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Excursion Terminal

The Notion of Containment

Infill Housing and Bike Depot

Architecture Studio 251Fall 2007

Prof. Ulrike Heine

Excursion Terminal

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Excursion Terminal_After a series of site analyses, we were ad-vised to choose three keywords and some images to represent our main focus. I chose waves, reverb, and overlap. These words con-veyed what I wanted to represent within the final design of the project, and they ended up being very influential to the many revisions my design went through. The images I chose also carried the same characteristics that I wanted to represent. The look of the waves had a very structural and systematic feel to them in ways that were inspiring.

The initial design for the excursion terminal was very basic, simply focusing on laying out the necessary program and working with the

existing tunnel.

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Eventually the waves took in-fluence into the incorporation of ribbon architecture into the

main structure, a key step in the process.

Overlap is best noticed in the interactive nature of the main and upper levels towards the

final design.

Reverb was strongly present in the waiting platform area of the train station, empha-

sizing large open area.

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Architecture Fluid Negotiations 499Spring 2008

Prof. Lauren Mitchell

The Notion of Containment

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The Notion of Containment_The film analysis of Jim Jarmusch’s “Night on Earth” was a study on the task of the transla-tor. To understand the language of the filmog-raphy, in the ways lighting, sound, and inter-actions are portrayed to achieve a meaning, we diagrammed the language into a model. I focused in on the taxi driver interactions in relation to the purity of the character’s per-sonality affecting the passengers. Jarmusch’s use of sound further relates to how he layers elements in that each scene, it seems each moment of silence is directly related to the peak of clarity reached in each interaction. The process of my translative model involved three main elements. (1) The infectuous qual-ity of purity, (2) Sound in relation to moments of clarity, and (3) The overall “root message” of the film. These three elements work in the model as a united system in the translation of Jarmusch’s overall message of the movie.

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To continue the study of translation and lan-guage, we were able to create our own lan-guage by creating a notion of containment. I chose to contain a guitar pick, not only be-cause of its simple yet interesting shape, but also how it’s like a secondary tool in the cre-ation of sound, linking the human and instru-ment in a precise, delicate manner. Exploring voids and textures gave me insight into the tangled complications of translation in gen-eral. I ended up containing not only the pick but the entire musician and his instrument, based on the premise of there being mul-tiple levels of musical interpretation and dif-ferent modes of translation to the listener’s mind. The architecture of my final drawings show sections where the placement of the listener in relation to the musician narrates their relationship, whether they be intimately acquainted, intimately anonymous, anony-mously distanced, distantly acquainted and so on... like an avid listener who doesn’t even know or care what the musician looks like versus a pop star where image is priority.

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Architecture Studio 351Fall 2008

Prof. Stephen Verderber

Infill Housing and Bike Depotfor Clemson’s Town Center

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