Embed Size (px)
DESCRIPTION
A comprehensive collection of work from the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. Includes projects from Masters of Architecture and Masters of Urban Design.
Citation preview
the complete graduate works
Masters of Architecture
Andrew Houston
Masters of Urban Design
the complete graduate works
Andrew Houston
© 2015 Andrew Houston
All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, includ-ing photocopy, recording or any other informa-tion storage and retrieval system, without prior permission in writing from the publisher.
Printed and bound in the USA by Lulu Press, Inc.
SAM FOX SCHOOL OF DESIGN & VISUAL ARTS
Washington University in St. Louis
the complete graduate works
Masters of Architecture
Andrew Houston
Masters of Urban Design
8 22 32
Masters of A
rchitecture
Masters of U
rban Design
SOUND STUDIOS
CONTENTS
CITY LEAVES TSUKIJI NEXT
42 52 66 76ORION THE GROVE NATURAL INFRASTRUCTURE
MATERIALORGANIZATION
SOUND STUDIOS / Adaptive Reuse
SOUND STUDIOS / Adaptive Reuse
Located in downtown St. Louis in the heart of the central business district, Sound Studios reimagines the possibili-ties of existing building stock. By remov-ing the floorplates and creating a bracing system of tube steel, the entirety of the brick shell becomes both a responsive acoustic chamber for performance and an open public space. The glass volume provides the venue, but Sound Studios incorporates a fully functional musical complex in order to service the needs of travelling musicians who would other-wise quite possibly skip St. Louis while on tour. The complex includes a record store, bar, record label, recording studio, and temporary housing that sleeps eight.
ST. LOUIS
Bands enjoy the luxury of staying in a hos-pitable environment where in addition to playing a show, they can potentially record an album and sell it on site. Meanwhile, the acoustics of the brick shell working in concert with the glass volume ensure an acoustic capability and flexibility that makes the performance impossible to duplicate outside of these walls.
page 10
page 11
page 12
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODEESTCODE
ESTCODE
original building
new construction
page 13
page 14
page 16
page 17
page 18
page 19
CITY LEAVES / Public Space
CITY LEAVES / Public Space
Designing within the context of Plaça Ramón Berenguer means designing neither architecture not urban design, but something in between. The stone wall dates back to when Barcelona was first settled by Romans and is one of the few places it remains exposed. The only permanent program is a small hostel lo-cated underneath the plaza, which also houses public restrooms, and storage space for performers. The tower derives its architecture from the wall itself, as it reinterpretes the Roman arches into contemporary “leaves” of copper. These softly fold and become the wooden floorplates, which are also housed in the same steel structure, which itself
BARCELONA
references the Catalan tradition of building human towers. The tower itself contains no program, but is always open to the public and provides views over the Roman wall, from Montjuic to the Mediterranean Sea. Although stairs spiral around the tower, there is also a hydraulically lifted platform in the center of the plan which meets each floorplate at a different location and also goes to the lower level. Underneath the plaza level, the space gets natural light through frosted glass punctures in the groundplane that also preserve the enve-lope and allow the hostel and restrooms to be conditioned. The freedom of program ensures that art exhibits and performances of any type will happen very frequently.
page 24
ESTCODE ESTCODE ESTCODEESTCODE ESTCODE ESTCODE ESTCODEESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
page 25
page 26
page 27
page 29
TSUKIJI NEXT / Ecological Conservation
TSUKIJI NEXT / Ecological ConservationTOKYO
Tokyo’s Tsukiji Fish Market is moving. As an enormously significant aspect of Japanese history and culture, the prepa-rations and considerations of the move become enriched when coupled with a holistic vision of ecological conservation
for the entirety of Tokyo Bay. Using Tsukiji’s new site, Shijomae, as one of
several nodes within a larger network of distribution and information centers of-fers a solution to cleaning the renewing the bay to its once sustainable past. As the world’s largest consumer of fish per
capita, the Japanese understand that this central market plays a core role in their
diet and way of life. The strategy utilizes the new site as an international produc-tion and distribution center that focuses on local food production and a renewed sense of culture. By serving as a global leader in bay restoration, Tsukiji Next focuses on a social evolution that incor-porates bringing the best of the past into the future through sustainable methods.
page 34
page 35
page 36
page 37
page 38
page 39
ORION / Finnish Film Archive and Media Center
ORION / Finnish Film Archive and Media CenterHELSINKI
The new Orion Finnish Film and Media Center requires a nuanced program, one able to accommodate the frequent changes of technology today. At over 5,000 m², the building contains digital information stands, periodicals, a small
cafe, an art gallery, permanent stacks, film preservation rooms, classrooms,
child care, permanent offices and confer-ence rooms and four studio apartements
for visiting researchers and professors that includes a roof sauna. But the
building’s heart is the three screening rooms, containing 150, 200, and 250
viewers respectively. The site is an
1:400
empty block near the most important harbor in Helsinki. The building contrib-utes to the current city fabric by hugging the edge of the block and participating in the commercial avenue while providing an activated public space. The market typology inspires the shed of the building, while the Finnish landscape inspires the stones, which the building pulls in from the sea. These stones organize the plaza and contain the screening rooms.
page 44
page 45
page 46
page 47
page 48
THE GROVE / Multi-Income Housing
THE GROVE / Multi-Income Housing
The housing situation in St. Louis requires a new typology. The Grove combines affordability with a variety of lifestyle options to enliven an up and coming neighborhood. Sustainable and social considerations drive the project to a 30 unit apartment complex of four unit types that range in price. The site parallels a busy six lane corridor that receives heavy high speed traffic. It also marks the end of the neighborhood of the Grove and is the end of the pedes-trian driven area. The building creates a series of layers and thresholds that proceed from hard to soft, from the busy street to the interior of the neighborhood respectively. The steel mesh wall faces
ST. LOUIS
page 54
the street and is the edge of the cir-culation corridor. The concrete wall performs in multiple ways. It marks the threshold of private space, absorbs afternoon sun and distributes its heat throughout the night, and offers light into the units. The interior curtain wall provides views into the central courtyard for parents watching their children from their lower units, and expansive views to the Gateway Arch downtown for the higher units. The design reverses the model of highest priced and largest units on top of the building, placing larger units for families lower for visual access to the courtyard and neighbors.
page 55
page 56
page 57
-10’ - 0”
ground floor
0’ - 0”
first floor
12’ - 0”
second floor
24’ - 0”
third floor
36’ - 0”
fourth floor
50’ - 0”
roof
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
1/4” = 1’
3 br
1/16” = 1’
1/16” = 1’
1/4” = 1’
1/2” = 1’
page 58
-10’ - 0”
ground floor
0’ - 0”
first floor
12’ - 0”
second floor
24’ - 0”
third floor
36’ - 0”
fourth floor
50’ - 0”
roof
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
1/4” = 1’
3 br
1/16” = 1’
1/16” = 1’
1/4” = 1’
1/2” = 1’
page 59
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
2 br
2 br
studio20
49,000 ft²
1 br122 br73 br5
44 units
1 br studio1/4” = 1’1/4” = 1’1/4” = 1’
1/4” = 1’
1/16” = 1’1/16” = 1’1/16” = 1’
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
2 br
2 br
studio20
49,000 ft²
1 br122 br73 br5
44 units
1 br studio1/4” = 1’1/4” = 1’1/4” = 1’
1/4” = 1’
1/16” = 1’1/16” = 1’1/16” = 1’
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
2 br
2 br
studio20
49,000 ft²
1 br122 br73 br5
44 units
1 br studio1/4” = 1’1/4” = 1’1/4” = 1’
1/4” = 1’
1/16” = 1’1/16” = 1’1/16” = 1’
page 61
page 62
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
ESTCODE
page 63
NATURAL INFRASTRUCTURE / Living Levee WallCHESTERFIELD, MISSOURI
NATURAL INFRASTRUCTURE / Living Levee WallCHESTERFIELD, MISSOURI
The Missouri river floodplain is currently slotted for development, primarily big box retail. This design challenges the current practice of building in ecologi-cally unnatural areas, and gives the land back to the river. The proposal calls for
30 million ft² of new development on land that is currently almost exclusively
reserved for agriculture. The project reenvisions the same program of com-mercial, residential, and industrial but
preserves the agricultural land and allows farmers to continue their way of life, while also avoiding building in an
ecologically vulnerable area.
page 68
The design retreates from the river and anchors inot the bluff, using a natural infrastructure as over half of the protec-tion from the potential flooding. This gives back all of the land to the river, which in concert with floodplains be-gins to relieve some of the pressure on the Mississippi River network. The new development takes a vertical position, and the new levee becomes a living wall in which the entirety is mixed use. The wall becomes a linear city which peels out, doubles, and thickens as needed. By condensing the program into strips, the new living levee pre-serves over 400 acres of farmland.
page 69
page 70
Each zone of the interior contributes to the ecological well being of the whole, and utilizes its natural strength as part of the larger network. The ecological zones include hardwoods, recreational grasses, recreational waters, and marshes as well as the designated tranportation routes and access points along the perimeter.
page 71
page 72
page 73
MATERIAL ORGANIZATION / Spatial Analysis
MATERIAL ORGANIZATION / Spatial Analysis
Material organization is the process of examining space in a scaleless set of volumes based on an original individual module. As a replicable geometry the module grows to form a field, and can then rotate or change size to alter the future iterations of the field. As a way of making space, this type of organization demands fluid spatial recognition.
Deriving the module from the simplest of geometries, an isosceles triangle, provides high varieability and flexibility. The scored sheets of styrene fold into three dimen-sions to create triagular units. Four units combine back to back to become fully performative modules, which then integrate themselves into the larger field.
page 79
page 80
