Rachel's Final Wall Project Post

With the design of my wall, I really wanted to embrace the cohesive and open nature of a community center. Starting with the bottom level of my wall, I aspired to create a natural progression into the massive entrance building through first, subtracting a large space and then using skeletal columns as a gradual transition towards this entrance. In this way, I emphasize the difference in size of skeletal and massive elements as indication of important parts of the building.

I aimed to mirror the structural quality of these colu

mns by inserting equally sized slit windows

on the opposite si

de of the main building so that when approached

from an angle, one can see both the concrete columns and the transparent glass windows hovering above them to the right as a sort of mirror image.

Once people weave their way through, and around the columns, they reach a frosted glass door that leads them into the lobby or main gathering area of the community center. This lobby can be accessed either through this side or from the other direction in hopes that it is very clear where the building’s entrance is located. As the entrance is set within the courtyard, there is a bench placed directly to the right of the door so as to provide people an outdoor habitable space from which to admire the courtyard or wait for people outside the entrance.

Once you enter the lobby, sunlight softly filters through the frosted-glass ceiling that leads you through the back courtyard. Once in the courtyard, one can either remain in the shade of the overhead screens or take the stairs (for now—imaginary) to the second level. The second level is composed of a triangular grid formed as an ex

tension of the two masses. Each section of the grid is a different type of glass—alternating between transparent and translucent so as to enhance the wall's 'stagger-mass' construction. When viewed from a distance, this juxtaposition of transparency and translucency may even seem additive and subtractive. I also hoped to emphasize the skeletal nature of this floor construction by basing each triangular glass panel within a thin wooden rod frame that contrasts with the solidity of the wall’s more massive structures. I think the simple triangular composition of the grid in conjunction with the wall’s main structures also enhances the 'stagger-mass' aesthetic I was aiming for. Each triangle represents a different section of the wall—collaged and layered together to form one mass. The two side buildings of different heights are in turn connected by this layered grid work. Through using different materials for each roof, floor, and side wall, I sought to highlight the depth achieved through the wall’s dynamic construction.

When viewed from behind, it can be seen that the triangular glass grid forms a pathway connecting both of the wall’s main masses. At one end, the larger mass extends diagonally into the center courtyard inviting people inside of what forms a ‘habitable space’ where they can read, play a game, or talk under their choice of either a transparent or translucent roof. There is also a large columnar window inserted in the corner closest to the back courtyard that mimics the larger skeletal column at the base of the wall. This window has a removable frosted glass shade on either side to control how much light enters from the back.

Exiting this space, people enter the glass pathway covered by a triangular glass canopy and framed by a large canvas of glass opening into the front courtyard. By connecting the two massive elements of my wall with a large opening of glass, I aimed to juxtapose the additive nature of these structures with the subtractive nature of this area. I also, wanted to emphasize the significance of both of these structures—one as an entrance and habitable space, and the other as a space of calming solitude when a zen-like view straight into the front courtyard. The triangular-shaped roof of the glass pathway serves as an arrow of light directing people into this area.

Overall, the goal of my design was to provide people visiting the community center with an interesting cohesive space of both indoor, outdoor, and glass-covered-areas in which to gather, admire the trees, or sit in solitude. From the clear contrast between additive (the two side buildings) and subtractive (center area of covered glass) elements to using skeletal elements as a way to ease one's progression into the wall's entrance, I hope that from first glance, viewers are drawn to and curious about the wall. Furthermore, I hope th

at upon entering, people feel that design of the community center's wall provides a unique place for everyone--whether dark, light, closed, or airy.