Donner Portfolio Fall 2012

DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER DONNER DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER PORTFOLIO DONNER ADAM H.

ADAM H. DONNER PORTFOLIO

and projects meanings. The ultim

ate mean i ng

of an

y bu

il ding is

beyond architecture; it directs our conscio usness b

ack to the wo

rld and

towa

rds ou

r own se

n

se of

It is 2:00 pm. Th e sun is h ot

. The

breee occurs infreuen

t ly an

d is

cool fro

m co

ming off of th

e surro

undin

g

self and being. ignificant archite cture make

s us e

perienc

e ou

rsele

s as

world and towards our own sense of self aInstead of creating mere objects of

isual sed

uctio

n archite

cture re

lates med

iates

Instead of creating mere objects of isual seduction architec

ture re

lates

med

iates

and

projects mea

ning

s. The

ultim

ate

The h

istorical ag

gran

die

men

t of the

isual

Instead of creating mere ob

jects of is

ual sed

uc

tion arch

itectur

e relates mediates

try and distingu ish wha t and how

many people pass by

just through listeni ng. I always guess low for the numbers of people.

ot e

ery sho

e m

akes noise and not eery perso

n talks. ug

gage an

d Th

e his

torical aggrandiement of the isual sense has arguably deelo ped

startin

g from t

he abstracted sy mbo

lic m

easu

ring of ge o

metry thro

ugh ad

an

ceme

nts o

f isu

ally

ignificant architecture makes us eperience ourseles as comple

te em

bodied and s

piritu

al be

ings

. In fact this si

the grea

t function

of a

ll me

aning

ful

accommodating technolo

gies to the consumerist cult ure dom

inated by the need to epress a

thing

in th

e fastest most easily stimu

lating

way pos

sible.

water. I am

poolside. The

re is

a sub

tle white no

ise of rushing

water. T

his come

s

from a small fountain about 0 feet away. It drowns out a

ny dist

ingu

ishing

con

ersation fro

m anybo

dy

The sun is

warm on my face an

d ar

ms.

I can feel it sl

i ght

ly through my shirt. The

re are m

omen

ts of c

hille

d br

eee. I

t is

noon. si

story bu ilding b locks the sun from

rea ching about half of the public space. I hear h

eeled s

hoes on

t

he marble

and granite paing. hairs

sliding and adjus

ting on

the w

ood dec

k upon wh

ich I sit. trollers are freuently going by o

ther th

an con

er s

atio

n

rchitecture too has fallen into this image based aggregation. It is im

plicit that we lie in a culture where image is a commodity and

it only

mak

es sen

se that image based architect

ure would

fall into t

he ca

tego

ry of t

his as well.

the strongest a nd smartest men whoe eer li

ed. I see all this potential and I see suandering. od

damn

it an en

tire generation pumping gas

waitin

g table

s; sla

es w

ith w

hite collars.

paing. hairs sliding and adjust ing on the wood deck upon which I sit. t rollers are freuently going by other than conersation these are the noisi

est things

. The

re i s

music playing from the

si story build

ing. I close

my ey

es to

ne can

argue that architectur e is j udged mostly for how it looks. This is not a good thing. uy ubord author of The ociety of the

pect

acle

argu e

s that the perceptible wor

ld is replac

ed by a s

et of

imag

es

and projects meanings. The ultimate m

eaning of any bu il ding is bey

ond architecture; it directs ou

r conscious

ness bac

k to th

e wo

rld and

towa

rds

seem to echo each others call with well pronounced sho r

t chirps. The

bree

e is spo

radic

. hen it gusts it c

an be

Througho

ut history there hae been adancem

ents in technologies th at hae priileged

the e

ye.

ro

m the printing press to the c

amera

to the tele

ision th

ese tech

nologies h

ae been

meaningful art. Information can be just that;

umb and i nert. It needs tools of int erpretation discernment and

judgme

nt in

order to hae meaning as su

ch is

a slipp

ery slo

pe. In fact the

slop

e is steep

er and more

sens

e has

argua

bly deelop ed starti ng from the abstracted symbolic m

easuring

of ge

ometry

through a

dan

cemen

ts of isu

ally ac

commod

ating

mean ings. The ultimate m

eaning of any building is beyond architectur

e; it dir

ects

our c

onsciou

sness b

ack to th

e

consciousnes s back to the world and towards our own sense of self and being. ignificant architecture makes us eperienc

e ourse

les a

s complete embodied and spi

ritual b

eings. In

fact t

his si

the grea

t fun

ction of all

hroug

hout history t

h ere ha

e been

ad

a ncement s in technologies that hae priileged the eye.

rom the

printing

pres

s to

the c

amera to

the teleisio

n thes

e tech

nolog

ies ha

e

Instead of creating mere objects of isual

seduction

arch

it ectu

re re

lates m

ediates an

d projec

ts m

eaning

s. The

eperience oursel

es as complete embodied and spiritual beings. In fact this si the great function of

all meaning

ful a

rt. Information can be just tha

t; um

b and inert. It ne

eds tools of in

terpretation

passing by. In the distance there is music. T h e b

eat can

be he

ard bu

t not deciph

ered. It c

ompe

tes w

ith othe

r

It is 2:

00 pm. The sun is hot. The breee o

ccurs infre

uen

tly an

d is c

ool from coming off of

the su

rrou

nding wa

ter. I a

m poo

lsid

e. There is a subtle white noise of rushing water. This com

es from a sm

all fo

unt

ain ab

out 0

feet away . It dro wns out any distinguishing c

one

rsation from anybod

y passin

g by. In th

e distance there is music. The beat can be hea

rd but n

ot dec

iphe

red. It

c

ompetes

w ith

othe

r

the strongest and smartest men

whoe

eer li

ed. I s

ee all th

is potentia

l a nd I see suandering

. od

dam

n it

an en

tire ge

nera

tion pum

ping gas waiting tables; s lae s with white collars.

d ertising has us chasing cars and c

lothes

working jobs w

e hate so we can buy shit we dont ne

ed.

ere

the midd

le ch

ildre

n of history man

. o p

urpo

se or p lace. e hae no reat

ar. o reat epression. ur reat

ars a spiritua

l war... o

ur reat

we

re slowly le arning that fact. Instea d o f creating mere objects of

isual seduction architecture relates mediates and projects m

eanin

gs. T

he ultimate meaning of any build

ing is be

yond arch

itec

ture;

it dire

cts ou

r

Instead of creating mere objects o f isua

l seductio

n a

rchite

cture re

lates

med

iates a

nd projec ts

can be

heard cle

arly. The

mus

ic ha

s a d

ecen

t beat b u

t it is

a po

or s

oundtrack fo r this scene of life. I am now

in the

shade;

the si s

tory b

uilding

is blockin

g the

su n

from

me. ha

lf a b

lock

away

cha

irs

can be heard clanking onto the m

arble floor. I notice when the song c hanges to one without a beat causing m

e to no longer want to tap my foot along. There are slight am

ounts

of traffic

hea

rd from a ery busy stree

t to the outh. T

he stre

et is

a half

It is 2

:00 pm

. The sun

is hot. T

he

bre e

e occ

urs infr

euently and is cool from coming

off of th

e surro

undin

g wate

r. I am poolside. There is a su

btle white noise

of rushin

g water. T

his c

om

es from a sm

all fountain about 0 feet awa y. It drowns ou t any distinguish i ng con

ersation fro m anybody passing by. In the distance there is music. The be

at can

be hea

rd but not deciphered. It

competes

with o

ther music. ess can be heard

f rom

the

omnipresenc

e of pho

tograp

hs has an inca

lculable

affect o n

ou r ethica

l sen

s

ibility. allasmaa 200 allasma

a says

that t

hroug

h are e

iden

t compu

lsion for a

simp li fica

tion an

d objec

tifica

tion o

f men

tal images that

ur sensory contact with the world be c omes cold er as isua l rem

oteness gains s u premacy oer the intimacy of tactility Instead of creating mere o

bjects

of

i sua

l seduction architecture re

lates m

ediates and

projects

fact this si the great function

of all

meaning

ful a

rt. Inform

ation can be

ju

st tha

t; um

b and inert. I

t needs

tool

s of interpreta

tion discernm

ent and judgment in order to hae m

eaning a

s such is a slippery slope. In fact the slope is

steeper and m

ore tre

ache

ro

us now as the sh

eer u

antity o

f inform

ation grows. To see a photograph of a th ing is to see an interpretation of it w

hethe

r by the photographer the remote sate l l ite camera or the

umans at one point in history used the body as a m

eans to measurement. The g

yptian

ubit for

eam

ple was one mode of mea

sureme

nt th

at had

a dire

ct con

nection

to the body and a

that are superior to that world ye t at the same tim

e impose them

seles as eminently perceptible. idler 200 e eperience

archite

cture th

rou g

h its image; the image is what

is pushed

into the c

onsu

mer culture so it

n in

depth

i nu

iry i nto how

one e

perienc

es was do ne to gain an unders tanding

the str

onge

st a

nd smarte s

t men whoe ee

r li

ed. I see a

ll this

potential a

nd I se

e su

andering.

od dam

n it an entire generation pumping gas waiting tables;

slaes

with white collars. dertising has us chasing cars

and clo

thes wor k

i ng jobs

w

e hate so we can b

uy sh

it we

dont need. ere the middle children o f history man. o purpose or pl ace. e ha

e no

reat

ar. o reat epression.

ur reat

ars a

comp

ound

ed the comm

ercial

ism an

d tou

rism of to

day to an i mage based com

modity. usan ontag aut

hor of

n hot

ograph

y said th

e ca

mera

has be

come the prim

e ins

trum

ent o

f tourism

and

The

n in

dep

th in

ui ry

into h

ow one

e

periences was done to gain an understandin

g of ho

w one

comes to understand their em

bodime

nt with the world. nder

the assumed do ctrine b y ohne ocke of the

tabula ro

sa or

allasmaa a rgue

s that st

a nda

rdia

tion an

d ind

ustria

li

ation go along

with

the

embodied detachm

ent o f the senses that our

music. ess can be heard from the second m

usic. irds are

chirping

. The

re are tw

o birds at th

is mom

ent. Th

ey

Instead

of crea

ting m

ere ob

jects o

f isua

l s

eductio n architecture rel

ates me

diates

and

proje

cts meanin

gs. T

he ultimate meaning of any buildin g is beyo nd architectur

e; it directs our c

onsciousness back to the world and toward

s our

own se

nse of s

elf and being. ignific

ant

arch

itectur

e makes us e perience ourseles as complete e mbodied and sp

iri

tual beings. In

second music. irds are ch

irping

. The

re are

two bird

s at this mom

ent. T

hey seem to ec ho each oth

ers ca

ll with w

ell pro

nounc

ed sh

ort c

hirps. The breee is s

poradic

. he

n it gu

sts it c

an be

heard. I am

curious as to the arying wind speed and their r esulting noise

leels. Th

is wind is faint to the ear. o leaes ru stle and no footsteps are heard. This has to be because of the wa

ter no

ise. T

here

are bushes and trees all a

round

with ston

e for wal

kways. lot of the people that do walk by

are

be

en m

ediums

of trans

f erri ng isual im

agery to the masses. These aenues

of ision

hae de

elope

d an ea

se an

d pr

oduc

tio

n of imag

ery that ha

s

meaning of any building is beyond architecture; it directs our consc

io

usness

back

to th

e world and

towa

rds ou

r own

sen

se of self a

nd bein

g.

strollers are rolling by and a re ery distinguishable. The m

usic playing out loud does not drown out babies crying from afar and pigeons flappi

ng the

ir wings

twen

t y feet away. asual banter from p

eople up

to 2 fe

et a

way

as su

ch is a

slipper

y slope. In fact the slope is steeper and more treacherou

s now

as th

e she

er ua

ntity of in

form

ation

grows. To

see

a pho

tograp

h of a th

ing is

to se

e

dertising has us chasing cars and clothes working jobs we h

ate s

o we can buy shit we dont need. ere the m

iddle ch

ildren of history

man

. o pu

rpos

e or place

. e ha

e

no reat

ar.

o

reat

allasmaa argues that

sta

ndard

iatio

n an

d in d

u strialiation

go

along with th e embodied d

etachment of th

e senses

that o

ur bias towards ision has caused. e s ays that s

the art of architecture sinks under the current payload of p

ractical

deman

ds

t

here has been an inc

reasin

g anonym

ity of buildi ng in the industrialied world and its detach

ment from

hu

man

art. Information can be just that; umb and inert. It needs t

ools o

f inter

pretation disc

ernm

ent an

d jud

gmen

t in orde

r to

hae m

eaning

The sun is warm on m

y face and arms. I can feel it slightly through m

y s hi rt. There are moments of chilled breee. It is noon. si story building blocks the sun from reac

hing abo

ut

half o

f th e

pu

blic space. I hear heeled shoe

s on the m

arble an

d gra

nite

epression

. ur reat ar

s a spiritual war... our reat epression is our lies.

ee all been raised on teleision to

beliee

that o

ne day wed all be millionaire

s and

moie

gods a

nd ro

ck st

a rs. u

t w

e wont. nd

DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER DONNER DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER PORTFOLIO ADAM H. DONNER ADAM H. DONNER DONNER ADAM H.

CONTENTS

Vertical Marketspace

Tailgate Park

Ateneo de Madrid

Art + Produce

Mixed-Use

Haptic Vision

................................................4

................................................8

..............................................14

..............................................18

..............................................22

..............................................26

Adam H. Donner, Assoc. AIA

[email protected]

48

14182226

ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage

4 18

8 22

14

26

VERTICAL MARKETPLACE

OBJECTIVE:

Challenge the notion of the high-rise office typology as an interactive social space to meet diversi-fied work environments.

DESCRIPTION:

Modern offices are constantly changing, especially offices that deal primarily with the exchange of information and communication. In-office project teams that work for these types of businesses will be continuously forming and reforming and a majority of them will be smaller in nature than they have historically needed to be. Businesses are more specialized and are better able to utilize out-sourcing because of enhanced technologies for communications and networking. There is a broad continuum that explains the diversity of working environments within different office businesses. On one end you have people who have to work at a fixed location with rigid working hours, and on the other end you have people who can work wherever they want whenever they want. This is a response to that diversity.

Sectioned space connections

_Primary Egress and Ingress Connections

_Primary Egress and Ingress Connections

Wo

rking

at a fixed lo

cation

, at a fixed

time

Wo

rking

wh

enever o

ne

wan

ts to, w

herever o

ne

wan

ts to

Structu

red Sp

ace

Structu

red Sp

ace

Freeform

Ho

rizon

tal Sp

ace

Working at a fixed location, at a fixed time

Working whenever one wants to, wherever one

wants to

Structured Space

Structured Space

Freeform Horizontal Space

Working at a fixed location, at a fixed time

Working whenever one wants to, wherever one

wants to

Structured Space

Structured Space


Working Whenever One Wants To,Wherever One Wants To

Working At A Fixed Location,At A Fixed Time

Structured Space


Structured Space

Floor 26

Floor 7

Ground Floor Lobby/Retail0% Rotation

50% Rotation

100% Rotation

50% Rotation

0% Rotation

10 floors 20 floors 30 floors 40 floors 50 floors 60 floors

0 percentrotation

50 percentrotation

100 percentrotation

Grasshopper iterations


0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation



0 percentrotation

50 percentrotation

100 percentrotation


100%Rotation

50%Rotation

0%Rotation

10 Floors 20 Floors 30 Floors 40 Floors 50 Floors 60 Floors

This configuration is preferred as it provides tailgaters and visitors the opportunity to park their vehicles either underneath or directly adjacent to the green berms. The forms encourage pedestrian move-ment from circulatory roads and designated parking areas to the elevated bermed green space above.

Private

Diverse

CongregationalDiverse


DRAINAGE DIAGRAM


DRAINAGE DIAGRAM


DRAINAGE DIAGRAM

Old Pavement

New Pavement

Old Parking

New Parking


DRAINAGE DIAGRAM


DRAINAGE DIAGRAM

Old Green Space

New Green Space

Nor

th 8

th S

tree

t

9th

Stre

et

10th

Str

eet

1145

1140

1145

1155

1160

1150

5 20 40 100

1 = 40

Master Plan

Bathrooms / Waste Collection

Primary Pedestrian AccessExisting Billboard

Primary Vehicle Access

Proposed Site PlanARC 311/LARC 311_Project_1 Donner.Stokke.Gage

Information Kiosk

Proposed Tree Suggestions: White Oak Red Sunset Maple Crimson Queen Maple Kentucky Coee Tree Thornless Honeylocust American Sycamore

1140

1145

1 = 30 Focused Site Plan

15 30 100


1 Chosen Ideal Configuration

2 Configuration Extruded In A Single Direction

3 Configuration Fragmented and reversed every other section

4 Sine curve extruded

5Sine and Cosine curves lofted to create surface that achieves con-stant ideal configuration

6 Surface laid on standard parking grid with 24 wide circulation space

7 Surfaces scaled as they reach the north and south of the site allowing for a diversity of space

8 Adjustments made for existing site circulation constraints

9 Bermed surfaces applied to site, circles denote berm ends where surface breaks the established geometry to create flat elevation surfaces for access points


TAILGATE PARKLandscape Development

OBJECTIVE:

Develop a existing hardscaped parking lot into a usable, integrated greenscape to make use of existing and potential sorrounding programs.

DESCRIPTION:

The idea for this tailgate park challenges the normative greenspace/parking lot organization. It utilizes the diversity of its users as well as the potential to maintain the number of parking spaces while increasing the green and program space within the constraints of the site. This is accomplished by a chosen ideal configuration to exploit the desired heterogeneity of its users and program.



B

B

Northwest Sectional ElevationARC 311/LARC 311_Project_1 Donner.Stokke.Gage 155 30

1/16 = 1

Parking Green Space Football_BaseballTailgating

Farmers Market Drive In Movies



B

B


1/16 = 1


B

B


1/16 = 1

ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage 155 30

1/16 = 1East Sectional Elevation

Auto Shows Sledding

The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.

A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.

The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.

ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS

PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING

CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES

GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS

SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY

SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH

RECEPTION SPACE TO BE PAINTED ACCENT COLOR

CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS

LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO DESCRIPTION:

The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space, and reflecting the ever dynamic and flourishing ambitions, and values of the Ateneo today.

A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to offer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reflects the cyclical relationship of these tacit and explicit knowledges.

The funnel of information becomes the focus for the entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system defines the space in three interconnected panel clusters united in a logical progression to the reception area direct-ing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.

OBJECTIVE:

An ideas competition to renovate the entrance hall of the building and make it a contemporary form of welcoming and wayfinding to the many activities associated with what makes the Ateneo an important part of the history and culture of Madrid.

ATENEO DE MADRIDAteneo Cientifico, Literario Y Artistico De Madrid












LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO

























1 Circular standoffs con-nect to the super structure and create a sandwiched effect connecting two panels

2 Glass panels of varying opacity becoming more transparent as you travel through the space includ-ing strategic placement of multi media boards allowing for display of information and calendar of events

3 Super structure allow-ing for minimal intervention to existing wall finish and ease of reversibility





























































4 Sub-structure connects panels to the superstructure and houses linear LED lighting as backlighting to create a glow behind the glass panels high-lighting the texture and depth of the existing wall finish

5 Reception space to be painted an accent color

6 Curtain wall and glass doors lead to the brightly colored and lit reception space aiding in wayfinding space and beckon-ing visitors

9 Pendant indirect fixtures for added ambient lighting

7 LCD screen integrated into the timeline depicting the current ongoings of the Ateneo

8 Illuminated timeline with historic pictures and text blocks

ART/FARM RESIDENCYCreative Processes Exposed Through Art and Food

Weekly Garden Activity

Daily Garden Activity

Art Activity

program concept

The program is to be organized so as to fully integrate both artistic processes and food production processes. In an effort to fully expose these processes, the gardens have been established as the heart of productivity from which all activities related to art and food produc-tion take place. Scheduling during the summer would permit a week-end market which would open all studios and gardens to the public and serve as a promenade for which all public visitors experience as they circulate into the main market and gallery spaces.

A

B

This diagram illustrates the productivity of the residents during their three season stay at the residency. During the week, residents would have a generous amount of time to work on their artwork until the start of the weekend when their help would be needed to set up for the weekly market. Day-to-day chores in the garden will be necessary but minimal so as to allow for artists to develop their work. All artistic production occurs around these necessary and simple gardening/market tasks.

Public exposure to both processes is an integral component of the design of this residency. Diagram B represents how both processes relate to one another to intertwine with the ciculation of the public visitors to the residency. Educating the public through exposure is intended to engage the community and promote appreciation for the arts and organic foods. Drawing a relation to the harvest of crops, the end of the stay for the residents represents a moment of celebration in which the residents art would leave their studios and be put on display in the galleries for public viewing. Just as food is cultivated into a product, so is art.

ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2 Donner.Stokke.GageDonner.Stokke.GageDonner.Stokke.GageDonner.Stokke.Gage



Art Activity

program concept


A

B






Art Activity

s m t w t f s

Day 1 2 17543 2 3

Activity Integration


1. Twin Buildings

2. Resize for Program3. First Visual Handrail

3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space

4. Funnel Effect Handrail From Parking Lot

Market/Gallery

ParkingParkingParking

Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE

1. Twin Buildings 2. Re-size for Program

OBJECTIVE:

To develop the objective for an art residency combined with an organic farm, then design the public exposure to the organization through a restaurant and organic market.

MISSION STATEMENT:

The intent of this unmatched art residency is to allow for a diversity of talented artists to congregate while outfitting a space that fully exposes and relates the creative processes involved in art with those processes involved with the cultivation of organic foods. As food production has become quite a distant and unkown operation to the majority of humans, an effort to expose this process to the community is a commitment the residency holds with upmost importance. In doing so, this institution aspires to embed in the community appreciation for both artistic production and food production. Ultimately, focus is concen-trated on processes over product.

DESCRIPTION:

First, the relationship between the artist and the daily activities of the farm was defined. This organizing relationship was then diagrammed to coincide with the point of contact between the processes of art and food to the general public. This exposure, occuring at repetitious intervals, was an opportunity to design a welcoming gesture through hand-rails and paralax that would give increased meaning to what was happening beyond the initial welcome to the site. The public exposure would occur daily at the restaurant and market, requiring these two designs to initiate the first notions of the process to the public. This is done by revealing framed views through paralax to emphasize important aspects of the subsequent artist studios, farm, and galleries.



Art Activity

program concept


A

B




Cycle of Produce

Cycle of Public

Public Exposure

PublicExposure

Art

Food

Cycle of Produce

Cycle of Public

Process of Art

Point Of Contact;The End Celebration


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE


1. Twin Buildings




Market/Gallery


Parking Parking

BRID

GE

3. First Visual Handrail 5. Repeated Gesture4. Funnel Effect Handrail

AServing as a transition point between the private and public ar-eas of the residency, the reception/cafe/farmstore is essentially a traf c cop where vistitors and artists begin their circulation through the site. The gardens/studios/market/galleries are only open to the public during the weekend market. Every other day of the week, the studios are shut off to the public to allow the art-

.tnemnorivne gnikrow evitcudorp a ot evisudnoc ycavirp stsiThe reception/cafe/market is elevated to allow daily visitors to gander into the residency. However, these views are intended to be limited and obstructed for the sake of the artists privacy.

A

Serving as a transition point between the private and public ar-eas of the residency, the reception/cafe/farmstore is essentially a traf c cop where vistitors and artists begin their circulation through the site. The gardens/studios/market/galleries are only open to the public during the weekend market. Every other day of the week, the studios are shut off to the public to allow the art-

.tnemnorivne gnikrow evitcudorp a ot evisudnoc ycavirp stsiThe reception/cafe/market is elevated to allow daily visitors to gander into the residency. However, these views are intended to be limited and obstructed for the sake of the artists privacy.


Farm Store Elevation - A 1/8=1 FT.

A

http://www.hendersoncorporation.com/images/siding/mini-grey_weathered_siding_metzler.jpgv

http://www.ickr.com/photos/funkymonk2000/4358005288/sizes/l/


Farm Store Elevation - A 1/8=1 FT.

A

http://www.hendersoncorporation.com/images/siding/mini-grey_weathered_siding_metzler.jpgv

http://www.ickr.com/photos/funkymonk2000/4358005288/sizes/l/

Section - A 1/8=1 FT.

A

A


Required program of a 15,000 sq ft. grocery store

Elevated to create urban space beneath, allows for interior site circulation and increased retail facadal square footages

Grocery elevated to level 2.5 and bridged between the split office towers. The office towers are modu-lated to create a stepped terrace facade

Retail street side square footage is increased and the urban interior of the site is enclosed.

Typical city block sidewalk-retail to pedestrian links (They are intimate with only one retail facade)

Split the typical building block and reverse retail facades in on themselves

Creating a personal dual retail experience

Barrier to high volume vehicular traffic

OBJECTIVE:

Design A Mixed Use Building Defined By Its Location And Urbanity. Making Use Of A Systemic Design Strategy As A Tool For Development.

DESCRIPTION:

This design rethinks the efficiency of the pedestrian retail experience and this site as a circulation hub to the surrounding three neighborhoods. The center of the site is liberated from circulation constraints and is turned into an urban social atmosphere to allow an increase of passersby and retail shoppers. Also, a stepped terrace facade is used to integrate a greenscape that is oriented in a modulated way.

MIXED-USE OFFICE COMPLEXPublic Integration

Facade System

Facade System

Facade System

Rails

Mullions

InsulatedGlassUnits

Modulating Angles1

23

45

Mul

lion

Profi

le A

Gla

zing

Ang

le 1

Gla

zing

Ang

le 1

Mul

lion

Profi

le B

Gla

zing

Ang

le 2

Gla

zing

Ang

le 2

Mul

lion

Profi

le C

Gla

zing

Ang

le 3

Gla

zing

Ang

le 3

Mul

lion

Profi

le D

Gla

zing

Ang

le 4

Gla

zing

Ang

le 4

Mul

lion

Profi

le E

Gla

zing

Ang

le 5

Donner, Adam H. ___Fall 2010 ___Studio___

Sections1/16=1

a b


Sections1/16=1

a b

Office bridge floor plan1/16=1


1/16=1


1. Precast Concrete Planter Box2. Fiberglass Insulation3. Carpet Squares4. Green Roof5. CIP Concrete Column6. Pilon Cap7. Pilon8. Concrete Footing9. Concrete Foundation Wall10. W-Beam11. Deep Rib Floor Deck12. CIP Concrete Floor13. Concrete Slab-on-grade14. Wood Lathe Light Diffuser

Note: Reinforcing Steel Not Shown For Clarity

15. Insulated Glazing Unit16. Radiant Finned Tube Heating17. Anchors Embedded Into Concrete18. Steel Connection Plate19. Continuous C-Profile20. Rigid Insulation21. Growing Medium22. Water Storage and Drainage23. Waterproof Membrane24. Root Barrier25. Upper Deep Leg Track26. Backer Rod, Sealant and Shim27. Rail

28. Flashing29. Weep30. Sill Track31. Glazing Strip32. Silicon Wet Seal Over Glazing Strip33. Sill Flashing34. Setting Block35. Gasket36. Pour Stop37. Shelf Angle38. Steel Shims39. Drainage Mat and Waterproof Layer40. Rigid insulation41. Protection Board

Detail A

Detail B

12

3 10 11 12 4

5

14

9

86

7

13

10

Glazing A

Glazing B

Glazing C

Glazing D

12

2625

27

18 17 16

21 22 23 24

2019

Glazing C

394041

28

2930

3231

35343336

37 38

ModulatingInfill GlazingSystem

Modulating Infill Glazing System

Aluminum Wrapped Trusswith Interstitial Glazing

CIP Concrete Cores

Primary W-Beams

Secondary W-BeamsCIP Concrete Cores

Box Truss Bridging

CIP ConcreteColumns

HAPTIC VISION

OBJECTIVE:

In a visually biased world can one design in such a way as to improve the experiential qualities of a space through the sense of touch?

DESCRIPTION:

Haptic Vision is an investigation into the idea that the experience of architecture is lacking because of the bias Western society has placed on vision, that the other senses are stifled by this and that it is a result of us living in an occularcentric society. Architect and theorist Juhani Pallasmaa has said that, While our experience of the world is formulated by a combination of five senses, much architecture is produced under consideration of only one - sight. The suppression of the other sensory realms has led to an impoverishment of our environment, causing a feeling of detachment and alienation. In order to combat this detachment, and increase the experiential qualities of our environment, architecture should be designed in consideration of the other senses, in particularly that of touch. Touch is the sense that is most closely related to visions ability to understand our environment.

Human experience can be improved upon if sensual experiences are more duly considered. When the other senses besides the visual are regarded there can be an expe-rience that is created that is more embodied with an increased feeling of attachment to our spaces, buildings, and environments.

An in-depth inquiry into how one experiences was done to gain an understanding of how one comes to understand their embodiment with the world. Under the assumed doctrine by Johne Locke of the tabula rosa, or blank slate, the senses are the only sources of knowledge about the world. This is directly related to research into sensual psychology, sensory deprivation and sensory overload. These were researched to form a solid base of information towards the consideration of the physiology and psy-chology of how one senses and perceives the world. From there, an investigation was undertaken to understand physical objects in regards to their inherent haptic nature. This was accomplished by building various three-dimensional artifacts as a physical manifestation of the ideas received from the research. Each artifact had a recipe for design intent that dealt with the sense of touch regarding the hand, and the eyes. This is research for the exploration of relationships using contextual, rather than quantita-tive data. The design process, the creation and, observations of these artifacts are considered for the qualitative research and evidence. The results were not necessarily generalizable, but were transferable.

The artifact research was done to understand the relationships between vision and touch, exploratory touch, sensual information received through touch, and what hap-pens when a physical object considers its own haptic qualities for aesthetic and pragmatic interaction. It is important to note that with these it is the hand that is of value. Because of their scale they are tailored to the intimacy of the hand. What was learned from the artifacts was then taken and applied to the concepts of a wall, a space, and to architecture. This was done for the sake of the body as well as the hand. Because the back will interacts differently than the hand, the feet differently than the elbow.

As an architectural investigation into Haptic Vision there was a designed addition to the Southern entrance of the link of Architecture Hall. Three programs were exercised into the design to fully investigate the potentials and limitations in consideration of the haptic dimension in architectural design.

SEEING IS BELIEVING, BUT...........

................FEELING IS THE TRUTH! Thomas Fuller

In Pallasmaas affirmation he is arguing that the experience of architecture is lacking because of the bias Western society has placed on vision. That the other senses are stifled by this and that its a result of us living in an occularcentric society. The term ocularcentrism was conceived by Martin Jay in his book Downcast Eyes, which is an intellectual history of the gaze. Jay was recognizing the primacy of the visual image and the privileging of the ocular observation as a path to certainty and knowledge. This is exemplified by societys forgetting of the second half of the popular expression seeing is believing. The full expression goes, seeing is believing but, feeling is the truth. (Paterson, 2007)

The historical aggrandizement of the visual sense has arguably developed starting from the abstracted symbolic measuring of geometry, through advancements of visually accommodating technologies to the consumerist culture dominated by the need to express a thing in the fastest, most easily stimulating way possible. Humans at one point in history used the body as a means to measurement. The Egyptian Cubit for example was one mode of measurement that had a direct connection to the body, and a way to visualize geometry in comparison to the body. Measurement was then slowly standardized and abstracted into symbolic visual terms. The idea of geometry somewhat lost its connection to the body to a supposedly distanced, abstracted visualism that obscures the actual body processes of measurement. (Paterson, 2007)

Throughout history there have been advancements in technologies that have privileged the eye. From the printing press, to the camera, to the television, these technologies have been mediums of transferring visual imagery to the masses. These avenues of vision have developed an ease and production of imagery that has com-pounded the commercialism and tourism of today to an image based commodity. Susan Sontag, author of On Photography, said, the camera has become the prime instru-ment of tourism, and The omnipresence of photographs has an incalculable affect on our ethical sensibility. (Pallasmaa, 2005) Pallasmaa, says that, through are evident compulsion for a simplification and objectification of mental images, that Our sensory contact with the world becomes colder as visual remoteness gains supremacy over the intimacy of tactility. (Pallasmaa, 2005)

Architecture too has fallen into this image based aggregation. It is implicit that we live in a culture where image is a commodity and it only makes sense that im-age based architecture would fall into the category of this as well. One can argue that architecture is judged mostly for how it looks. This is not a good thing. Guy Dubord, author of, The Society of the Spectacle, argues that, the perceptible world is replaced by a set of images that are superior to that world, yet at the same time impose themselves as eminently perceptible. (Vidler, 2008) We experience architecture through its image; the image is what is pushed into the consumer culture, so it only makes sense that there would be a bias towards vision, and a disregard to the other senses. According to Terry Smith, Professor of Contemporary Art History and Theory at the University of Pittsburgh, there has been a build-up of architecture typologies that have fed into this consumerist and touristic society that has, in a way, set the bar for what architecture is supposed to be in peoples eyes and the world of architecture. (Vidler, 2008)

Pallasmaa argues that standardization and industrialization go along with the embodied detachment of the senses that our bias towards vision has caused. He says that, As the art of architecture sinks under the current payload of practical demands there has been an increasing anonymity of building in the industrialized world and its detachment from human experience. (Pallasmaa, 2005)Human experience would be improved upon if sensual experiences were more duly considered. When the other senses besides the visual are regarded there can be an experience that is designed that is more embodied, with an increased feeling of attachment to our spaces, buildings, and environments.

Occularcentricism

DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER DONNER DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER PORTFOLIO DONNER ADAM H.

ADAM H. DONNER PORTFOLIO

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Documents

Donner Portfolio Fall 2012