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.

Wall Inspiration

I was inspired by Piano and Rogers' Pompidou Centre in Paris as well as Libeskind's Jewish Museum in SF. I really liked the Pompidou Centre's balance of skeletal versus mass and the many layers of the building. But what really drew me to the building was the flow of the building. At first glance, visually, this seemed a little crazy but it seemed to flow. The building, itself, seemed to manifest the idea of community and interaction.

I was also inspired by Libeskind's Jewish Museum in San Francisco. I loved how shapes of the same order but different position interacted with each other.

Both these buildings created something that seemed that seemed...chaotic with a purpose (this description does them no justice and I mean no insult). And they played with their ideas. Libeskind played with the idea of how we interact with space and with shapes. Piano and Rogers played with the idea of a museum and how a museum should relate to its city/environment.

Final Wall Post

For my design, I was initially inspired by a building designed by Taylor Smith architects, a cabin that featured layering of wooden slats. I was intrigued by the patterns the material left on the floor inside the building and the way it attracted my eye and made me want to discover what was inside. I really wanted to create this feeling with my own building. Jumping off from there, I thought a lot about the provided program and tried to create something clients would enjoy while sticking to a design I can be proud of. I simplified my initial idea and am excited about the finished product.

My wall is actually a double wall, and I used the two walls to create spaces that would create a journey for those in visiting the community center. I thought both children and adults alike would enjoy meandering through the wall system, peeking through the spaces in the wall and relaxing in the habitable space.

Using this journey as a guideline, I hoped the habitable space, a small room with benches, would grab attention of people walking through. I also created the Zen view to be a part of the wall, manipulating the layering of wooden slats to create a custom window. I really enjoy how the Zen view fits smoothly into the overall design. For the façade, I worked to incorporate additive and subtractive elements, with the windows protruding out and the entrance inset to draw people inside. I wanted to keep the outside simple because I did not want to overwhelm people with the more complicated walls inside.

I hope that people would look through the windows of the outer wall and be intrigued by the more detailed wall inside the building. It is my hopes that I have created a warm and inviting wall design that also sparks curiosity and inspires imagination.

Wall Assignment - Inspiration

Attached above is a picture of the Grand Canal Square Theatre and Commercial Development in Dublin, Ireland. The project was worked on by architect Daniel Libeskind. Much of his work utilizes angular forms similar to those seen in this design. This building as well as others done by Libeskind provided inspiration for my final model. I like his use of unique shapes to create a visually appealing aesthetic. I hope everyone will recognize the connection between his work and my final model today in class.

Wall Assignment - Study Model

Attached above is a picture of a revised version of my 1/8" study model for the wall assignment. My final model has definitely evolved a lot, but some of the features remained somewhat similar. Once I read over the program again, I felt the need to implement some new ideas, which led to much of the revisions you'll see in class today. Overall, I think my 1/4" final model looks more appealing and will satisfy the client's requests a lot better. I look forward to hearing everyone's feedback today in class.

Wall Project--in process

Here is a photo of my 1/4'' model so you can see how it looked in comparison to my final design.As I hope you can see, this model has a heavy emphasis on stagger-mass which has ultimately been lessened in my final design. I also have a ton of subtractive elements to contrast these layered masses that I have ultimately simplified. All in all, this model is fairly representative of what I hope to achieve through my 1/4'' model but in a rougher (and definitely more chaotic!) form.

Wall assignment - final post

I’m very pleased with how the final ¼” model turned out – I followed each of the steps and learned something from everything that I did in the process of completing the model.

Before I did any designing, I wanted to lay down a few guiding principles that would shape all of my thinking. I am most attracted to minimalist architecture and design, so I wanted the wall to have almost a “bare-bones” quality or aesthetic. John Pawson inspired much of my design – his work is simple, clean and practically oriented.

In fulfilling the program requirements, I wanted to satisfy the requests of the client without any extraneous embellishments (i.e. I didn’t want to include anything that wasn’t detailed in the program, regardless of whether or not it was attractive or would be appreciated by the client). I sought to create a habitable area and a Zen view in the same space so that there would be no need for other structural additions.

The ideas and design principles that went into my use of manipulations and proportions were all based on the aforementioned guiding principle of minimalism. In using the manipulations of addition/subtraction, envelope to structure relationships, mass penetration/staggering/layering, and simple/complex, I wanted to maintain a certain style that tended towards subtraction and skeletal frameworks, but I also wanted to experiment with the other manipulations and I wanted to contrast the minimalist aesthetic with other elements. As for proportions, I structured everything based on three very simple patterns. The most basic was to break elements into thirds (the wall for example is split vertically into thirds, and the window shades and the door panels are split horizontally into thirds). The next more complicated pattern was a 2/3/2/3 series pattern, repeated in the window shade designs as well as in the slit windows/bookshelves lining the inner wall. Finally many of the elements in the wall follow an “L” shape, which is both intentionally created and a product of the first two proportional design themes.

I went through many iterations of the project – most of my scratch work was not done on trace, but on regular paper. I did my best at the actual crafting/assembly of the project, but some of the angles do not meet up properly, sometimes due to imperfect cutting. My crafting skills have improved, though, and I intend to get much better as the quarter continues.