature were orthogonally organized along this grid as wells.
The hotel’s site was located in NYC on the corner of 10th ave and W 29th st, in New York’s Chelsea neighborhood. The Hotel acknowledges the Highline, which runs directly through the site. The Highline punctures the hotel, and creates an access point directly from the elevated park into the hotel. The ground and Highline level contain some of the public areas of the hotel such as the lobby. The hotel is again punctured at the 17th level, which creates another public gathering space within the hotel. The Southside of the hotel has a brise soleil that becomes distorted at the public spaces of the hotel.
UNIT ISO SECTION
FIGURE GROUND STUDIES
The Guggenheim museum for the city of Helsinki is a place that connects visitors to contemporary art as well as the surrounding urban context. It sets out to explore the relationship between the Guggenheim brand and Helsinki's urban context by using these two conditions as organizational devices.
The museum responds to the strong linearity of the sites edge condition and follows a linear organizational pattern along this datum. The park is extended into the site to givesome additional green space to the city as well as to juxtapose the orthogonal geometries of the building, facade, and city grid. Circulation along the site is derived from important site lines that represent existing movement and views within the urban context.
The faceted geometries highlight Helsinki as a specific urban and cultural environment. They house specific parts of the the museums program which relate directly back to the city. A part from highlighting specific areas of program, the geometries allow views of important areas in the city such as the city center, markets, park, culturally relevant buildings, and the harbor. The geometries also employ materials that relate to Helsinki cultural heritage. The interior of these spaces is mostly comprised of Finish wood, while the exterior is made of concrete. Faceted geometries also appear on the site as to carry that faceted logic outside of the glass box.
The rest of the museum is open and flexible to allow for the varying scales and types of contemporary art. It is meant to represent the Guggenheim’s identity as an institution that can accommodate the changing styles and needs of a contemporary art museum.
This part of the museum is dedicated to the display of artwork and both formal and informal gathering spaces.
Visitors circulate through escalators located the harbor side of the museum. The use of escalators as vertical circulation elements reinforces the idea of a museum as a destination for both commerce and amusement.
The museum is wrapped by a perforated skin which allows diffused light to enter the building. Much like pixel resolution of a digital image, the skin pixelates the faceted geometries from the exterior. The frame creates a lace work around the museum creating interesting visual relationships from exterior and interior conditions. The apertures vary in size according programatic needs.
The museum uses the duality of Helsinki and the Guggenheim brand as an organizational logic. The faceted geometries create narratives directly related to its surrounding urban context while the rest of the museum is a flexible glass box that accommodates the changing styles and attitudes of contemporary art. The skin which wraps the building creates a lace work that diffuses the natural light as it enters the building.
views, circulation on site, and extension of green space
EXPLODED AXON 01
assembly of double skin facade system
EXPLODED AXON 02
assembly of faceted geometries
The Link project attempts to solve major traffic congestion issues that plague the University of Kentucky's Campus. The intersection of Rose St. and Funkhauser Dr. is a major axis of movement for both pedestrian and automobiles. Several times during the day this area becomes flooded with people and vehicles. The interaction of these two forces causes major issues as cars have to yield to the hundreds of pedestrians trying to navigate this area.
To solve this dilemma the Link project separates pedestrians and vehicles in order to alleviate the heavy traffic flow. Pedestrian circulation is elevated off the existing ground plane through a series of ramps that lead up to a plinth.
In addition to solving traffic issues, theLink project gives the campus public green space. The elevated park also provides the area with a cafe, outdoor seating, and gathering spaces.
TRANSDISIPLINARY RESEARCH CENTER
The DIY Space is a center for transdisciplinary research that is dedicated to the understanding of the "Do It Yourself" ethos and its effects on the University of Kentucky and the surrounding community.
It is located on the corner of Rose St. and Avenue of Champions, a busy intersection on the university's campus. As a response to the area's heavy pedestrian traffic the glass envelope is chamfered at the corner of the intersection, allowing for public space and a main entry into the building.
The ground level is organized by movement around a service core that houses restrooms, stairs, and an elevator. Administrative offices, an information desk, and a small cafe are also located on this level. The open classrooms are on a split level that acknowledges the site's change in elevation. They are flexible spaces that can accommodate a variety of different functions. The openness of the space encourages collaborative work between students and faculty. The second and third levels contain lecture halls, a small auditorium, informal gathering spaces, and classrooms. The lecture hall and auditorium are intended to be open allowing for anyone to be a part of the general discourse taking place.
This program is contained within a lifted concrete ribbon, which creates a seamless transition between floor, ceiling, and facade. The openings are enclosed in glass and a polycarbonate adjustable brise soleil helps protect the interior from the heat and glare of the sun. The interior of the ribbon is clad in wood in order to add warmth to the material palette.