AAF Portfilio 2015

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Tulane School of Architecture Architectural Institute of Prague

Transcript of AAF Portfilio 2015

  • 3

  • New Orleans Building Arts Centerfall 2013, TSANew Orleans, LA

    professor David Merlin

    The New Orleans Building Arts Center is an artist residency and research institution whos purpose is to practice, educate, show-case and inspire the building arts.

    Nestled in one of New Orleans hidden treasures of historical neighborhoods, its location in the Central Business District will mutually benefit the community as the artists also immerse themselves in the rich culture of New Orleans.

    the building is activated through 2 main entries: a formal front entry at Sixth and Saratoga, (where the Save Americas Trea-sures neighborhood path meets the St. Charles Street Car stop.) The second is and a studio entrance at the back of the site, enhanced with bus stops and panoramic views of the CBD.

    the building is then divided into 3 distinct programatic volumes: the a.) public/exhibition wing, b.) education/stu-dio wing, c.) residency wing, overlaid above the studio wing so artists can live where they work and immerse themselves in their practices.

    a

    bc

    view from edu wing entry

    5

  • floor 1

    floor 2

    floor 3

    These additional programs meet at a junction which then leads the user down a staircase to a double height communal work space. The workspace has 5 studios spewing off, for each of the major building arts trades. (Wood, Metal, Masonry, Plaster, and a Kiln studio.) This communal work space also has access to classrooms, a computer lab, and a community collabora-tive work space. This community collabora-tive studio also serves as the secondary educational entrance to the building fac-ing out towards the CBD, located at Sixth and Loyola.

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  • 9

  • The program breaks at this junction are articulated through clerestory slits in the roof, with the sunlight and materiality change informing the user they are entering a new zone.

    ADA residency

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  • resident/studio view

    primary entry view 13

  • The Miller Garden Visitor Centerspring 2013, TSAColumbus, Indiana

    professor Jessica Tippens

    Precedent Analysis:the How House, by R.M SchindlerLos Angeles, California

    project conceptual diagrams: a. interlocking geome-tries of grid, b. glazing & light qualities stress indoor/outdoor relationship, c. enclosure & projecting views

    a.

    b. c.

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  • Site Interventionsite: Dan Kileys Miller GardenColumbus, Indiana

    The visitor centers placement separate from the house respects the Miller Familys request for their home to be private without walling out the neighbors, with a welcoming path from the visitor center to the home. With the Miller house striving to function as an extension of the landscape, the visitor center works alongside it to tie both ends of the garden back together, activating the meadow in doing so.

    the intervention rests at the end of a line of maple trees to create a strong axis from the visitor center to the top of the garden, intercepting a second axis to direct visitors to the Miller House. This utilizes the idea of moving along direct axis as a circulation system, as executed in the How House. The visitor center uses additional diagonal gestural lines from the building to maximize views between the botanical site and Miller House.

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  • Reflecting back to the How Houses main idea of opening up the building to the outdoors and an-choring it so deeply in the site, the visitor center is integrated into the row of the maple trees to bring the outdoors in. This also reiterates the How House & Miller Gardens stress on rhythm, with the trees exaggerating the rhythm throughout the building.

    the main ideas of the visitor center are to follow the circulation, programatic, and locational qualities important to the Miller Garden, with the buildings design speak-ing the language of the How House. The How Houses rhythm, axie driven paths, indoor/outdoor relationship, & significant views of the site are main themes carried over to the center. the visitor centers centrifugal circulation around the courtyard & series of outdoor rooms brings forth the programatic qualities of the miller gar-den.

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  • 21primary axis through site

  • Museum of the Cityfall 2012, TSANew Orleans, LA

    professor Andrew Liles

    Analyzing the building fabrication, landforms, and path/place patterns of New Orleans through diagrams. Doing so enabled information to be overlaid to reveal unique characteristics of New Orleans. City wide patterns were further investigated at a smaller scale after zooming into particular neighborhoods, such as the City of Carrollton. Concep-tual gestures revealed in studying the city and neighborhoods translated into the design of a museum; An archival and gathering space for New Orleans/Car-rollton residents and tourists.

    These patterns are reflected in the City of Carrolltons Oak Street, (the site of the museum,) through 4 different seg-ments; The Wall of the City, the Wall of the Surveyor, the Wall of Books, and the Wall of Light.

    Phase 1: The City and RegionNew Orleans

    Average Household Income

    Intensity of Land Use

    Population Density

    The Value of the Oldest LandThe land at the highest topography was the first settled on, and remains the most valuable. It holds the most historic signifi-cance, as well as offers more flood security due to its higher elevation. It is also less effected by sinkage due to its lower intensity of land use and and further proximity from oil rigging.

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  • Phase 2: Neighborhood PrecinctCity of Carrollton/Oak Street

    Katrina Flood and 1850s

    Topography

    Roads and Public Transportation

    Carrolltons Commercial PassagewaysThe growth in Carrolltons commercialism overtime is correlated to the expansion of streets and public transportation routes. The main commercial passageways are in areas of higher topography with less significant flood patterns. These passage-ways can also be found along streetcar tracks, busy streets, and near bus stops.

    context

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  • Phase 3: The Four Walls /The Museumcollaborate with Partner Michael Nunnink

    The Wall of the CityThe entrance to the museum. The Wall of the City represents the big gateway onto a commercial street, followed by the gradual reduction in the scale of the buildings moving further from the initial intersection, thus developing a compressive ele-ment. Oak streets commercial gateway is represented in this diagram.

    The Wall of the SurveyorThe backbone of the museum. The Wall of the Surveyor works alongside the compression represented at the entrance to the building, (see Wall of the City), then continues at evenly spaced increments to represent the rhythm of the new orleans/carroll-ton street grid.

    The Wall of BooksThe dark archival section of the museum. The concept derives from carrolltons accessible pockets of land, with some areas being significantly more closed off than others due to the in-tegration of private residences into the district. Various book-shelves peel up to reveal accessible pockets for reading and storage. The wall of books also serves as a tool for horizontal circulation.

    The Wall of LightMimics the tree canopy seen throughout New Orleans, cre-ated from her iconic oak trees. The Wall of Light is designed to optimize light towards the center of the building, distributing the rays thoughout the main space. There is also more light at the bottom of the wall than the top to represent the canopy shad-ing off the top portion.

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  • the wall of books

    |- - - - - - - - - - - - - - the wall of the surveyor - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -|

    the wall of light

    the wall of the city

    gallery

    auditorium

    offices

    oak street tourists entrance

    side locals entrance

    restrooms

    archives

    back section

    floor 2 plan

    floor 1 plan

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  • Case Study: Music Festival Mediafall 2014 future cities design studio, ARCHIPPrague, Czech RepublicAddressing the media sector behind the music festival, the system is a central pavilion with 4 detachable pods.

    The idea is to experi-ence the performances from various locations around the site, intro-ducing the idea of being everywhere at once. During festival season, the pavilion can be light and open, while in the off season the alterna-tive pods can lock in to create a more closed off space. 33

  • Each pod adapts a specific typology, with the main pavilion being a collaboration between the pods. Typologies are a. a seating system b. sound progression c. isolated visual experience, and d. a shared visual experience.

    In analyzing Pragues climate with psycho-metric charts, trends show great amounts of discomfort from both too hot and cold dry bulb temperautres. Strategies for provid-ing more passive comfort include ad-ditional insulation, sun shading, and natural ventilation.

    a.

    b.

    c.

    d.

    35

  • Sun patterns generate 21.7 - 68.5 degree angles to position solar panels for maximum gain throughout the year, and solar panel coverage of 240 degrees facing south to accommodate the extreme summer solstice paths.

    Solar panels are installed on the spheres across the pavilion, so the media/ energy produced by the pods can be completely self-generating. The panels cover sectors of the spheres, and rotate throughout the days and seasons to follow the sun, simul-taneous reconfiguring themselves. This allows a variance in paths and accessibility, but also closes off certain spaces later in the day to make the environment easier to control.

    The river water can also be pumped in the pockets in th