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KATHERINE TINCHERMFA INTERIOR ARCHITECTURE AND DESIGNACADEMY OF ART UNIVERSITY, SAN FRANCISCOFINAL THESIS FALL 2010
SAN FRANCISCO CENTER for SUSTAINABILITY
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KATHERINE TINCHERMFA INTERIOR ARCHITECTURE AND DESIGNACADEMY OF ART UNIVERSITY, SAN FRANCISCOFINAL THESIS FALL 2010
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con
ten
tsaBout the designer autobiography, resume
project introduction
site research and analysis history, surrounding area, demographics
client and user profiles
precedent studies
concept developMent
sustainaBle design developMent
prograMMing
floor plans, section, and elevations
renderings and Materials
conclusion and BiBliography
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Katherine Tincher grew up in Portola Valley in the San Francisco Bay
Area. Since an early age she has developed an interest in the fine and
performing arts. As an undergraduate at USC in Los Angeles, Katherine
majored in Fine Art and explored drawing, painting, design, sculpture
and photography. She also discovered an interest in “new genres” art
involving installation pieces, video, and participation art. Katherine
minored in Cinema/Television Production and became a sought-after
production designer among USC film students. After college, Katherine
decided to turn her love of set design and installation art toward interior
design. She moved back to the Bay Area to pursue a graduate degree
in Interior Design and Architecture at the Academy of Art University in
San Francisco. After graduate school Katherine hopes to work abroad to
gain more design experience before eventually starting her own design
firm back in San Francisco.
abo
ut th
e d
esig
ner
AUTOBIOGRAPHY
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EDUCATION
MFA INTERIOR ARCHITECTURE AND DESIGN, ACADEMY OF ART UNIVERSITY, SAN FRANCISCO
graduated december 2010BA UNIVERSITY OF SOUTHERN CALIFORNIA, LOS ANGELES graduated May 2007 Major: fine arts concentration in photography, installation art, new genres Minor: cineMa-television production concentration in production design
WORK EXPERIENCE
KATHERINE TINCHER DESIGN LLC
2010 owner, lead interior designer of high-end residential projectsANTHROPOLOGIE STORE, SAN FRANCISCO
2007- 2008 sales associateDAVID LACHAPELLE PHOTOGRAPHY
2007 intern at david lachapelle’s photography studio, lucid shoot productions. helped create the fantastical photography sets lachapelle is famous for, managed offi ce tasks, and kept celebrities happy during shoots FILM PRODUCTION DESIGN
2004- 2007 Production Designer for a dozen fi lm and television productions. designed, built, and dressed sets and locations as well as sourced props, helped in costuming, and worked as Art Crew during shoots
fINE ART EXHIBITIONS
2007 Unifi ed Field (A), group show, phantom galleries (los angeles, ca) 2006 Relieve Yourself, group show, compact space (los angeles, ca) Before and, solo show, helen lindhurst gallery (los angeles, ca)
COMPUTER SKILLS
Revit, AutoCad, Photoshop, InDesign, Illustrator, Microsoft Offi ce, final cut pro, iMovie, flash MX
RESUME
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pro
ject
in
trod
uct
ion
What if We could paint a picture of the future.Or better yet, create an ideal society that could serve as a model for
others. This is not a novel concept. Philosophers, artists, and scientists
alike have been speculating and sketching out utopias and dystopias
since we realized the passing of time. But with each passing generation
comes a new collective concept of the future – inspired by and reflective
of the current predominant culture and its values.
The coming of this new millennium coincided with a huge shift in
our collective vision of the future. Instead of instant TV dinners and an
expanding maze of highways, we now envision solar-powered super-
high-rises with entire farms growing on the side. Our new collective
vision of the future is encapsulated in one word: sustainability. As a
society (at least in San Francisco) we are working to preserve our natural
resources and encourage new environmental growth. We must remedy
The Metreon is the canvas and Interior Design is the brush.mistakes and tackle challenges our culture has run from in the past.
In a sustainable future, humans will actually have a future here on earth.
It is amazing how fast cultural values can shift. Just ten years ago
iPods didn’t exist (much less iPhones), Al Gore -a major global warming
educator and environment advocate- lost the presidential election to
G.W. Bush, everyone thought Y2K might actually be real, and “green”
was just a color to most people. During this time period, the Metreon
was launched in San Francisco. Metreon is a 350,000 square foot
complex built by Sony to be a showcase for technology and a sort of
building of the future. Unfortunately for Metreon, the common vision of
the future in the year 1999 turned out to be very short-sighted.
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BUILT-IN TO OUR CURRENT VISION OF A SUSTAINABLE FUTURE is a consideration for future generations
of people and how their world will be. With this consideration and the
awareness that we are constantly evolving into a more efficient society,
the transition from our current world into a more sustainable one should
be fairly seamless. In fact, in many ways it is already here. More efficient
buildings are popping up all around us, people and companies are
educating themselves on how to live and operate in healthier ways,
and products like hybrid cars have become commonplace. So the
bright future we see is really just more of the life that we have
already set in motion.
Because of the nature of our current vision for the future, design
ideas we create today will likely not become outdated quickly. The
design world is prepared for change and must accept evolution as a
design constraint. Instead of considering merely our end-user, we must
now think a few steps beyond them to the end of a product’s life and
how it could re-enter production. Today we are honing in on a reality of
design without waste.
My goal in this project is to take a failed version of what
the future means, represented by the old Metreon building, and design
a new space that represents our updated vision of the future which I call
“The San Francisco Center for Sustainability” (or SFCS). The concept
of sustainability means more to me than LEED certified buildings. It is
a mindset that can extend to every aspect of our culture. In a society
built around commodity and technology, we must think about how our
purchases affect ourselves and our environment in a myriad of ways-
from how these things were made, how far they travelled since then,
what they do or don’t do for our health, and where they end up after
we have use for them.
As a culture, we must also be aware of how technology is
affecting us and learn to use it in the most productive ways possible.
For example, Facebook makes it possible to keep in touch with
hundreds of friends instantaneously, and share photos and links of
interest with incredible ease. But how many phone calls and lunch
dates never happened because people can look each other up and
learn everything they want to know without actually talking? There are
other much more serious implications of Facebook and the internet
(stalking, bullying, etc) but from a basic human interaction standpoint,
I believe we should be aware of how our relationships are changing
for better or worse because of technology and know that we can
make conscious decisions about how the interactions continue. This
discussion is part of the sustainability of our culture.
Our current concept of progressive design has the future as its foundation.
intro
duct
ion
cont
inue
d
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for My Masters thesis project, I originally had an
interest in designing a remote artists’ retreat. I have had a passion for
the arts my entire life and felt art should play a major part in this
thesis project. As I began researching, I found a handful of artist retreat
spaces already in existence that are beautiful and very similar to how I
would have approached my project. So I realized it would be more
useful and interesting to try and bring the concept of an artist retreat
into an urban setting for people who don’t have access to the
remote centers. I wanted to create a sanctuary for the arts that felt
peaceful, communal, contemporary, and welcoming. The building
search for this sort-of-sanctuary led me to the San Francisco Metreon.
I visited the Metreon ten years ago when it originally opened, and
since then I have watched its collapse into a vacant giant with a movie
theater inside. This building needed saving. I decided to take the spirit
of an urban artist retreat and apply it to the Metreon, but I also wanted
to examine what that particular building in its location is “asking” to
be. Such a large building in a highly active cultural area should be a
landmark for the city. It could represent what we stand for as a culture
and where we are looking to go. The Metreon will become The San
Francisco Center for Sustainability which embodies the present and
future dreams of our city, and does it through art.
search for this sort-of-sanctuary led me to the San Francisco Metreon.
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Build
ing
hist
ory the Metreon Was opened in 1999 by Sony as an
“urban entertainment destination”. Sony’s vision for the Metreon was to
create a technology showcase combined with education, entertainment,
and retail. The building housed a couple Disney-like exhibits (Where
the Wild Things Are and The Way Things Work), the only Microsoft
store in the world, large Sony and Discovery Channel stores, a gourmet
restaurant and a food court, an arcade, and an IMAX theater. As soon
as the complex opened, it started failing quickly. Metreon got a lot of
foot traffic, but people say they weren’t willing to spend money to see
the “not fun” attractions. By 2001 The Way Things Work was closed,
the arcade was transformed to a more mainstream style, Microsoft
pulled out, and the gourmet restaurant was closed. Where the Wild
Things Are was closed in 2004. The only consistently successful tenant
in Metreon has been the Loews (now AMC) theater, but in their lease
agreement Metreon takes no profit on their ticket or concession sales.
In 2006 Metreon was sold to The Westfield Group, who own the
Westfield San Francisco Centre shopping mall a block away, and Forest
City Enterprises- a real estate development company. In 2009 the Sony
and PlayStation stores pulled out of Metreon, the last of the original
flagship stores.
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Metreon today
Since changing owners, not much has changed in Metreon. A farmers
market briefly occupied a space on the first floor but was unsuccessful.
A gallery moved into a space on the first floor and has displayed the
same photographs for the past two years. The empty fourth floor space
and balcony is available for events. The arcade machines are for sale-
although still in operation.
Westfield says it plans to make Metreon restaurant-centric and
more open to the street. They plan to move the main entrance to the
center of the block. The movie theater will remain, and more shops and
restaurants plan to open on the other floors. Target is slated to take over
the second floor and have its own entrance on street level.
Metreon is scheduled to essentially be an addition to the Westfield mall.
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surro
undi
ng a
rea the Metreon is situated in the Middle of the
cultural huB of soMa near Union Square. The building
shares the block between 3rd and 4th Streets and Mission and Howard
streets with the Yerba Buena Center for the Arts. The Yerba Buena
Center includes an art gallery, performance spaces, Samovar tea house,
and an extensive sculpture garden/ outdoor amphitheater that leads
right up to the Metreon’s doorstep. Across Howard street the YBCA
continues with more gardens, a carousel and ice rink. Across
the street from Metreon on two sides is the Moscone Convention
Center. Also within a block are important cultural sites including
MOMA, the Contemporary Jewish Museum, the Museum for African
Diaspora, the Comic Art Museum, and the American Historical Society.
Also in the area is SPUR, the San Francisco Planning and Urban
Research Association, a nonprofit organization working toward
making San Francisco a better city.
The Fifth and Mission Parking Garage provides affordable parking right
across the street from the Metreon. The site is very convenient to both
the Powell and Montgomery BART and MUNI stations as well as to
numerous bus lines, and it is a ten-minute walk to Caltrain.
The area is accustomed to accommodating a large number of people
for conventions and tourism. The Metreon is extremely close to the
Westfield San Francisco Centre shopping mall retail area as well as
Union Square; so the site is convenient to retail traffic as well as tourism
and museum traffic. The Moscone Convention Center hosts regular
events and conventions across the street from the Metreon with over a
million visitors every year.
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rese
arch
: dem
ogra
phic
s san francisco demographics
san francisco Major ethnic groups (july 1, 2004)
San Francisco County Age Profi le
primary language of san francisco residents 5 years of age and older
White Asian Hispanic Origin
44.73 31.23 13.52 7.13 2.60 0.49 0.30
44.73%
31.23%
13.52%7.13%
2.60% 0.49%
0.30% WhiteAsianHispanic OriginAfrican American (Black)MultiracialPacific IslanderNative American
White Asian Hispanic Origin
33 22 12 10 4 8 3 8
25 to 39 years33%
40 to 54 years22%
55 to 69 years12% 70 years and older
10%
Under 5 years4%
5 to 14 years8%
15 to 18 years3%
19 to 24 years8%
White Asian Hispanic Origin
58 10 22 10
English58%
40 to 54 years10%
55 to 69 years22%
70 years and older10%
Under 5 years0%
5 to 14 years0%
15 to 18 years0%
19 to 24 years0%
White Asian Hispanic Origin
58 10 22 10
English58%
Spanish10%
Asian22%
Other10%
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South of Market Demographics
south of MarKet (soMa) is a very diverse neighBorhood, especially near the Metreon. Across the street
toward the south and west is low-income housing. This low-income
and mostly minority demographic continues further south around the
freeways. Towards the north and east are fairly new luxury apartment
complexes which house high-income, predominantly caucasian people.
Further south near the Ballpark and the Caltrain station is a pocket of
middle-high income apartments and live/work spaces.
Less than High School
HS Graduate (includes
equivalency)
Some college, no degree
Associate degree
Bachelor’s graduate or professional
degreeCitywideSouth of Market
18.80% 13.90% 16.80% 5.60% 45%
29.40% 19.60% 18.40% 5.40% 27.20%
City-wide BVHP Chinatown Mission South of Market
Tenderloin Visitacion Valley
Western Addition
Median Household Income $55,221 $40,694 $17,886 $47,536 $22,060 $20,363 $47,943 $35,693
Total individuals for whom poverty status is
determined
Individuals with income in 1999 below poverty levelIndividuals with income in 1999 below poverty level
City-wideTenderloinSouth of Market
number percentage765,356 86,585 11.30%
28,519 7,806 27.40%
12,523 3,121 24.90%
educational attainment for population 25 years and over by neighborhood
Median household income by neighborhood
Neighborhoods with the Most Signifi cant Poverty Rates in 2000
The education of SOMA residents is fairly balanced between
people with some or no high school and people with post-high school
degrees. It should also be noted that SOMA has the second highest
poverty rate in the city next to the Tenderloin.
The San Francisco Center for Sustainability can and should be a
place that welcomes all the surrounding neighbors regardless of income
and education. It is a public building, and everyone can find enjoyment
and interest inside.
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california tourism dataOver 10 million visitors to the Bay Area last year
domestic travel183 million person day-trips and 322 million person stays to and through California in 200979% of day-trips and 86 % of person stays were by residents of Califor-nia in 2008
Top five producing domestic metro areas1. Los Angeles2. San Francisco/Oakland, San Jose3. Sacramento, Stockton, Modesto4. New York5. Washington DC
rese
arch
: tou
rism
San Francisco Hotel Guest ProfileOvernight hotel guests account for more than two of every three dollars spent locally by out-of-town visitors despite representing only one-third of all visitors to the City. (The balance stayed either in private homes with friends or relatives, stayed in hotels outside the City though San Francisco was their primary destination, or were day visitors from nearby areas.)
The profile below shows important characteristics of San Francisco’s hotel guests. Average annual household income: $93,900Average spending in SF (per-person, per-day): $244.33First-time San Francisco visitors: 17.5%Traveling with children: 8.7%Gender: Male = 53.5% Female = 46.5%Average age: 46 years oldAverage nights in SF hotels: 3.6 nightsAverage total length of current trip: 4.6 nightsPeople per room: 1.77 Used Internet in planning trip: 53.9%Rental car in San Francisco: 25.8%Arrived by air: 80.2%
international travelApproximately 13.4 million person trips to California in 2008. Five and a half million from overseas origins, 6.7 million from Mexico, and 1.2 million from Canada
Top five producing international markets1. United Kingdom2. Japan3. Germany4. Canada5. Australia
Top five feeder markets of hotel guests (by Designated Market Areas (DMAs)) Los Angeles 12.7%San Francisco-Oakland-San Jose 7.7%Sacramento-Stockton-Modesto 7%New York City 5.7%Washington, DC 3.5%
Primary reason for visit (% of all hotel guests): 39.7% Leisure35.3% Convention22.1% Transient business2.9% Other
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top reasons for visiting san francisco1. Atmosphere and Ambiance2. Restaurants3. Scenic Beauty4. Diversity5. Weather
leading attractions visited1. Fisherman’s Wharf2. Cable Car Ride3. Golden Gate Bridge4. Golden Gate Park5. Ferry Building
purpose of visit39.7% Leisure/ Vacation35.3% Meeting/ Convention22.1% Business Travel2.9% Other
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Prop
osed
Clie
nt P
rofi l
e
the Bernard osher foundation, headquartered in
San Francisco, was founded in 1977 by Bernard Osher- a respected
businessman and community leader. The Foundation seeks to improve
our quality of life through support for higher education and the arts.
Since its start in 1977, the Foundation has received applications from
a wide variety of arts and educational organizations principally in the
Greater San Francisco Bay Area and in the state of Maine. Grantees
over the years have included performing arts groups, literary programs,
educational and environmental groups, and social service
organizations. Growing emphasis is now on assisting arts and
educational organizations.* The Foundation will be a great supporter
in bringing arts to the San Francisco Center for Sustainability and
helping integrate with the Yerba Buena Center for the Arts.
*from www.osherfoundation.org
forest city enterprises is the current owner of the Metreon
building in partnership with the Westfield Corporation. In the last five
years, Forest City has made an effort to foster new LEED certified
developments including shopping centers, apartments, and mixed-use
facilities. The developers are seeking LEED certification for their Presidio
Landmark townhomes in San Francisco that opened summer of 2010.
Forest City is one of the leading real-estate owners and developers
in the country. They have developed shopping centers, housing
developments, offices, hotels, and mixed-use centers. One of the core
values of the corporation is promoting involvement of the communities
they develop within. They work to be a transparent and ethical company
that supports “entrepreneurial spirit” and delivers the highest quality
projects. Forest City will encourage bringing in local green retailers to
SFCS, and will work to redevelop the Metreon in the most sustainable
way possible.
pacific gas & electric has Been a force at the fore-
front of Green Energy development and education in the Bay Area since
the sustainability movement began taking hold in the past decade. The
utility company is investing is clean energy solutions and they work to
provide educational tools and opportunities for industries and the public
to learn about energy efficiency strategies.
Barbara and Bernard Osher
the Bernard osher foundation
and forest city enterprises
additional sponsor: pg&e
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proposed target audience
the target audience for the san francisco center for sustainaBility is very Broad. The building will be open to the public and is located in a high-traffic
cultural and commercial area. The target audience can be broken up
into three main sections: Locals, Local Tourists, and Non-Local Tourists.
The immediate local audience in SOMA for SFCS will be a huge range
in demographics (as previously illustrated in demographics research).
The city-wide San Francisco local audience will be something like the
groups that go to the Ferry Building, MOMA and other museums, the
Exploratorium, and the California Academy of Sciences. These people
are looking for entertainment that is both exciting and fresh but also has
a local nostalgia and history. The majority of San Francisco residents,
and by extension my target audience, is ages 25 to 55. These are also
the average ages of the tourist audience.
The vast majority of tourists to San Francisco are American and
from California. A lot of my target audience will be from the Bay Area
itself- including families, young professionals, the middle aged, and
retirees. This group can be called Local Tourists. This general audience
is coming to the SFCS for entertainment, shopping, movies, dining, and
the “green” experience. The SFCS will become a major San Francisco
attraction like the Ferry Building or Fishman’s Wharf.
The SFCS is across the street on two sides from the Moscone
Convention Center which welcomes over a million visitors every year.
These convention attendees will make up another large part of the
target audience. The convention audience is coming to the SFCS to
grab a quick bite at the farmers market or to take coworkers to a nice
dinner or lunch. Convention attendees may have time to kill between
events and can wander into the Green Education Center, green
retailers, and the gardens.
The rest of the audience will be made up of local business
professionals in the SOMA district who will come for lunch, dinner,
or after-work drinks and entertainment.
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prec
eden
t stu
dies oregon sustainaBility center
the oregon sustainaBility center (osc) is a collaBoration between academic, government, non-profit,
and business sectors located on the campus of Portland State University.
It is a 225,000-square foot, 13-story high glass and concrete center
that is a non-profit to advance innovation in sustainability. OSC serves
as a technological model and hub for sustainable practices, policy,
education, research and entrepreneurship.
The simple and elegant center will serve many functions and includes
750 offices for non-profits and businesses, classrooms, and a
conference center for 1400 students and faculty. The idea is to develop
a living building that survives within the energy that falls on the site.
OSC creates a space to produce rather than use up resources- a
place that gives back to the community not only in resources but
also in creativity.
The Center will adhere to the Cascadia Region Green Buildings
Council’s Living Building Challenge, and will produce 100% of its
energy on site. All the building’s energy is provided by solar power and
the Center will collect all its water from rain. The collected water will be
treated in a 200,000 gallon storage tank in the basement for potable
use. Treated gray-water will replace potable water for toilets, irrigation
and cooling equipment.
The building itself will be one large, continuously running experiment.
OSC will give green companies the opportunity to prove their products
in a real world environment. With several technologies on site- from
biological waste water treatment systems to solar panels- OSC provides
hands on green job training for students. Visitors to the Center can
experience interactive exhibits in the first floor lobby to learn more about
sustainability and environmental policy makers.
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real goods solar living institute
the real goods solar living institute in hopland, california is a non-profit sustainability training
center. The Institute offers courses designed to prepare people for green
job opportunities, to help start businesses, and to learn how to live more
sustainably. The Insitute itself works as a model for sustainable design
and living. The building produces all its energy on-site, and interns
upkeep a garden that provides much of the food for the facilities.
The courses offered are solar training, natural building, sustainable
living, permaculture and gardening. Solar Living also has youth
programs that give students a unique hands-on experience that lets
them explore renewable energy and sustainable living in ways they
can relate to. Tours of the center give the general public of all ages a
chance to learn about fascinating topics from solar and wind power to
environment-friendly building materials and organic gardening.
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25
concept development
26
art as life and life as art is the future of how how we
will experience art, and it is already becoming more common
in both traditional galleries and interior design contexts. The
concept of interaction using technology and/or space has
become increasingly important in this century and continues
to be the focus of many industries and endeavors. The internet
-which now controls a lot of our lives- is entirely interactive and
participatory. And this level of involvement has been extending
to the art world for a few decades now.
In order to make a stronger connection with the Yerba
Buena Center for the Arts, MOMA and other nearby
cultural sites and to tap into the possible future of the arts, the
San Francisco Center for Sustainability will function as a huge
gallery for new arts. The SFCS art will be mostly installation
pieces, public art, and participation art. Unlike the YBCA,
MOMA, and traditional galleries which have designated white
wall gallery spaces, SFCS art will be completely integrated into
the building’s design and other functions. Artists will be invited
to take residencies in a studio on the top floor and make site-
specific work. These artists will be especially encouraged to
make interactive art pieces.
Over the last 30-40 years artists have been working to
blur the lines between art and life. Some artists literally live their
art or invite people to experience art with them. Shown on these
pages are examples of what is typically called “participation
art”. This type of art can be created in an unlimited number of
different medias, but the most common is installation art. Not
all installation pieces are participatory by definition, but many
are, and this type of art translates very fluidly into interior design
applications and interactivity concepts.
functional concept
Jochen Gerz, The Gift
Olafur Eliasson, Slow Motion Shadow in Color
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Abramovic/Ulay, Imponderabilia
Olafur Eliasson, One-Wat Color Tunnel
As the original Metreon was conceptualized
to be a consumer experience where
“you can’t tell where the entertainment stops
and the retail begins”, the New Metreon is a
place where you can’t tell where the art stops
and “real” life begins.
Ernest Neto, Walking in Venus Blue Cave Carsten Höller, “Upsidedown Mushroom Room”
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While participation art offers a concept for the
way people interact with the Center for Sustainability, it is not
limited to any single kind of visual language. I felt it was
important while developing the visual design of the interiors to
add a visual concept to help narrow down inspirational images
and to provide an additional method for organizing the vast
building.
While researching sustainable design solutions for the
SFCS building, I came across two helpful lists that tie into my
project very cohesively. The lists come from books about how to
apply sustainble concepts to society and civilization as well
as to design. The first list contains the elements needed for a
society to survive sustainably. The second list contains
“biophilic” design elements. Biophilic design relates directly
to nature and uses it as a model for green design in both
practical and emotional senses.
These two lists helped me keep in mind what the
community of SFCS should be focused on- and by extension
how the design should foster these interactions. The second list
especially inspired me to treat the building like a working forest.
The first floor is busy and crowded with “animals” and “roots”,
and as one travels up the building, the visual concepts become
more airy and light.
visual concept
Heather and Ivan Morison, Fantasy Island
Charles Clary, paper sculpture
SUSTAINABILITY OF SOCIETY: “ECOVILLAGE CHARACTERISTICS”From Cities as Sustainable Ecosystems
• Organic, local food
• Living homes
• Attention to life cycle of products
• Relating to others- sharing, conflict resolution, feeling of unity
• Healthy lifestyle
• Meaningful work
• Encourage lifelong education
• Ability for cultural expression
• Alternative banks
• Voluntary simplicity
• Local income and economics supports itself
• Sense of joy and belonging- rituals, natural cycles
• Emphasis on creativity and the arts
• Respect spirituality
• Facilitating personal growth
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ELEMENTS OF BIOPHILIC DESIGN FROM BUILDING FOR LIFEAdapted from J Heerwagen and B Hase “Building biophilia: Connecting people to Nature”
Prospect Brightness Distant views Horizon/sky imagery View corridorsRefuge Canopy effect – lowered ceilings, screening, branch-like forms overheadWater Glimmering/Reflective surfaces – represent clean water Moving water – symbolic waterBiodiversity Varied vegetation Incorporate nature views – outdoor areas. Diversity of natural lifeSensory Variability Changes and variability in color, temperature, air movement, texture, light over space and time Natural rhythms and processes – ventilation and lighting
Biomimicry Designs derived from nature Natural patterns, forms, textures Fractal characteristicsSense of Playfulness Décor, materials, artifacts, objects, spaces whose primary purpose is to delight, surprise, and amuse. Enticement Discovered complexity Information richness encourages exploration Curvilinear surfaces - Gradually open information into view
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site analysis
Winter solstice solar diagram summer solstice solar diagram
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site planMiss
ion st
fourth st hoWard
st
third st
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sust
ain
aBl
e d
esig
n sustainaBility is in the naMe of the project, so including as many green design elements as possible in the
restructuring of the building is a large priority. I thouroughly investigated
all the LEED points and mapped them out in the building to see how
many I could incorporate into the design. The rough diagram below
shows where the majority ot LEED points could apply in the building, and
if the developers follow through with all the specs and construction
requirements it is completely possible for the SFCS to become LEED
Platinum Certified.
The image on the facing page shows the complete diagram of
green systems in the building. The left side of the diagram represents the
South face and is mainly focused on sun control for heat and light. Four
living columns in the main atrium run through the entire building and
work as grey water filtration systems. Photovoltaic panels generate
power on the roof while hydronic panels help heat water. Living walls on
the exterior help with insulation of the building and create new natural
habitats. Much of the heating in the building will become radiant floor
heating for maximum efficiency.
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Green Systems Diagram sketch
green
dia
gra
M
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WATER
X 22”annual rainfall in san franciscoaverage
108,954 ft2
catchMent and use analysis
minus 20% water loss due to evaporation, splashing, etc.
1,188,
906
GAL
LON
S C
OLL
ECTE
DPER
YEA
R
ART INSTALLATION OPPORTUNITY THE AMOUNT OF WATER COLLECTED AT SFCS PER YEAR WOULD FILL APPROXIMATELY THE SAME VOLUME AS THE SPACE BETWEEN THE FOUR GREEN COLUMNS IN THE NEW ATRIUM: FLOOR TO ROOF
EQUALSEQUALSEQUALSEQUALSEQUALSEQUALSEQUALSEQUALS=
35
THE SAME AMOUNT Of WATER USED BY SfCS IN ONE MONTH=
NEXT: GREEN EDUCATIONTypical usage for school: 10 gallons per student per day NEXT has approximately 193 students and visitors per day
fARMERS MARKETTypical usage for farmers market/food stands: 50 gallons per 100ft2 per daySfCS farmers Market is 18,455 ft2
TREEHOUSE NIGHTCLUBTypical usage for bar/club: 10 gallons per visitor per day Treehouse has approximately 350 visitors per day
OffICES AND STAffTypical usage for offices: 25 gallons per employee per day SfCS has a total of 144 full-time empoyees
MOvIE THEATERSTypical usage for theaters: 5 gallons per seat per day The SfCS movie theaters have a total of 2,827 seats
RESTAURANTSTypical usage for restaurants: 35 gallons per seat per dayBetween Good Company, Anan, and the Cafe, SfCS has a total of 435 seats
GALLONS/MONTH
= 57,900
= 108,000
= 105,000
= 424,050
= 456,750
≈ 1,200,000 TOTAL
= 55,350
=EQUALS=
36
37
Programfirst floorMain Atrium
Cafe
Farmers Market
Electric Vehicle Store
Bicycle Shop
Chronicle Bookstore
Lounge Space
Employee Center
second floorNEXT: Green Education Center
Green Retail Stores
Good Company Restaurant
Atrium and lounge space
third floorMovie Theaters
Concessions
Theater Bar
Nightclub
NEXT: Green Education Center
fourth floorAnan Restaurant
Nichtclub
Garden Patio
Artist Studio
Model Green Home
Gallery Space
SFCS Main Offices
38
Building floW analysis
one of the Biggest criticisMs the public has had of the
current Metreon building is that the interior is very confusing to
navigate. Pathways within the building are not particularly intuitive and
there is not much visual connection between spaces to give clues on
where things are. In addition, there is next to no signage or information
about the floor plans and directions throughout the building.
I analized the existing building flow and observed where people
are entering and exiting, and why they seem to be coming to the
building. This informed whether the entrances and circulation through
the building should remain the same or be changed.
I ended up removing the confusing escalators and adding
staircases and a large ramp in order to promote walking and encourage
spending time in the building. I also opened up visual paths between
spaces to make the building more intuitive and spark people’s curioustiy.
FLOW OBSERVATION
To the left is an example of an observed flow diagram created for
current building analysis. In this instance I observed the first floor of the
building for half an hour and drew traffic pattern lines and dots for each
person I saw. This helped me draw conclusions about how people are
currently using the building and brainstorm about how the building flow
could be improved.
39
BUBBLE DIAGRAM
After deciding on the program and examining relations between spaces
through the matrix, bubble diagrams like the one above helped to
organize the spaces among the levels of the building.
PROGRAM MATRIX
This matrix maps out the importance of proximity between every space in
the buidling’s program. Some spaces should logically be close to each
other and other pairings should be avoided. The matrix also includes the
cardinal directions to determine which areas should have sun exposure
for green design purposes.
40
retail flow
shoppers will be entering the building from all sides, but mostly
from the west entrances closer to Westfield mall, Union Square, and the
Fifth and Mission parking garage. Shoppers will find the bike shop and
electric vehicle store on the first floor with easy access to the street for
test rides. People will then be drawn upstairs to the second floor by
seeing attractive shops through openings in the ceiling. Most of the
shopping is on the second floor, and while some are shopping others
may choose to wander into NEXT: Green Education Center, grab a bite
to eat at the Farmers Market, or enjoy the Atrium lounge spaces.
Movie theater flow
Moviegoers enter the first floor mostly from the Fifth and Mission
garage entrance. They can then either take the elevators straight to the
third floor or wander up the stairs or ramp to get there. If people are
early for their movie they may wander around the retail shops, grab
snacks at the farmers market or look around NEXT: Green Education
Center. The theaters have their own snack bar and concessions inside.
After a movie, if it is an evening show, many people will choose to go
straight to the nightclub or get dinner on the second or fourth floor
restaurants.
41
Morning/afternoon food flow
the Morning and afternoon food traffic to SFCS is
mainly shoppers and convention-goers from Moscone Center. People
will enter from all sides of the building and either grab a quick bite in
the farmers market or sit down for a fun lunch at Good Company on the
second floor. A select group of people may lunch at Anan Restaurant on
the fourth floor for a more formal, gourmet experience.
At this time of day, there should also be some “garden wanderers”
who are spending time at Yerba Buena Gardens. These people will
enjoy coming in and experiencing the NEXT: Green Education Center
and working their way to the roof of the building to see the edible
gardens and enjoy the view.
evening/late night food flow
an evening croWd to SFCS will be coming to catch a late
movie, eat a gourmet dinner at Anan, or hit the nightclub. All of these
attractions are on the top two floors so people will enter from the first
floor, check out the information kiosks if it is their first time, then take the
stairs, ramp, or elevators up the floors. Many people will do more than
one activity at SFCS in the evening. People can go directly out of the
movie theaters into the nightclub, eat dinner then watch a movie, or any
combination of these.
42
43
floor plans
44
level 1 floor plan
a
B
c
d
e
f
g
h
j
K
l
YERBA BUENA PARK
ELECTRIC VEHICLE STORE
CHRONICLE BOOKS
MAIN ATRIUM
INFORMATION KIOSKS
ART SPACE
FARMERS MARKET
BICYCLE SHOP
EMPLOYEE CENTER
CAFE
LOADING DOCK
CIRCULATION AND ART
FOOD/ RESTAURANT
RETAIL
GARDEN
BACK OF HOUSE
45
552 feet
223
feet
A
B
C
DE
E E
F
F
F
GG
G
H
JK
L
46
level 2 floor plan
TO SAMOVAR TEA HOUSE AND YBCA
TO MOSCONE SOUTH AND YBCA ZEUM
NEXT: GREEN EDUCATION CENTER
GOOD COMPANY RESTAURANT
GREEN RETAILERS
FLOAT - SPECIALITY GREEN DESIGN
ELLIE’S ECO-HOME
LOUNGE AREA
CIRCULATION AND ART
FOOD/ RESTAURANT
RETAIL
GREEN EDUCATION
BACK OF HOUSE
OPEN TO BELOW
a
B
c
d
e
f
g
h
47
A
B
C
D
E
E
EE
E
E
E
E
F
GH
H
48
level 3 floor plan
NIGHTCLUB
MOVIE THEATERS
GOURMET SNACK BAR
THEATER CONCESSIONS
TICKET DESK
TICKET KIOSKS
NEXT: GREEN EDUCATION CENTER
CIRCULATION AND ART
FOOD/ RESTAURANT
MOVIE THEATER
GREEN EDUCATION
BACK OF HOUSE
OPEN TO BELOW
TRANSLUCENT CONCRETE
a
B
c
d
e
f
g
49
A
B
B
B B B B B B B B
B B
CD
D
E
F G
50
level 3.5 floor plan
NIGHTCLUB
IMAX EXIT
STAIRS TO THIRD AND FOURTH FLOORS
THEATER PROJECTION ROOMS AND CIRCULATION
NEXT: GREEN EDUCATION CENTER
CIRCULATION AND ART
FOOD/ RESTAURANT
GREEN EDUCATION
BACK OF HOUSE
OPEN TO BELOW
a
B
c
d
e
51
A
B
C
D
E
52
level 4 floor plan
NIGHTCLUB
SFCS MAIN OFFICES
CIRCULATION AND GALLERY SPACE
ARTIST STUDIO
ANAN RESTAURANT
LOADING
GARDEN SPACE
MODEL GREEN HOME
EXIT FROM NEXT CENTER
CIRCULATION AND ART
FOOD/ RESTAURANT
OFFICE/STUDIO SPACE
GREEN EDUCATION
BACK OF HOUSE
OPEN TO BELOW
a
B
c
d
e
f
g
h
j
53
A
B
C
D
E
F
G
G
H
J
54
roof plan
ROOF GARDEN
PHOTOVOLTAIC PANELS
HYDRONIC PANELS
SKYLIGHT
EDIBLE GARDEN
MODEL GREEN HOME
a
B
c
d
e
f
55
A
A
B
B
C
D
D
E
F
56
Building section
south
ANAN RESTAURANT
MOVIE THEATERS
NEXT: GREEN EDUCATION CENTER
GOOD COMPANY RESTAURANT
FARMERS MARKET
ART STUDIO AND GALLERY
LOADING
CIRCULATION AND ART
FOOD/ RESTAURANT
RETAIL
MOVIE THEATER
GREEN EDUCATION
BACK OF HOUSE
BICYCLESHOP
57
FARMERS MARKET
ART STUDIO AND GALLERY
north
MAIN ATRIUM
IMAX THEATER
NIGHTCLUB
ELLIE’S ECOHOMERETAIL
ELECTRIC VEHICLE STORE
MOSCONE NORTH BALLROOM
58
northWest elevation
the northWest facade faces Mission street, and features a very
large living wall system. Windows on the first
and second floor provide light and views for
the electric vehicle store and Ellie’s EcoHome.
The vehicle store opens to the street for test-
drive access.
59
60
61
southWest elevation
this side of the Building faces fourth street: a very traffic-heavy street. It is across it is Moscone Center West.
The Farmers Market on the first floor and green retailers on the second
floor have natural light and views from the south side. Passers-by have
visibility inside and are tempted to enter. A large, solid wall on the third
floor displays digital art pieces.
62
63
southeast elevation
this side of the Building is involved with passive solar
heating. NEXT: Green Education Center is in the center of this
elevation and has a full glass facade to let in the sun. Light is
distributed through the space with light shelves and the sunshine
lands on rammed earth floors which retain and then release heat.
64
northeast elevation
the northeast side of sfcs opens to a Beautiful vieW of yerBa Buena parK. The existing building took advantage of this view with a large curtain
wall facing the park. I preserved this wall and opened up views
through the building. This facade also features living walls to soften the
building’s features and to add insulation and water filtration.
65
66
67
interior spaces
68
Main atriumthe Main atriuM is the heart of the San Francisco Center
for Sustainability. It feels like a futuristic forest that extends from the
ground all the way to the roof of the building. Two different sets of stairs
move up through the space- replacing the former escalators. People
can’t wait to climb these stairs because as soon as they step on them,
a rainbow ripples away from their feet. Fiber optics in the floors seem to
chase you as you walk around, and light dances through the beautifully
organic translucent columns. It feels as if the building is alive and aware
of your presence.
Current photo from same
viewpoint in Metreon
69
70
one of the Biggest changes I made to the original Metreon
building was cutting through the third and fourth floors on the park side in
order to open up the atrium space and take better advantage of the tviews
of the park. The feeling of the atrium would eventually extend to the rest of
the building, so from the beginning I wanted to created a visual language
for that space that could set the tone for all of SFCS. The space is meant to
feel organic and forest-like but also have organization and logic.
design developMent
71
The two line drawings below represent the major decision: whether
to use mainly curved or mainly angular lines. The existing building is very
angular, so the angular approach compliments the structure. However a
biophilic design approach would use curved lines. In the end, I decided to
go with a simplified curve design (a losenge shape) to promote an organic
feeling but also embrace simplicity.
72
The columns function like living
walls, filtering grey water for use
in landscaping and toilets
the tWo Materials on the left were developed by Neri
Oxman of MIT. The left material is called Cartesian Wax and the right
is Subterrain. Cartesian Wax is made of resins and may be formed
according to the functions it needs to perform structurally, thermally,
and with light distribution.
“The work is inspired by the Cartesian Wax thesis, as elucidated
by Descartes in the 1640’s. The thesis relates to the construction of self
knowledge and the way in which it is informed by and reports about an
individual’s experience of the physical world. According to Descartes,
the knowledge of the wax is whatever survives the various changes in the
wax’s physical form. That is, the form of the wax embodies the processes
that have generated its final features. Replace the notion of knowledge
with that of performance and the wax’s physical form represents the
force fields that grant its birth.”
www.materialecology.com
Subterrain is carved from sustainable wood using 3-D mapping
generated from 2-D data about the physical forces being applied to a
material versus its inherent nature.
Materia
ls
Light-up stairs sense when and
where people are walking and
generate images around them.
73
The building’s cistern is exposed in the
main atrium to promote awareness
about water conservation
and rain harvesting
74
participation art: circulation areas
THERE ARE DESIGNATED ART AREAS throughout the
SFCS building. These areas will have rotating exibits compiled by
numerous artists as if the entire building acts as an art gallery.
Participation art is encouraged, but installations without interaction
are also welcome. Constantly changing art pieces with an interactive
focus will keep the public coming back to have a different experience
each time they visit.
Below is one example of digital interactive art. A permanent touch
screen is installed in this hallway connecting the farmers market and
the main atrium. This particular piece is currently an online project by
zefrank.com in which the user places shapes in one circle to create an
instant kaliedescope in the other circle.
http://www.zefrank.com/byokal/kal2.html
75
Another example of a location-based participation art installation
is seen here. The new ramp that cuts all the way through the building
provides a unique art opportunity. This fun piece involves a large
inflatable ball that fills the width of the ramp, so people coming up and
down must decide who gets right-of-way.
76
Good Companythis diner-inspired restaurant Will Bring people together, but in different ways than burger-joints did
in the 1950’s. Each of Good Company’s tables is an interactive
computer screen that diners use to view the menu, order food directly,
and connect to other tables.
A jukebox app lets people add songs to the queue. “Paper
Airplane” lets people message other tables. The “Placemat” app
provides the last element in turning the entire restaurant into a
participation art piece. “Placemat” is a drawing application in which
virtual crayons (in thousands of colors) can be used to create works of
art on each table. Art pieces are then submitted into the restaurant’s
network and displayed on the chandelier screens and wall projections.
Current photo from same
viewpoint in Metreon
77
78
design developMent
79
diners in the 1950’s Were the hip place in town for
people to meet up and socialize. Today a lot of our socializing happens
through the internet, so I wanted to try and combine these different types
of interactions in a new kind of restaurant. Good Company is inspired by
the 50’s diner in the floorplan and in the spirit of a diner.
I worked to modernize the diner model- especially in the booth
design. I want diners to have every modern need taken care of without
anything superfluous. Removing the traditional seat back will encour-
age more interaction between tables. Cubbies under the seats provide
clean, safe space for bags and jackets, and docks next to each seat
allow people to charge their various devices and load pictures into the
restaurant’s display system.
80
WALL AND CHANDELIER DESIGN
personaliZation and adaptaBility was the focus in
developing the wall screens and chandelier. I wanted the space to be
able to change depending on who is in the restaurant at the time and
what their personal preferences are, so each person has an effect on
the public space around them and each experience will be unique.
I decided to focus on a symbol of interaction that people have
become very familiar with: the app.
81
“Apps” have become a part of our daily life in our phones and
computers and are even advertised on television. In portable devices,
the collection of apps has become very personal- everyone has a slightly
different group according to preferences- and there are piles of apps
to choose from! I took the visual of a “pile of apps” and turned it into
a chandelier where each “app shape” (rounded square) is a small LED
screen. I also extended this concept to the walls; so depending on the
input from diners, the wall and chandelier will change.
82
Materialsthe good coMpany Materials are sleeK But coMfortaBle. The Ganesh chair,
by d-vision in Isreal, has the perfect rounded rectangle
shape to compliment the custom “app” chandelier. The
cork floor provides a sustainable alternative to vinyl.
A classic checker pattern adorns the ceiling using
backlit 3form panels. The columns are also cre-
ated by 3form with a mirror gradient finish that
fades out at the top.
83
TABLE INTERfACE DESIGN
the Main point of interaction in Good Company diner
will be the table interface. It should be simple to understand and order
food from and also engaging enough that people will want to try out all
the other functions (like table-to-table chat, jukebox, and the placemat
drawing app). I enlisted the help of good friend of mine named Tiff
Chow who is a graphics and web designer. She helped me put together
the sample interfaces shown here to the left.
84
the Main feature of the float store is the ceiling art- an installation by Tara Donovan made of styrofoam
cups. In this setting, the ceiling paired with a recycled rubber floor
represent the melting away of our old materials and production
processes to make way for new sustainable design. This store features
limited edition items by artists and designers created from recycled
objects and repurposed materials for a high-design sustainable lifestyle.
Level 2
NEXT
float
Current photo from same
viewpoint in Metreon
8585
86
the first tasK in designing the retail store was finding
a shape that makes sense for the exterior within SFCS. Most of the retail
stores are on the second floor of the building, and working within my
visual concept I wanted them to feel like a collection of small habitats
in a futuristic forest.
shape developMent
87
These sketches show the progression of shape design for the stores.
The designs started out complex and abstract, but in the end I went
with a more simplified, curved structure in order to keep the visitors’
focus on products inside the stores and not distract with the architecture.
This shape (seen below) also echoes the shapes in the new atium design.
88
Ceiling texture designs
Display Designs
The two sketches below show development of the styrofoam
forms, cash wrap, and rubber floor. Tara Donovan’s styrofoam cup
installations ended up being a perfect fit for my design concept
and the sort of ceiling texture I was looking for.
design developMent
82
89
Gráo, a project by Pedrita of
Portugal, uses recycled ceramic
tiles that are scanned into the
computer and mapped into
images using color imaging
software. The tiles are then
placed according to the map.
With their help I’ll create the
beautiful mosaic for the wall
behind the cash wrap.
Tara Donovan created the
beautiful ceiling art installa-
tion made of styrofoam cups.
One of her other installations
made of layered tar paper
(seen above) inspired the use
of recycled rubber for the floor
material.
The cash wrap desk is a
custom piece by Russell Pinch
made of hazel wood twigs
attached with concealed metal
pins. Hazel is a rapid-growth
tree and sustainable crop.
Materials
90
GREEN EDUCATION CENTER
this three-level space is the center of sustainable
activity in the San Francisco Center for Sustainability. The center
welcomes people of all ages and levels of knowledge about sustainable
living. The first level of NEXT (on the second floor of the building) houses
a library lounge area where people can spend time browsing books
and educating themselves. There are also rotating exhibits on local
companies, new products, and ways to get involved in the San Francisco
green community. The two upper floors house modular classrooms that
may be rented for a variety of educational purposes. Roof access from
the top floor leads to the edible gardens and a model green home
open for touring.
NEXT
float
Outside view of NEXT from
above Howard Street
91
92
floor plan developMent
86
SECOND LEvEL vIEW
93
the “neXt” green education center spans three levels
on the southwest side of the building. Staircases connect each level in a
winding pattern on the window side which creates a busy feeling in the
space. The first floor plan is left mostly open for constantly changing
exhibits. The second and top floor workshop spaces serve many
purposes. They are designed to maximize exposure or privacy
depending on the requirement. Rotating window-walls let in light and air
and let people passing-by pick up on what is happening inside. When
the walls are closed, private space is easily attained. Two designated
media rooms have the ability to be closed-off from the window-walls
and provide a dark space for projections.
fIRST LEvEL vIEW
94
Archive II by David Garcia Studio provides an interactive library
experience for NEXT. Inspired by ancient travelling libraries from
the far East, this is one way to take your collection with you.
visitors may walk back and forth to roll the library and access
books they wish to view, but for the safety purposes of NEXT,
the wheel will be kept on a track with end stops.
installation art pieces
Henrique Oliveira of São Paulo creates incredible installation
pieces sculpted from recycled wood scraps. NEXT features a wall
installation on the south side of the space that extends through
from the first floor all the way up to the roof access.
95
Materials
Bamboo from Plyboo is a
beautiful sustainable
option for the stair treads
and veneers in NEXT
Besides its wonderful color
options and natural texture,
rammed earth acts as a
thermal mass for passive solar
heating in NEXT
Colored art glass from Bendheim
used along the staircase railings
adds a modern touch of color to
the NEXT space
96
anan restaurant
in the top corner of the san francisco center for sustainaBility, an etherial dining experience
awaits. It feels timeless - not quite the past, and not fully in the future,
somewhere in-between. Lush cork and artistically finished metals bring
an organic luxury to the space. Most mysteriously, a cloud full of what
look like stars sits happily inside the expansive space as if clouds were
always indoors.
Current photo from same
viewpoint in Metreon
97
98
design developMent
99
anan Means Mother in Mutsun, the native language
spoken in the San Juan Batista mission. “Anan” echoes the past of
this city and this site, and gives a foundation to build a future on. The
restaurant feels both nostalgic and antique but also modern in a way
through the use of materials.
I find this space in the current Metreon building to be the most
naturally beautiful with an angled rising ceiling and expansive views.
How tragic that it has been left empty and closed off for so long now.
The design is inspired by seeing stars through a forest canopy.
This is the topmost space in SFCS, so it should feel the most airy and
connected to the sky.
100
“Animate field” by Justin Lui
Fiber Optics hang loose in
this art installation and invite
viewers to walk through and
create movement. This is the
same concept inside the cloud
in Anan. The fibers will move
naturally with the air
circulation
Materials
Based-Upon is a London
company specializing in metal
fabrication and surfacing. They
take their inspiration from
natural surfaces. The top left
image is based on the skin of
a stingray. This metal-work is
a main feature in Anan as the
table and column surfaces
Francoise Neilly’s “futuristic
tribal” paintings grace the
walls of the Anan booths as
custom printed wallpaper.
Melandra chair by B&B Italia with cork upholstery
101
“cloudscapes” is a collaBoration By transsolar + tetsuo Kondo. Kondo and Transsolar
proved at the Venice Architecture Bienalle that clouds can exist and be
created inside and used as architectural forms. The clouds are created
by maintaining three different atmospheres in the same room. This
method would work well in a tall space like the Anan restaurant where
three different temperatures and humidities could be maintained. The
indoor cloud may reference the signature fog of San Francisco while
also providing a magical ambience.
102
103
exteriors
104
the fourth floor garden patio is a wonderful place to learn about growing edible plants while relaxing and enjoying the view of Yerba Buena Gardens. Gardeners give regular tours and information sessions at the gardens, and the food grown is featured in the SFCS restaurants.
105
eXterior art projectionsWall art projections have BecoMe very popular as a temporary and non-destructive way of changing the face of a
building. Projections provide a large-scale canvas for digital artists
and an opportunity for public participation.
Shown above is an example of the type of work that could be
projected on SFCS. San Francisco is home to a talented group of digital
media artists. This piece is by Willa Köerner, a video and mixed media
artist and friend of mine.
106106
107
conclusionthe san francisco center for sustainaBility is a working “building for the new future” because it examines not just
the sustainability of our resources and design but also of society and
human interaction. The Center encourages real-life interaction among
visitors and between people and the building itself. SFCS is designed for
change, and this makes it even more sustainable. Art will always have
an important role in the life of SFCS. Spaces like Good Company diner
help us take a fun but critical look at how technology is involved in our
lives and how to use it productively. Over time, the SFCS will foster an
inclusive community dedicated to problem-solving, creating vibrant
culture, and enjoying life.
If the future is about having a future that is better than the
present, then the SFCS can serve as a starting model for
how buildings should behave.
108
BIBLIOGRAPHY
Metreon Information:Lazarus, David. “Metreon’s Shattered Dreams” Friday, Febrary 24,
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update
http://www.designbuild-network.com/projects/le-phare/le-phare3.html
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MaterialsBrownless, Blaine. Transmaterial 3: A Catalog of Materials That Rede
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http://www.pge.com
ArtBishop, Claire. Installation Art. Routledge, New York: 2005.
Frieling, Rudolf. The Art of Participation 1950 to Now. Thames and
Hudson, New York: 2008.
http://davidgarciastudio.blogspot.com/2009/07/archive-series.html
http://www.henriqueoliveira.com/
http://www.francoise-nielly.com/
http://we-make-money-not-art.com/archives/2010/09/cloudscapes-by-
transsolar-tets.php
tara donovan: http://www.acegallery.net/artistmenu.php?Artist=8
Green Design
http://www.usgbc.org/DisplayPage.aspx?CategoryID=19
http://www.greenstrides.com/2008/05/27/greening-buildings-with-bio-
walls/musee-du-quai-branlys-living-walljpg/
http://www.oasisdesign.net/water/treatment/slowsandfilter.htm
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I would like to thank my directed study advisors- Francesca Zito,
Craig Henritzy, David Anttila, and Stephan Hoffpauir- for all your
guidance and support. Thanks to my friends in IAD for the feedback
and coffee breaks. Thanks to the Academy of Art for the opportunity
to create a thesis project. To Jem and Max for staying up all night with
me. And espeically to Mom, Dad, Laurel, and Ben for your unending
love and support.
This project wouldn’t have happened without you!
THANKS
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