3rd year Process Portfolio

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This is a portfolio created by David Klocek for te ARSC BCIT 3rd year program. It showcases the main projects during the term.

Transcript of 3rd year Process Portfolio

  • PORTFOLIO

    ARSC - 3rd Year Studio - David Klocek - April 26th 2012 - A00742390

  • This portfolio is a showcase of projects , case studies and learning, performed by David Klocek over the course of the 3rd year, in the

    Studio of Architectural Science Degree Program at BCIT.

  • the smokers lounge pg 5-19

    the steveston dwelling pg 20-37

    GLENN MURCUTT pg 38-51

    PORT MOODY ARTS CENTER (SMALL) pg 52-73

    PORT MOODY ARTS CENTER (BIG) pg 74-99

    BOOKS (INFLUENTIAL) pg 100-101

  • the smokers lounge

    5

    The GOAL of the smokers lounge, was to not only create a space under which the smoker could enjoy the extacy of their addiction away from the Vancouver rain, but also to create a space the smoker would remember, and therefore continue going to it. One of the biggest challenges was addressing the vernacular of BCIT burnaby while making the lounge as enjoyable as possible.

  • The Smokers Lounge/David Klocek/3rd year studio 1st term

  • The LOCATION chosen for the de-sign was directly in-between SE-14

    (Library) and SE-12 (Learning and

    Teaching center). Also nearby, to the south, was the Student Athletic Center. These three buildings alone posed a particular challenge on the site; due to their popularity the amount of foot traffic received was high. Another important thing to consider about the site, was its adjacency to a number of beautiful trees and shrubs, that were constantly being defecated upon by cigarette buts.

    7

  • < BCIT Burnaby map,

    Right:North West Compiled panoramic picture of the site

    The Smokers Lounge/David Klocek/3rd year studio 1st term

  • 9

  • Two main CHALLENGES presented themselves during the early stages of design. One, how to prevent the smoker from throwing their cigarette buts into the bushes. Second, how to bring the smoker to the same space over and over again without them losing interest. To create an interesting and beautiful space, a utopia.

    The Smokers Lounge/David Klocek/3rd year studio 1st term

  • Left:A plan of the site showing the location of cigarette buts RED-highORANGE- med.YELLOW- low

    Right:Picture collage representing the idea of mind

    11

  • The INSPIRATION for this project was based on the fundamental building block of BCIT - the rectangle. Throughout the campus one can see it numerous times. Whether looking at the facade of buildings, the curtain wall systems, or looking at the buildings in plan and elevation, the geometry of the campus is unforgivably rigid. But at the same time the combination of rectangles, and the manipulation of their dimension can yield wonderful results.

    The Smokers Lounge/David Klocek/3rd year studio 1st term

  • Left:A picture of SE-12

    showcasing the building shape and the curtain wall design

    Right:Set of pictures showing the variety of the rectangle idea,wood picture frames

  • The INITIAL DESIGN of the space was heavily based on the manipulation of the rectangles to achieve a certain look. Essentially just like the inspiration, the order and grouping of the rectangles did not really make much sense; like some of the buildings on the BCIT burnaby campus, it ended up looking like a glorified box. It needed a better organization in terms of flow and in actually engaging the way that the smoker would move and enjoy the space.

    14

  • Left:Series of pictures depicting the initial design idea

    Right:A model accompanying the initial design

    The Smokers Lounge/David Klocek/3rd year studio 1st term

  • In the FINAL DESIGN for the smokers lounge an extra idea was incorporated. Upon thinking about how to make the space more interesting and inviting, the greenery adjacent to the site struck my eye. It provided shade but at the same time didnt feel too cold, it provided shelter without feeling too confined, it let in enough sunlight in without abusing it. The final design therefore utilized some of those ideas, benefited from a better entry sequence and used an overall color palette that was seen throughout the BCIT campus.

    The Smokers Lounge/David Klocek/3rd year studio 1st term

  • Left T,B & Right T:Series of pictures depicting the final design

    Right B:A montage showing the chosen color palette

    17

  • The Smokers Lounge/David Klocek/3rd year studio 1st term

  • Left:South East entry point into the smoker space

    19

  • the steveston dwelling

    21

    The GOAL of the project was to create a small dwelling for a family of three people. The dwelling was to be no more than 500 SF, and

    was to house everything that a family might need. The most interesting aspects of this project, were reducing how a family lives in a dwelling, while trying to incorporate passive day-lighting and ventilation strategies and staying true to the vernacular of Steveston.

  • The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • For the project LOCATION there were two sites from which we couldve chosen. One was in the North Shore, Lynn Valley Canyon, while the second one was Garry Point Park in Steveston. Both posed different challenges and different questions but the site I chose was Steveston. Primarily because it seemed to resonate a deep history and a vernacular that just pulled me closer than its counterpart. I also found it a bit more challenging to be honest.

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  • < Steveston British Columbia aerial map

    Right:East view of the site

    The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • 25

  • The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • STEVESTON, having quite the rich history in Canadian terms, is a beautiful showcase of some of the first fishermen buildings in the Vancouver area, as it acted as a fishing hub for many years and still does today. Because of this fishing tradition Steveston has built up quite the vernacular architecture, but what has been happening around the area are developments which seem to forget how important that location is an seldom focus on making profit.

    27

    Left B:A shot of the Gulf Of Georgia Cannery, heritage site

    Left T:A shot of the boardwalk at Steveston harbour

    Right:Recent developments

  • The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • THE DESIGN PROCESS was quite long and focused on really trying to explore the shape of a house; one which would fit into the Steveston vernacular while responding to natures forces: wind, sun and the possibility of a flood. Most of my design took shape via sketching, and digitally visualizing the aftermath of those sketches. I found this to be quite effective and speedy as it really allowed for a fast interaction between the real and the digital media.

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  • 30

  • < Sketching process

    Left:Digital visualization process

    The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • THE FINAL DESIGN came by as the series of diagrams describes it, wrapping the plan in a simple shape, addressing the Steveston vernacular, lifting the building to address potential floods, skewing the shape to deflect winter wind and absorb summer wind, reducing unnecessary spaces to create volumes of outdoor space and strategically placing windows to create valued experiences rather than forgotten ones.

    HOUSE PLAN

    SLEEPWORKRELAX

    SLEEPRELAX

    BATHE LOUNGE

    DINE

    COOKEXPERIENCE

    INTERACT

    FEEL

    WINTER

    SPRING &

    FALL

    SUMMER

    SUMMER WIND

    WINTER WIND

    POWER

    WELCOME1000 feet to parking

    4 PM

    8 AM

    6 AM6 PM

    8 PM4 A

    M

    The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • Left T:Creation diagrams

    Left B1:

    The final house plan

    Left B2:

    The final house section

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    HOUSE SECTION

    SUMMER WIND

    SUMMER

    WINTER

  • The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • Left:North West view of the dwelling

    Right:South East view of the dwelling

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  • The Steveston Dwelling/David Klocek/3rd year studio 1st term

  • Left:The experience hallwaythe merger between the outdoors and indoors

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  • GLENN MURCUTT

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    The PURPOSE of the case study was to research and find out the greater purpose behind a build-ing designed by Glenn Murcutt, a pritzker prize winning architect from Australia. The particular building was the Arthur and Yvonne Boyd Center in Riversdale Australia, and the research was conducted with a partner, Jesse Basran.

  • WORKS CITED: http://www.google.ca/imghp?hl=en&tab=wi, http://www.google.ca/, http://en.wikipedia.org/wiki/Main_Page, http://en.wikipedia.org/wiki/Verandah, http://en.wikipedia.org/wiki/Henry_David_Thoreau, http://www.archnewsnow.com/features/Feature18.htm, www.nytimes.com, http://www.pritzkerprize.com/laureates/2002/index.html, http://www.pritzkerprize.com/laureates/2002/essay.html, http://www.pritzkerprize.com/laureates/2002/ceremony.html, http://en.wikipedia.org/wiki/Linear_progression, http://en.wikipedia.org/wiki/Philosophy_of_history, http://en.wikipedia.org/wiki/Half-timbered_house, http://en.wikipedia.org/wiki/Alvar_Aalto, Francoise Fromont, Glenn Murcutt Buildings and Projects, Electa, 1995, Co-lin Davies, Key Houses of the Twentieth Century, Laurence King Publishing, 2006, http://en.wikipedia.org/wiki/Frank_lloyd_wright, http://en.wikipedia.org/wiki/Martin_Luther_King,_Jr., http://en.wikipedia.org/wiki/Glenn_Murcutt, Francoise For-mont, Glenn Murcutt buildings and projects 1962-2003, Thames and Hudson Publishing 2003-2005, Haig Beck and Jackie Cooper, Glenn Murcutt a singular architectural practice,The Images publishing,2002, www.bundanon.com.au

    HENRY DAVID THOREAU + who listenedARTHUR AND YVONNE BOYD EDUCATION CENTER (GLENN MURCUTT) CASE STUDY BY: J. BASRAN, D. KLOCEK

    Let every sheep keep its own skin

    I went to the woods because I wished to live deliberately, to front only the essential facts of life

    That government is best which governs not at all

    We spend our lives doing ordinary tasks, so it is important to do them extraordinarily well

    THOREAU

    GANDHI KENNEDY KING JR. WRIGHT MURCUTT

    WALDEN POND DWELLING

  • WORKS CITED: http://www.google.ca/imghp?hl=en&tab=wi, http://www.google.ca/, http://en.wikipedia.org/wiki/Main_Page, http://en.wikipedia.org/wiki/Verandah, http://en.wikipedia.org/wiki/Henry_David_Thoreau, http://www.archnewsnow.com/features/Feature18.htm, www.nytimes.com, http://www.pritzkerprize.com/laureates/2002/index.html, http://www.pritzkerprize.com/laureates/2002/essay.html, http://www.pritzkerprize.com/laureates/2002/ceremony.html, http://en.wikipedia.org/wiki/Linear_progression, http://en.wikipedia.org/wiki/Philosophy_of_history, http://en.wikipedia.org/wiki/Half-timbered_house, http://en.wikipedia.org/wiki/Alvar_Aalto, Francoise Fromont, Glenn Murcutt Buildings and Projects, Electa, 1995, Co-lin Davies, Key Houses of the Twentieth Century, Laurence King Publishing, 2006, http://en.wikipedia.org/wiki/Frank_lloyd_wright, http://en.wikipedia.org/wiki/Martin_Luther_King,_Jr., http://en.wikipedia.org/wiki/Glenn_Murcutt, Francoise For-mont, Glenn Murcutt buildings and projects 1962-2003, Thames and Hudson Publishing 2003-2005, Haig Beck and Jackie Cooper, Glenn Murcutt a singular architectural practice,The Images publishing,2002, www.bundanon.com.au

    ADAPTING TO THE SURROUNDINGS + eucalyptus ARTHUR AND YVONNE BOYD EDUCATION CENTER (GLENN MURCUTT) CASE STUDY BY: J. BASRAN, D. KLOCEK

    ROOTS: they reach as far as they need to absorb nutrients and mark the territory; the supply chain

    STRONG BASE: the roots provide sufficient weight and area of contact to leverage the momentum of the tree swinging at full wind speed

    BARK: like the skin of the human body it protects the internal structure of the tree; essential for life

    TRUNK GIRTH: the width of the trunk depends on the overall height, not only to supply the tree with more nutrients but also to increase strength

    LEAVES TURNING: when the sun is burning the most the leaf simply turns away and only exposes its edge, it protects its water supply

    THE CROWN: to absorb as much sunlight as possible and to create food the crown must be widespread, as well the proportion of the crown is directly related the height of the tree

    LEAVES ADAPTING: due to the amount of heat in Australia during the summers, over time the leaves have developed an extra layer of coating to conserve water

    41

  • WORKS CITED: http://www.google.ca/imghp?hl=en&tab=wi, http://www.google.ca/, http://en.wikipedia.org/wiki/Main_Page, http://en.wikipedia.org/wiki/Verandah, http://en.wikipedia.org/wiki/Henry_David_Thoreau, http://www.archnewsnow.com/features/Feature18.htm, www.nytimes.com, http://www.pritzkerprize.com/laureates/2002/index.html, http://www.pritzkerprize.com/laureates/2002/essay.html, http://www.pritzkerprize.com/laureates/2002/ceremony.html, http://en.wikipedia.org/wiki/Linear_progression, http://en.wikipedia.org/wiki/Philosophy_of_history, http://en.wikipedia.org/wiki/Half-timbered_house, http://en.wikipedia.org/wiki/Alvar_Aalto, Francoise Fromont, Glenn Murcutt Buildings and Projects, Electa, 1995, Co-lin Davies, Key Houses of the Twentieth Century, Laurence King Publishing, 2006, http://en.wikipedia.org/wiki/Frank_lloyd_wright, http://en.wikipedia.org/wiki/Martin_Luther_King,_Jr., http://en.wikipedia.org/wiki/Glenn_Murcutt, Francoise For-mont, Glenn Murcutt buildings and projects 1962-2003, Thames and Hudson Publishing 2003-2005, Haig Beck and Jackie Cooper, Glenn Murcutt a singular architectural practice,The Images publishing,2002, www.bundanon.com.au

    PRECEDENTS + most significantARTHUR AND YVONNE BOYD EDUCATION CENTER (GLENN MURCUTT) CASE STUDY BY: J. BASRAN, D. KLOCEK

    FARNSWORTH HOUSE

    MAISON DE VERRE

    THE PALM HOUSE

    THE WOOLSHED

    WHO PLANS & SECTIONS CONCEPTS+

    MIES VAN DER ROHE

    RICHARD LEPLASTRIER

    PIERRE CHAREAU

    AUSTRALIAN SETTLERS

  • WORKS CITED: http://www.google.ca/imghp?hl=en&tab=wi, http://www.google.ca/, http://en.wikipedia.org/wiki/Main_Page, http://en.wikipedia.org/wiki/Verandah, http://en.wikipedia.org/wiki/Henry_David_Thoreau, http://www.archnewsnow.com/features/Feature18.htm, www.nytimes.com, http://www.pritzkerprize.com/laureates/2002/index.html, http://www.pritzkerprize.com/laureates/2002/essay.html, http://www.pritzkerprize.com/laureates/2002/ceremony.html, http://en.wikipedia.org/wiki/Linear_progression, http://en.wikipedia.org/wiki/Philosophy_of_history, http://en.wikipedia.org/wiki/Half-timbered_house, http://en.wikipedia.org/wiki/Alvar_Aalto, Francoise Fromont, Glenn Murcutt Buildings and Projects, Electa, 1995, Co-lin Davies, Key Houses of the Twentieth Century, Laurence King Publishing, 2006, http://en.wikipedia.org/wiki/Frank_lloyd_wright, http://en.wikipedia.org/wiki/Martin_Luther_King,_Jr., http://en.wikipedia.org/wiki/Glenn_Murcutt, Francoise For-mont, Glenn Murcutt buildings and projects 1962-2003, Thames and Hudson Publishing 2003-2005, Haig Beck and Jackie Cooper, Glenn Murcutt a singular architectural practice,The Images publishing,2002, www.bundanon.com.au

    PREVIOUS PROJECTS + most significantARTHUR AND YVONNE BOYD EDUCATION CENTER (GLENN MURCUTT) CASE STUDY BY: J. BASRAN, D. KLOCEK

    MARIE SHORT HOUSE 1980 MAGNEY HOUSE 1984 MARIKA-ALDERTON HOUSE 1994

    SYMMETRY AND SIMPLICITY IN SECTION

    SYMMETRY AND SIMPLICITY IN PLAN

    SYMMETRY AND SIMPLICITY IN FORM

    HIERARCHY OF SPACES IN SECTION

    HIERARCHY OF SPACES IN PLAN

    HIERARCHY OF SPACES IN FORM

    THE WORKING ENVELOPE IN SECTION

    THE WORKING ENVELOPE IN PLAN

    THE WORKING ENVELOPE IN FORM

    1/4

    =1-

    0

    3/32

    =1-

    0

    43

  • WORKS CITED: http://www.google.ca/imghp?hl=en&tab=wi, http://www.google.ca/, http://en.wikipedia.org/wiki/Main_Page, http://en.wikipedia.org/wiki/Verandah, http://en.wikipedia.org/wiki/Henry_David_Thoreau, http://www.archnewsnow.com/features/Feature18.htm, www.nytimes.com, http://www.pritzkerprize.com/laureates/2002/index.html, http://www.pritzkerprize.com/laureates/2002/essay.html, http://www.pritzkerprize.com/laureates/2002/ceremony.html, http://en.wikipedia.org/wiki/Linear_progression, http://en.wikipedia.org/wiki/Philosophy_of_history, http://en.wikipedia.org/wiki/Half-timbered_house, http://en.wikipedia.org/wiki/Alvar_Aalto, Francoise Fromont, Glenn Murcutt Buildings and Projects, Electa, 1995, Co-lin Davies, Key Houses of the Twentieth Century, Laurence King Publishing, 2006, http://en.wikipedia.org/wiki/Frank_lloyd_wright, http://en.wikipedia.org/wiki/Martin_Luther_King,_Jr., http://en.wikipedia.org/wiki/Glenn_Murcutt, Francoise For-mont, Glenn Murcutt buildings and projects 1962-2003, Thames and Hudson Publishing 2003-2005, Haig Beck and Jackie Cooper, Glenn Murcutt a singular architectural practice,The Images publishing,2002, www.bundanon.com.au

    ARTHUR AND YVONNE BOYD the artists of the placeARTHUR AND YVONNE BOYD EDUCATION CENTER (GLENN MURCUTT) CASE STUDY BY: J. BASRAN, D. KLOCEK

    YVONNE BOYD 1940 1944 19441938 1940 1945 1945

    ARTHUR BOYD 19391935 1947 1947 1967 1968 1973 1974

    RIVERSDALE AUSTRALIA

  • WORKS CITED: http://www.google.ca/imghp?hl=en&tab=wi, http://www.google.ca/, http://en.wikipedia.org/wiki/Main_Page, http://en.wikipedia.org/wiki/Verandah, http://en.wikipedia.org/wiki/Henry_David_Thoreau, http://www.archnewsnow.com/features/Feature18.htm, www.nytimes.com, http://www.pritzkerprize.com/laureates/2002/index.html, http://www.pritzkerprize.com/laureates/2002/essay.html, http://www.pritzkerprize.com/laureates/2002/ceremony.html, http://en.wikipedia.org/wiki/Linear_progression, http://en.wikipedia.org/wiki/Philosophy_of_history, http://en.wikipedia.org/wiki/Half-timbered_house, http://en.wikipedia.org/wiki/Alvar_Aalto, Francoise Fromont, Glenn Murcutt Buildings and Projects, Electa, 1995, Co-lin Davies, Key Houses of the Twentieth Century, Laurence King Publishing, 2006, http://en.wikipedia.org/wiki/Frank_lloyd_wright, http://en.wikipedia.org/wiki/Martin_Luther_King,_Jr., http://en.wikipedia.org/wiki/Glenn_Murcutt, Francoise For-mont, Glenn Murcutt buildings and projects 1962-2003, Thames and Hudson Publishing 2003-2005, Haig Beck and Jackie Cooper, Glenn Murcutt a singular architectural practice,The Images publishing,2002, www.bundanon.com.au

    CLIMATE, PLAN & SECTION + relationshipsARTHUR AND YVONNE BOYD EDUCATION CENTER (GLENN MURCUTT) CASE STUDY BY: J. BASRAN, D. KLOCEK

    RECEPTION HOUSE

    BOYD HOUSE

    KITCHEN & GREAT HALL

    BALCONY SPACE

    STUDENT HOUSING

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  • 47

  • 49

  • At the CONCLUSION of the case study I came to realize that to do a thorough study of an architect, one must re-live the architects life and to do that is merely impossible. Nonetheless, some very important facts about why Murcutt does things the way he does, have been learnt and I do believe that they will stick with me to the end of my life.

    Glenn Murcutt Case Study/David Klocek/3rd year studio 2nd term

  • 51

    Left:A massing model show-ing the rough shape of the building studied

  • PORT MOODY ARTS CENTER (SMALL)

    53

    After conducting a thorough site analysis of Port Moody, all 119

    pages, we were instructed to design A FACILITY FOR THE ARTS COMMUNITY OF PORT MOODY. As a studio we were divided into groups and given different programs to incorporate into the facility. One of the major things to note about this project is the fact that it was to be done in manner of the architect that we previously studied, Glenn Murcutt.

  • PORT MOODY SITE ANALYSIS | ARSC 7100 | FEBRUARY 2012 46 tri-citiesthe built environment

    Coquitlam

    Port Coquitlam

    Port Moody

    Salish Sea

    Mundy Park

    Lafarge Lake

    Como Lake

    N scale 1:21,500

    Right 1:

    Colored map showing the site location

    Right 2:

    Birds-eye view, from the south, of the site model that the class built

    Right 3:

    Picture looking at the fire hall; the existing site condition

    Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • THE SITE was interesting in the fact that it really was a space with lots of potential due to its proximity to two central neighborhoods in Port Moody: Sutterbrook in the South and Newport Village in the North East. If anything was to be built there it would be seen from many angles including the busy Murray and Ioco St. intersection as well as all the adjacent high rise towers. All of this exposure really made it a site which was begging to be in-troduced as an urban heart and a connection between the two mixed use neighborhoods.

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  • Right 1:

    Colored map showing the site location

    Right 2:

    Birds-eye view, from the south, of the site model that the class built

    Right 3:

    Picture looking at the fire hall; the existing site condition

    56

  • INITIALLY my design revolved around fronting the street rather than tucking the design away near the forest, as well as focusing on directly controlling the light rather than being generous with it. Also it was always obvious to me that the site really wanted to become a public plaza of some sort, or maybe a field that dogs could run on, so that was also explored. The next few pages are records of that process mainly shown in models as that was one of the submission requirements; everything presentable has to be a built model.

    Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

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  • < A collection of models showing early progression

    Right:A series of post crit models showcasing the progression towards a Glenn Murcutt Ideal

    Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

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  • Right:Sectional models: help-ing me figure out how light enters the building as well as what the scale of rooms feels like

    Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • POST SECOND CRIT: even though I began figuring things out in section ultimately something did not work very well. It was the siting of the building that just seemed too alien for the building as a whole. The project was too small to be placed at the corner in order to make a presence which is what I wanted to pursue earlier on in the design process. I decided to then tuck the building as far away from the road as possible. This also seemed like something that Murcutt would do.

    63

  • Right:A site model showing an almost finalized placement of the building as well as a roughed out final version of the building section

    Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • 65

  • Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • My FINAL DESIGN CONCEPT ended up being something completely different than what I originally envisioned, but also ended up being something that I am very proud of. As you can see in the pictures it had a lot of concepts taken and applied from Murcutt like the separation of planes, the extruded section, the linear plan, a revealing entry sequence and most of all sustainability; economic use of materials, adhering to the sun and the wind, taking care of water and creating a building that really would be part of a public realm.

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    Left:A modeled site plan of the final design

    Right:South East entry view corridor

  • Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • Left 1:

    South East Perspective view of the building as seen by spectators

    Left 2:

    A view of the building without the roof exposing the plan

    Right:North East entry perspective inviting the passerby

    69

  • Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

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  • Port Moody Arts Center (Small)/David Klocek/3rd year studio 2nd term

  • 73

  • PORT MOODY ARTS CENTER (BIG)

    75

    The last project for the 3rd year

    portfolio was to create A BIGGER FACILITY for the arts community of port moody. The site was kept the same, which was nice considering as a group we spent a lot of time doing the site analysis, but the program increased by six times to the previous project. The facility was to include an art gallery, studios, a blackbox theater with all the extras, a central gathering space with a coffee shop, meeting rooms for the community and other code required facilities.

  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

  • Considering THE SITE was kept the same the issues basically repeated themselves in my head; what about the high rise towers, what about the noise, how do you deal with water running towards your building, how do you make a building as passive as possible and how do you make a place that people go visit without intention to do so?

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    Left:A birds eye view of the site model the studio built

    Right:South East view of the fire hall and the building site

  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

    Right 1:

    A linear parti sketch representing the separation of spaces

    Right 2:

    A parti sketch representing the control of light to create a certain atmosphere

  • When BEGINNING THE DESIGN I came up with a few parti sketches that I wanted to pull through till the end. One of them was very much focused on the differentiation of the two art disciplines, production vs performance, and the creation of a merging path between them. The other parti sketch was very much focused on the control of light a certain way; to give a particular ambience to the art in the gallery.

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  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

  • 81

    My INITIAL DESIGN PROCESS was very much focused around the pre-vious parti ideas and was primarily explored in sketches and models. This was one of our design require-ments: no computer aided design and all the deliverables had to be created with our own individual hands.

    Left:Series of sketches showing early design ideas

    Right:Series of models showing the placement process of the design

  • Left:3 Sets of light study

    models of the art gallery space

    Right:3 Sets of interior pictures

    corresponding with the light models on the right

    Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

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  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

    Right 1:

    Study model prior to crit

    Right 2:

    Interior view of the art gallery looking at the effect of light on the space

  • 85

    Prior to the FIRST CRIT my design had taken a rectilinear shape. The reason behind this was, that I really wanted to hug the shortcut that I was creating through the site, with a building that would feel a certain way; strong yet inviting. After the crit, I had realized that by trying to make a strong building it reallybegan to look institutional, somewhat like a prison really. After that the goal was really to break the design apart and create a more dynamic building.

  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

  • 87

    My FINAL DESIGN ended up being something that I never really expected. Because I broke the building into two pieces, entries evolved and because I had to soften up the buildings facade in the end it really didnt look like what I had originally planned. The design ended up being primarily focused on the entry sequence to the building, connections with the adjacent neighborhoods, good wind orientation and utilizing the sun as much as possible. Working between sections and plans was incredibly important.

    Left:Site plan model of my final design

    Right:View corridor towards the building across a reflecting pond

  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

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  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

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  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

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  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

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  • NOR T H1 5

    30

    45

    60

    75

    EAST

    1 05

    1 20

    1 35

    1 50

    1 65SOU T H

    1 95

    21 0

    225

    240

    255

    W EST

    285

    300

    31 5

    330

    345

    10 km/ h

    20 km/ h

    30 km/ h

    40 km/ h

    50 km/ h hrs123+11098867361493624

  • Water Demand Stats

    Potable: 183,230 l/yNon-potable:

    158,775 l/yr

    Water Supply Stats

    Roof: 0 m2Green Roof: 1420 m2

    Non-Roof: 475 m2

    Roof: 1,076,928 l/yNon-Roof: 630,420

    l/y

    Energy Stats

    Openings: 38%

    Sustainable Design StrategiesPort Moody Community Arts Centre

    ARSC 7200 Winter 2012 David Klocek A00742390

    1

    11

    1

    1

    1

    1

    2

    2

    SUSTAINABLE SITE PLAN

    nts

    SUSTAINABLE SECTION

    nts

    1. re-introducing trees2. green roof whole building3. permeable paving4. reducing the amount of parking5. introducing play field6. local materials used7. wood first structure

    2

    12

    2

    1

    3

    1. pv panels to support facility electrical load2. geothermal slinky coils to keep the building at a constant temp.3. roof shape and windows to maxi mize day lighting4. operable windows to reduce cooling load during summer5. good building envelope to keep heat in6. orientation to deflect winter wind and absorb summer wind

    1. water collecting pond2. low flush devices3. permeable paving unobstructing natural water flow

    23

    4

    3

    5

    3

    1 6

    3

    4

    57

    prominent winter wind

    prominent SUMMER wind

    97

  • Port Moody Arts Center (Big)/David Klocek/3rd year studio 2nd term

  • 99

  • 101

    BOOKS (INFLUENTIAL)

  • Thank You