Over the past fifty years, many of the innovations that have been implemented in architecture and interior design would never have seen the light of day or would at least have taken much longer to appear if it hadn’t been for the fertile testing ground of portable architecture. (Fajardo, 2009)
TEMPORARY “We tend to view architecture as permanent, as aspiring to the status of monuments” (Arieff, 2012). Architecture has relied on structures to promote a lasting impression with permanence. Until recently, there have been halls built, especially beginning in the 19th century, for presenting the exposition or fair with temporary exhibits and information. Now a new “temporary movement” has gained momentum in the depths of the current recession, as money for new buildings dries up and cities with dead cores try to liven up empty lots and vacant storefronts (DePhillis, 2012). The word temporary is simply defined as: lasting, existing, or effective for a time only (Dictionary .com, 2012). It is a word used in the architectural realm that emphasizes the notion that a person will not be able to visit a specific place regularly after the effective, temporary duration. The most recent proliferation of temporary places is also a reflection of the economy. Henceforth, neighborhoods in the US are investigating strategies of temporality because it is allowing communities to fill abandoned buildings, encouraging innovation and experimentation, and presenting a “pop-up” urban revival approach that is “lighter, quicker, and cheaper” (DePhillis, 2012). A temporary investment does not tie a city to a permanent investment.
Seen through the examples below, along with numerous other case studies, similar elements start to pop-up (pun intended) and can been seen repeated throughout. I have noticed that temporary environments allow designers to explore the playful side of architecture. They are developing spaces that explore different qualities and attributes of light along with expressing different, creative forms. At times these projects become quite personal to them. The designers are found working closely with the community and project. Also if designers know the project will be broken down at the end of its duration, they make conscience decisions about materiality and sustainable impacts. If the project is intended to be moveable, these considerations still influence the project, but in a different, transportable way.
CASE STUDIES Dark Design Group | Temporary Outdoor Cafe The summer time cafe was designed with basic construction materials and methods. This allowed for easy disassembly and demountability. The temporary aspect of the cafe also encouraged the designers to explore new architectural forms, to create a direct connection with outdoor space (summer weather allows for a different type of design), and to test/refine construction methods. Photos via Dark Design Group Pascal Grasso | NomiyaNomiya is a temporary, portable restaurant on top of Le Palais de Tokyo museum in Paris. It sits high atop the surrounding site and features a dining room that allows guests to explore the panoramic view of Paris. The notion of ‘insertion’ further exploits the temporary concept and the form also relates to a shipping container, hence – visibly moveable. Photos via DezeenAssemble | Theatre on the FlyTheatre on the Fly is a temporary space to be used for 9 weeks during the summer, hosting various programs. The project looked to expose typically hidden theater elements along with constructing the space out of reusable and recyclable materials. The transparent outer layer allows daylight to enter yet creates a backdrop for the stage. Photos via AssembleFINAL THOUGHTS I would like to leave you on with one last note. After reading numerous articles, paging through books, and searching galleries online, I was drawn to different questions journalists/architects were asking.
PUBLICATION: DePhillis, Lydia. “Temporary Is the New Permanent.”
QUESTIONS: Why can’t we get a temporary certificate of occupancy for buildings more easily than a permanent one, or request permission to paint a mural on the street, or check a database of property owners to work out interim uses on empty lots? These projects make the urban environment more comfortable, useful, and cared for—the kinds of places where people want to stay and live, rather than fleeing to the suburbs.
Do you find yourself drawn to these types of spaces? Spaces that weren't there a few weeks ago or spaces that will soon disappear. Relating back to the previous post about events, do you have fond memories and experiences when you think back to a previous wedding, play, picnic, or farmers market? How has that temporary environment shaped your memory? - Ellie RESOURCES 1. Arieff, Allison. “It’s Time to Rethink ‘Temporary’” The New York Times (2011): The New York Times Company, 19 Dec. 2011. Web. 10 Oct. 2012. 2. Chan, Kelly. “Pop-Up Populism: How the Temporary Architecture Craze Is Changing Our Relationship to the Build Environment.” Blouin Artinfo (2012): Artinfo. 3. DePhillis, Lydia. “Temporary Is the New Permanent.” Washington City Paper. 25 Apr. 2012. Web. 25 Oct. 2012. 4. Fajardo, Julio. Exhibition Design. Cologne: Daab, 2009. Print. 5. Jodidio, Philip. Temporary Architecture Now! Cologne: Taschen, 2011. Print. 6. Reiss, Julie H. From Margin to Center: The Spaces of Installation Art. Cambridge, MA: MIT Press, 1999. Print. 7. Smith, Cathy. “Between-ness: Theory and Practice within the Margins of Excess.” IDEA (2003) Photos and resources used for educational purposes only!
Author | Ellie Above are photos documenting a material investigation Lyndse Yess and myself are doing for an independent study this term. We are looking at how we see material and do we perceive it differently when we test and explore it through different means. Unsure of what our final exhibition will include, we know it will show our process, exploit the materials, display them through different artistic 'lenses', and possess a mystery or story. If you haven't guessed already, our 2 material choices for this exploration are Concrete and Bamboo. - E
The International Festivals and Events Association estimate that there are over 4-5 million recurring festivals and events, that require municipal support services, worldwide per year. This does not include corporate celebrations, weddings, religious gatherings, school carnivals, and others. These festivals and events have an estimated combined economic impact in the trillions of dollars. (IFEA)
WHAT IS AN EVENT? Although there are various ways to answer this question, Bladen’s definition “Events are temporary and purposive gatherings of people” is simple yet entails great detail. More specifically, the definition of “Event” can be broken down into these four parts: they are temporary in nature, they are gatherings of people, they are often displays of ritual, and they are unique occurrences (Bladen, 2012).
TEMPORARY
Events are temporary because they are effective for a specific duration of time. During this time, they consist of 3 main characteristics: a start, a program, and an end (Balden, 2012). While they only last for a specific amount, that time can range from a few hours to months to unplanned years. These happenings can be planned mob flash dances or spontaneous street celebrations. At times, events have such an impact, the community finds it a permanent home; therefore, the event can last longer than the intended duration.
PEOPLE
Events are also created and designed for the gathering of people. Events are comprised of people and their interaction with the environment. An event's audience may contain few people and minimal interactions, or it can consist of large groups and communities. An event’s focus may be directed at an individual or group, or indirectly focused on the audience themselves. Similar to architectural building types and typologies, events carry an overall organizing categorization process. Events can be small celebrations that incorporate the local community to large mega-events that gather the entire world. Along with others, Bladen creates the simple and all-encompassing categories: Mega-Events (Ex. World Expo), Cultural Events & Festivals (Ex. Burning Man), Special Events (Ex. Saturday Market, Weddings), Corporate Events (Ex. Tradeshows), and Sporting Events (Ex. Olympics). These sweeping categories can also be broken down further based on specific activities, attendees, and product while also distinguishing between the notion of public and private events. The different types of events also allows for the audience to interact face-to-face or with today’s new technology events can connect people all over the world. This technology allows a face-to-face connection and hence gathers people, but limits direct interaction with each other. Without people, there is no event.
SOCIAL
Elaborating on the activities held during an event, events are displays of ritual and embrace the social aspect of human culture. “As such, we develop social interactions beyond our family structures which can trigger the need for events.” (Bladen, 2012) As seen in Abraham Maslow’s Hierarchy of Needs, humans are motivated towards events because they offer fulfillment in: personal connections, friendship, shelter, creativity, sense of belonging, community, and various other needs. Events are motivation for social gatherings.
UNIQUE
Events are also unique occurrences, because events cannot be replicated. Even if the event is a traveling type, the consideration of building, location, site, and community will always create a different variable base to the event. Events offer a “limited time” experience which creates the notion of exclusivity and uniqueness. These characteristics, along with notions of memory and celebration, create “one of a kind” experience for event attendees.
WHY HOLD AN EVENT? Now that you know the basics of what an event is or can be, there are numerous reasons to hold an event. Events can have effects on numerous entities including businesses, communities, and regions. Specific events can be designed to reunify communities, increase economic development, and build stronger culture and social relationships. Events allow communities to promote culture and enhance social identities. Events around the world are shown to be successful tools to increase tourism, create powerful and memorable branding opportunities, bond people together, encourage positive media coverage, enhance economic impact, and add to the quality of lives for those who live there (IFEA, 2012). To embrace these benefits, location, site, and time are all considerations that need to be made since these factors will affect each event differently.
THEN AND NOW Traditionally events were seen as successful if the lighting, entertainment, sound, food and catering, and service were adequately controlled and presented. Typical events are designed to educate, entertain, and promote with “informative methods” of relaying information to attendees. Today, events are looking to psychology, human behavior analysis, and motivation tendencies to create a memorable and educational experience. They are looking for audience participation and interaction. Events are experiential.
For example, the philosophy of the “Dream Society Age” by Rolf Jensen exemplifies the transition between the two types of delivery. “About 1950, a fourth system – the Information Society – began to take shape, but it now appears that the Information Society will not last more than a few decades longer before yielding to a society focused on dreams, adventure, spirituality, and feelings” (Jensen, 1996). Jensen believes that future corporate strategy methods will be focused on storytelling rather than manufacturing. He states, the trend of commercialization of emotions will look to embody products with stories and legends. “In 25 years, what people buy will be mostly stories, legends, emotion, and lifestyle” (Jensen, 1996).
Since the notions of experience and journey throughout events are outweighing the need to passionately inform the attendees, designers will look to use the “Dream Society’s” theory and other theoretical philosophies to educate and inform. This can be accomplished through art, installations, exhibitions, and spatial design to create these memorable experiences. | TYPE & USE: Special Event
The Blocks is an exhibition and restaurant where attendees experience wine through a multisensory experience. The event lasts three weeks in each city (Sydney, Melbourne, St. Petersburg, Berlin, London, and New York). There were a total of 20,000 visitors and 6,000 diners that attended the Sydney opening (Studio Toogood).
PARTI
Visitors are brought to the center of the space where they encounter the wooden structures that will guide them to desired tastes. Behind the sculptures are glass cases showcasing 5 groups of local grapes created by various artists. After their individual journeys, staff members meet up with attendees to direct them to their tables.
| SELECTION
The Blocks is directed by the combination of sculpture, art, furniture, food, and wine while creating a complete approach to experiencing wine differently. The event breaks wine down to its core elements and exploits the various qualities.
PROGRAMMATIC ELEMENTS
Entrance
Exhibition space & Gallery
Kitchen
Dining
Bar
| | SITE CONDITIONS
The unveiling event was first located within Sydney, inside an undeveloped wharf building on Walsh Bay. The Pier 2/3 site and building was roughly finished, vacant, and washed-up. After the initial three week period the event was packed up, shipped, and relocated within a new, pre-selected city.
CONCEPT/VISUAL
The Blocks is an “immersing experience designed to demystify the process of vinification” (Toogood Studio). Attendees are encouraged to pursue their curiosity and discover the space through touch, sight, smell, and taste.
| MATERIALS
The experience contains materials that direct attendees through a sensory experience. The smells of various woods leads attendees to preferred wines. The aluminum stools are cool to the touch to remind guests of the cellar-like experience. The combination of taste and smell of local foraged food finish the experience.
| PERSONAL TAKEI chose this Case Study, for my education endeavor, because it truly embraces all aspects of the word event. The Blocks states that it is a temporary space and environment from the get go. It also doesn't simply gather people; it sends attendees on a journey full of discovery. The journey allows guests to navigate on their own and embrace the museum-like atmosphere at the beginning. When that part of the journey is complete, staff help redirect – we don’t want anyone feeling lost or confused. The Blocks allows for social interaction at any point throughout the event. Finally, the event will be moving to a totally new location every so often. It will not last forever and you better attend while it is close to your city. Faye Toogood and her studio recognized what motivates people of today. The Blocks supports the notions of memory, uniqueness, storytelling, and journey. Every aspect of the space was designed to enhance a guest’s experience. Next Week | 03
To continue this series, next week I will define the word Temporary and how it influences today's architectural and interior designs. I will also include another case study, articles I have read, and terms associated with this concept. 1 IFEA. “Welcome to International Festivals & Events Association.” Welcome to International Festivals & Events Association. Web. 05 Dec. 2012. <http://www.ifea.com/joomla1_5/index.php>.2 Bladen, Charles, Nick Wilde, James Kennell, and Emma Abson. Events Management: An Introduction. Hoboken: Taylor; Francis, 2012. Web3 Jensen, Rolf. “The Dream Society.” Futurist 30.3 (1996): 9. Military & Government Collection. Web 2 Nov. 2012
Case Study | Photos, Quotes, and Facts - Studio Toogood and Faye Toogood (for student and educational purposes)
Author | Ellie The event designer finds himself in a vacuum that combines elements of director, designer, architect, chef, theatre maker, and window-dresser. 1
| | | | Event and Temporary Design | A series that will examine and connect Event Design and Interior Architecture while presenting investigations into temporary design in permanent spaces.
Over the next few weeks, I will be sharing the research and concepts I have been investigating throughout the past year. I started the research during the Fall of 2012 and it continues now and constantly influences my comprehensive project: Hammer & Nail. This research concept started out by my curiosity of celebrations today. Also, I wanted to discover if there was/is a connection between event planning and interior design. While mulling that concept over in my brain, my interest of temporary design within permanent spaces also perked. The questions that drove this research I will start to address and answer in the coming weeks. Along with my synopsis and conclusions, I will provide insight into a variety of case studies, articles, and books. I will share various terms and descriptions that event managers, educators, organizations, and designers use to describe their work relating to this research and how terms and relating words have transformed through recent years. The world of the happening is one without borders. A happening has to fascinate a global audience. Sometimes it’s easier to get people’s attention with a veiled whisper than with a piercing shriek. Thus a successful happening is not a self-absorbed spectacle but, on the contrary, an invitation. The only requirement is you. Without you, it’s not an event. 1
In my next post I will introduce the idea of Event and start to define a clear description of what constitutes an Event, reasons to hold an event, and a brief relationship between past and present.
| | 1. Blokland, Tessa, Anneke Bokern, and Sarah Schultz. Happening: Design for Events. Amsterdam: Frame Publishers, 2006. Print.
Author | Anna I wanted to take advantage of this beautiful Oregon afternoon to reflect on an amazing opportunity I had last year: designing and building the Quack Cave, a social media command center for the University of Oregon Athletics Department. Below is a little bit of the strange backstory as well as some detailed shots on the custom elements my partner and I designed and crafted. | | It was about a year when I somewhat stumbled into a unique opportunity. On a Sunday evening around 10pm, a member of the UO Athletics Department posted a cryptic tweet looking for Interior Architecture students to help with a secret project. With the appropriate amount of due credit going to my fiance for showing it to me, I responded out of general curiosity (not really thinking it would be a big deal). After some email exchanges and arranging times to meet, more details about the project began to unfold. | Fellow Interior Architecture graduate student Miranda Lee and I decided to team up and tackle the project together. Essentially, the idea was to create a social media hub to allow for better interaction between the Athletics Department, the teams, and the fans. As it is a relatively new project type, we didn't have a lot of precedents to look towards. That meant that there was a lot of back-and-forth communication between us and the department to really determine what they wanted and needed out of the space, which inevitably kept evolving as the project developed further. Another main challenge was the space. Since this was an experimental project (no other collegiate athletics program had such a room), and knowing this was potentially the first installment which would lead to bigger and better iterations of the idea, the Quack Cave was to be designed in a seemingly leftover space behind a service window in Autzen Stadium.
 before, as seen from a cell phone | I think Miranda and I both laughed when we first saw the space. The shape, location and materials all made for a difficult challenge. The only real benefit was that there is no direct daylight coming into the space. The final obstacle for us was the budget. Again, since this was somewhat experimental in nature and the brainchild of only a few people within the department, they were relying on us to really get a lot of bang for their buck.
| Instead of feeling handicapped by the challenges (a tight timeline was another request, so we really didn't have a chance to feel handicapped!), we used them as opportunities to pull our resources and flex some of our creative muscles. To make a longer story short, Miranda and I spent the majority of our spring term and parts of the summer working in secret on a project that was hard to keep to ourselves (luckily we had each other to talk to, airing our constant disbelief and excitement out to one another). Finally, at the end of the summer, the athletic department issued a press release, debuting the Quack Cave to the public and we were finally free to tell everyone about it. The main or "monitor" wall, was meant to be the feature of the room (the function is all about online social media, after all). The monitors were wired to each other and powered by two computers (not so hidden, but that's another story), and operated by the interns via iPads and wireless keyboards. During live events, it's a pretty awesome place to be with YouTube, Twitter, Facebook, Instagram, and other feeds scrolling across the screens. In the interest of money and the idea that this location is probably not going to be the permanent home for the Quack Cave, we decided to go with a simple paint treatment that draws focus towards the monitors, utilizing Oregon colors to create a cave-like feel. Miranda and I designed, cut, and installed the yellow acrylic signage ourselves, using social media graphics to contribute to the identity and function of the Quack Cave. The back wall functions as more of an administrative area, where we left an existing desk surface and installed whiteboards and tack boards as well as a flat-panel monitor that plugs into the existing cable line. The room is primarily used by student interns, so it is important to have a space for communication between them and the department. | | As fun as it was to hide the millions of cords and layer 20 coats of yellow paint (I wish that was an exaggeration), we were most excited about the custom elements we were able to create. Using less expensive items and the creative wile we knew we had, we dressed up standard items to create a bigger impact.
Yellow acrylic was used for wall signage throughout the space, but something great happened with the task chairs when we found ourselves with leftover Os and cable clips that came with the entertainment shelving. | | The stools have another interesting story. In the interest of time and money, the original design involved leaving the existing tile floors. With that in mind, we had ordered black stools to pop off the floor and double as side tables. Once it became evident that the acoustics were not especially conducive to video chats, among other things, we had black carpet tiles installed. Left with black stools on black carpet, we experimented with ways to remedy the situation. A carefully cut stencil and a few cans of yellow spray paint later, we had ourselves a set of custom branded stools! I also have to give a lot of thanks to the Athletics facilities management for their help with the painting and installation of a lot of the elements! | |
Author | Ellie To design the pretty stair or not? I have decided to remove the "pretty stair" within my exhibition space. It was a hard choice to make since, as designers, we love to experiment and design the pretty things and place the least amount of focus on the core utilities of the building. Typically: the pretty stair is fun and the egress stair is boring. I have decided to challenge that stereotype. Since my building and interior will be the framework for art and installations (letting the art be the art, not the building), I have decided to focus on how I can create an egress stairway to be experimental for attendees, a chance for discovery, and a place that can embrace an exhibit. So, how can these pretty stairs above influence code stricken egress stairs? .... to be determined. - E 1 Dental Clinic, Paulo Merlini, Arch Daily | 2 Gangjin Children's Centre, JYA-RCHITECTS, Dezeen | 3 Rainbow Flight, Ab Rogers, Dwell | 4 Curtain Installation, Snarkitecture | 5 Primary School & Nursery, Atelier d'Architecture Brenac Gonzalez, Arch Daily | 6 BBC Scotland, David Chipperfield Architects, Architecture.com
Author | Ellie Back in 2011, I was able to work with the lovely Jena Carlin. She was looking to update her business logo and develop supporting pieces that would create a digital and printed identity for her business: Jena Carlin Photography. Today, Thursday, I am sharing the final production pieces I created for her back in the day. It included a new logo, color scheme, twitter background, blog header, CD cover and label, invoice template, printable gift certificate, and multiple digital picture frame variations. It was a fun endeavor to work with her and I am excited to see what new opportunities she embraces (…for example, she is working with Little Rusted Ladle too!) -E
Author | Anna I know I'm a bit behind on the review blogging game, but I figured I would take advantage of this rainy Oregon day and catch up on my online to-do list. After having much time to digest and reflect about my project and my conversation with my reviewers, I'm pretty excited about getting into this final term of design development and flesh out the project! As you may have gathered from Kelsey and Ellie's posts, we were required to develop 1-2 different schemes, or variations of a schematic design. I derived my two schemes from the same general building diagram, and tried to push my ideas of "insertions" rather than complete renovations in two very different ways. Here's a look at my intro boards that provide a general overview of my project: SCHEME A: BUILDING AS BARN / ROOMS WITHIN A ROOM / HORIZONTAL ALIGNMENT
As you can see from the above diagram, I anchored a utility/storage bar along the north party wall and programmed the distribution function along the existing loading dock on the east. Within that frame work, I tried to explore the idea of smaller insertions, where the professional and educational kitchens are smaller rooms within the larger room of the existing building structure, slipping between the columns and allowing for visitors to wander around and observe all phases of food processing. Toying with the idea of pre-fab, the kitchens would at least be modular installments that are anchored along a utility spine that houses sinks and wall ovens. I then took the general language of the kitchens and applied it to the other parts of the program. This scheme allows for more wandering or discovery, and creates a very lively and sensory atmosphere throughout the building. SCHEME B: BUILDING AS WAREHOUSE / BUILDINGS WITHIN A BUILDING / VERTICAL ALIGNMENT
My second scheme drawings on the same building diagram as the first, but has a more organized vertical program alignment, allowing for dynamic interaction between the different programmatic elements on every floor throughout the building. The "towers" of programs are articulated through strong vertical wall elements along the corners and edges, with large floor cuts separating them, allowing for both visual interaction across all levels as well as natural light to penetrate deeper into the building. REVIEWER FEEDBACK
Overall, this was one of my best reviews I have received in my entire design education. I managed to present my ideas clearly and fluidly, allowing the panel to actually get excited about my ideas. My diagrams seemed effective, and my two schematic directions were easily understood and sensible. The diagrammatic model I managed to build really helped clarify my ideas even more, and was helpful in calling out and addressing the issues with my schemes and opportunities for developing them further. The criticism I received was mostly centered around the need for me to focus more on the user experience and to develop the basement and 2nd floor further to embrace and enhance the existing building. Though the feedback got me really excited for moving forward and developing further, it was really helpful to use our spring break to clear my head and stay away from my project for a little bit. Here is a few snapshots from my pinup (my apologies for the quality, only had my cell phone on me that day): NEXT STEPS
After digesting my review and reflecting on my own convictions and intuition, I have decided to move forward with developing Scheme B further, as I feel it provides the most opportunity for a functional, efficient, sensory, and interactive environment rooted in our local food systems. I hope to incorporate some of what Scheme A offered, most notably the idea of wandering and discovery rather than the very strict and predictable path that Scheme B is currently providing.
Author | Kelsey
Winter 2013 Final Presentation and Reflections | Barrow House • Urban Mausoleum & Grief Center
Abstract Update + Location and Building Conditions + Program SummaryAbstract Update:
Barrow house is an Urban Mausoleum and Grief Center located in Portland, Oregon. It combines a traditional funeral home, funeral service space, grief center and mausoleum (specifically housing urns to maximize density and reflect the urban environment). The project presents the idea that a place for sadness and grief can also be a place for happiness and remembrance. The project is inspired by my brother’s death in May of 2012 and is meant to be a place that is a single, stable, and contemplative environment for users throughout death and grieving processes. Choosing an urban environment challenges the modern trend of developing burial sites outside of the city; by placing Barrow House downtown, it will be more accessible physically and representationally, and serve as a symbol of a modernized attitude towards life and death. It asks people to confront and embrace death as part of the everyday. The project is mean to represent cycles of life and death, celebrate scared space and symbolizes death, represent loss, memorial and remembrance and challenge traditional contexts of death.
Location and Building:
The chosen building for this project is in the heart of downtown Portland, on the corner of Burnside and 10th Ave. It is nearby prominent locales such as Powell’s, the Ace Hotel and The Living Room Theater and there are many bars and restaurants within the immediate vicinity. The Trimet street car and several bus lines also pass by regularly and there is heavy pedestrian traffic. The building is a 6-story structure and sits on a 50x100 foot lot. It has a variety of options for dramatic use of daylight (the south and west facades are almost completely glazed) and for illumination at night. The building is representative of Portland (visually similar to many buildings) and meets the demands of the proposal – it is a medium road structure with a certain formal presence (regular grid structure/bays, and composition), but also has the potential to be altered to emphasize the symbolic nature of programmatic elements (changing color, light, movement, etc). The site is also adjacent to a parking lot (same owner), which is specifically appealing for the potential of future expansion of the mausoleum.Program:
The program for Barrow House includes spaces for the funeral home (crematorium, business/meetings, farewell room), funeral services (gathering spaces), grief center (private and group counseling) and a mausoleum (houses cremated remains/urns). Visitors to Barrow House will range from one-time/infrequent users (funeral), as well as those who visit often (for the grief center of casual visitation at the mausoleum); they will range in age, culture, race, gender and personality and will be comprised of families, groups, or individuals. Workers will include funeral staff and grief center staff. | Existing Building Conditions Boards: | | Design Concepts + Materials + Big Midterm Review and Reflections
Design:
The design scheme developed for the Winter 2013 Term Final is the scheme entitled: Death as a Spectacle. The parti (or concept) is based on creating three zones within the building that users weave through. Along the north side (less natural light) there is a main circulation zone (stairs), then a middle transition zone (hallway: secondary circulation), which transfers a user into the “spectacle” zone (programmed zone, with tertiary circulation). The vertical (or sectional) parti focuses on lightening and drawing upwards: opening the structure and views out to the city as a visitor moves up each floor. The scheme focuses on layering, procession (movement between spaces, familiar and unfamiliar) and discovery. These 3 zones make up the general parti, of which I presented three variations on for the design of spectacle space: the first variation (completely developed in plans and sections) is based on transverse layering (N/S), the second is based on creating organic layers (free from the structural grid) and the third is based on longitudinal layering (E/W). The variations act as explorations in procession, layering of light and material and spatial zones, especially within the mausoleum.
Materials:
The beginning material palette is meant to further highlight the scheme, using colors and layering (both literally and in variety of textures) to enhance the user experience and movement and to challenge the traditional associations with death (black, heavy, somber). The materials reflect a space for healing (the color palette is inspired by colors that help relieve stress and depression and which energize), celebration and also grieving. The main materials will remain neutral and natural (wood, stones, greys, white and some blacks) and then layers of colored materials (glass, composite panels and some pops of colorful textiles) will be used to highlight spaces and reinforce procession through the building.
Big Midterm Review and Reflections:
The comments from my reviewers were mainly focused on how I could strengthen the main ideas as I worked through further iterations of my floor plans – especially by opening up the movement in my mausoleum space. Both reviewers felt that I could use some of the aspects presented in my organic plan variation in the south/north iteration to better allowed for movement from the transition zone to the spectacle. I also need to create more separation between my main staircases (to meet code) and need to focus on honing my materials to be simplified, but still embody my intentions of creating a celebratory space.
In moving forward with my scheme, I will be working on creating more transparency between the transition and spectacle zones to enhance views and procession and also work on developing layers of light and material. I will especially continue to work on developing the vertical connections and how they can move users through space. The next step for design development will be to begin designing the niches (which contain the urns) – these will become major space making elements and affect the aesthetic as my scheme develops.
Plans for Scheme A | Transverse Layers: | Midterm Presentation:
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