Studio Fundamentals III Process Book

DANIEL REYNOLDS

PROFESSOR WOODS - DSGN 225 STUDIO FUNDAMENTALS III – ARCHITECTURE - SPRING 2012 - SAVANNAH COLLEGE OF ART AND DESIGN

SITE OBSERVATIONS

SITE ANALYSIS

PROPORTION SYSTEMS

EXPLORATION OF MOVEMENT

STRUCTURAL CASE STUDIES

STRUCTURAL EXPLORATIONS

STRUCTURAL PROPOSALS

CONCEPT STATEMENT & CENTERING QUESTIONS

FINAL PROJECT

2

3

4

7

10

11

16

20

21

SITE OBSERVATIONS 2 G R A P H I T E S K E T C H E S

SITE ANALYSIS (SAMPLE SCANS) 3 4 G R O U P A S S I G N M E N T

FLOOR TO KNEE 19” FLOOR TO HIP 36” KNEE TO HIP 17” FLOOR TO WAIST 40” ELBOW TO FINGER 17.5” OVERALL STATURE 69” STATURE AND ARMS 84” FLOOR TO SHOULDER 55.5” FOOT LENGTH 10”

BODY AND ENVIRONMENT 4

DANIEL REYNOLDS PROFESSOR WOODS DSGN 225 MEASURING EXERCISE SPRING 2012

PERSONAL BODY MEASUREMENTS ENVIRONMENTAL MEASUREMENTS

KITCHEN COUNTER HEIGHT 36” KITCHEN CABINET TOP HEIGHT 18” AFC DINING TABLE HEIGHT 30” DESK HEIGHT 30” KITCHEN COUNTER DEPTH 25.5” CEILING HEIGHT 102” FRONT DOOR HEIGHT 75” STAIR TREAD LENGTH 11” HEIGHT OF MATTRESS 28” HEIGHT OF SOFA SEAT 19” DEPTH OF SOFA SEAT 22”

CORRELATIONS: BODY & BUILT ENVIRONMENT (APPROX. RATIOS)

FLOOR TO KNEE= FLOOR TO MATTRESS

FLOOR TO WAIST > FLOOR TO DESK HEIGHT

FLOOR TO HIP= FLOOR TO COUNTER

FLOOR TO SHOULDER= FLOOR TO CABINET BOTTOM

BODY STATURE< DOOR HEIGHT

FLOOR TO WRIST= FLOOR TO DINING TABLE HEIGHT

1:3 1:1 2:3 2:5

The built world is a reflection of the scale of the human body. This is seen from depth of stair treads to the size of door openings and even the gridding the urban environment. As such the ergonomic considerations of table heights and sitting surface heights, for example, directly correlate to dynamic areas of the body including the knee and waist.

GOLDEN RATIO 5 1:1

1:1


DISCOVERY OF THE RATIO Euclid (323-283 BF) is attributed with the first written account of the golden ratio: "A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater segment, so is the greater to the less." Euclid is considered the “father of geometry” as he discovered the principles of this area of mathematics including perspective, conic sections, and spherical geometry.

WHAT IS THE GOLDEN RATIO? In mathematics two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one. The golden ratio is found naturally in many living organisms and natural structures including the proportioning of the human body. As it is concerned with architecture and the world of design, the ratio acts as a regulating standard by which pleasing enables of form, space, and embellishment is derived and regulated.

IMPLEMENTATION As is seen to the left, the golden ratio is both evident in the human form and also artistically implemented in the composition of the painting, Mona Lisa by Leonardo da Vinci. The subconscious psychological attractiveness of the golden ratio here is apparent and timeless.

PROPORTION SYSTEMS: ITALIAN RENAISSANCE 6


HISTORY Occurring between the 13th and 16th centuries, the Renaissance was a period scientific, social, and artistic innovation taking place in Italy and northern Europe. The pioneering use of linear perspective, the golden ratio and regulating lines in architecture to achieved a formal elemental balance based on the human scale.

ARCHITECTURE Reflecting the philosophy of humanism, architecture of the Renaissance aimed to achieve a sense of lightness and spaciousness quite the opposite of the dark-spiritualism of the Middle Ages. The resurgence of classical orders was married with, as of then, groundbreaking engineering. Refinement and proportion were the ideals of this time period as the geometric study of the golden ratio in conjunction to the human scale ensured that Renaissance buildings were of dignified proportion and assemblage.

EXPLORATION OF MOVEMENT - ANALYSIS 7

0 SECONDS 0.5 SECONDS 1 SECONDS 1.5 SECONDS 2 SECONDS 2.5 SECONDS

2D ELEVATION

2D VERTICAL ELEMENTS

HEAD

RIGHT FOOT

WAIST

LEFT FOOT

JAZZ In this series of movements during a segment of jazz dancing, the movement of the body is diagramed. The erratic nature of the move reveals the energy, form, and movement that the body undergoes in this sequence. The body begins the movement by swinging the right leg perpendicularly up and down while balancing on the left foot; the arms are freely held out from the body. In rapid succession weight is shifted entirely to the right foot as the left is swung behind the body. During this time the left leg is simultaneously twisted to the front of the body as the torso shifts left before the left foot is returned to the ground and thus ending the move. This 4 second dance sequence represents the shifting of energy and mass from the right to the left side of the body. The effect is elegantly simple producing an oscillating sine curve in which energy is not lost or gained but rather shifted right to left.

3 SECONDS 3.5 SECONDS 4 SECONDS

EXPLORATION OF MOVEMENT - MODELS 8

DANIEL REYNOLDS PROFESSOR WOODS DSGN 225 SPRING 2012 ASSIGNMENT 2

TECTONICS In further exploration of Jazz dancing, these models represent the shifting nature of energy. As is clearly demonstrated here, the movement consists of mass revolving around a datum point much like the revolving cam shafts of an internal combustion engine. This is the result of a 2.5 second study of the movement of the head, hand, waist. knee, and foot of the dancer through space. During this period the head, hands and waist remained relatively static while one leg (knee and foot) swung a bout the body. The use of white sting portrays this shifting center of mass in the dancer through this movement while the black string identifies the linear path by which the single bearing leg moves.

PHYSICAL - MODEL AERIAL PHYSICAL MODEL - AXONOMETRIC

REVIT MODEL - AXONOMETRIC REVIT - MODEL AERIAL

EXPLORATION OF MOVEMENT - PRECEDENT 9

TURNING TORSO SANTIAGO CALATRAVA Inspired by human anatomy the Turning Torso building in Malmo, Sweden is Calatrava’s first significant design in verticality. Consisting of nine five-story ‘cubes’ cantilevered from a central core and supported on one side by a steel assemblage, the tower twists in a fashion structurally analogous to a spinal column. As the plan rotates about the structural cylindrical core, the mass of each ‘cube’ is asymmetrically positioned. Subsequently as the tower rises, the form of the building is transferred 2 degrees to the right on each additional floor. As the shaft of the structure does not taper, the mass of the building is swung 90 degrees in total between the ground floor and uppermost floor. The total aesthetic effect is multisensory for its structural biomimicry of the dynamic human form.

PLAN

CONCEPT SKETCHES EXTERIOR VIEW

STRUCTURAL CASE STUDY 10

DANIEL REYNOLDS PROFESSOR WOODS DSGN 225 SPRING 2012

S T R U C T U R A L C A S E S T U D I E S

STRUCTURAL EXPLORATIONS 11


SECTION B SECTION A

ELEVATION

PLAN

DANCE FLOOR

B

A

A

B BAND STAGE

P N E U M A T I C S T R U C T U R E


SECTION B SECTION A

ELEVATION PLAN B B

A

A

DANCE FLOOR

BAND STAGE

T E N S I L E S T R U C T U R E STRUCTURAL EXPLORATIONS 12


SECTION B SECTION A

ELEVATION

PLAN

DANCE FLOOR

BAND STAGE

B

A

A

B

S H E L L S T R U C T U R E STRUCTURAL EXPLORATIONS 13


SECTION B SECTION A

ELEVATION

PLAN

DANCE FLOOR

BAND STAGE B

A

A

B B

A M O E B A S T R U C T U R E STRUCTURAL EXPLORATIONS 14

S K E L E T A L S T R U C T U R E


SECTION B SECTION A

ELEVATION

PLAN

DANCE FLOOR

BAND STAGE

B

A

A

B

STRUCTURAL EXPLORATIONS 15

STRUCTURAL PROPOSALS 16 4 T E N S I L E S T R U C T U R E

SECTION B SECTION A

ELEVATION PLAN

DANCE FLOOR BAND STAGE

A

A

STRUCTURAL PROPOSALS 17 4 S K E L E T A L S T R U C T U R E

SECTION B SECTION A

ELEVATION PLAN

DANCE FLOOR

BAND STAGE

A

A

STRUCTURAL PROPOSALS 18 4 S H E L L W / T E N S I L E S T R U C T U R E

SECTION B SECTION A

ELEVATION

PLAN

DANCE FLOOR BAND STAGE

A

A

S K E L E T A L S T R U C T U R E

SECTION B SECTION A

NORTH ELEVATION

PLAN

B

WEST ELEVATION

ROOF PLAN

B

A A JAZZ BUILDING

PORTE-COCHERE

STRUCTURAL PROPOSALS 19 4

FINAL PROJECT 20 C O N C E P T S T A T E M E N T A N D

C E N T E R I N G Q U E S T I O N S

Hybrid Space Concept Statement

Concept:

This performing arts center at the SCAD Museum of Art uses architecture as aperture to frame existing views to develop a relationship

between the new center with the old site…

Process:

Jazz dance is the generative inspiration of the performing arts center by emulating the shifting nature of the performance. Much like the

swinging limb motions of jazz dance, the performing arts center shifts from within the SCAD Museum ruins into the pedestrian axis running

between the museum and Eichberg Hall to ‘scoop’ visitors into the site and structure. This fusion of architecture with the movement of the

human body creates a sensory experience uniting the University with itself and linking the Institution to the broader community.

Hybrid Space Project Centering Questions

1) What is the central concept or idea that drives your project and consequentially helps you make important decisions?

Inspired by the shifting nature of jazz-swing dancing, the form of the addition shifts its footprint from within the SCAD Museum ruins into the pedestrian

axis running between the museum and Eichberg Hall set beneath an undulating and rhythmic roof. The expressions of shifting mass and rhythmic

movement outline for me the concept that I aim to express in my structure.

1) What influence has the previous analysis stage played in your design scheme and what logical design process have you followed through this project.

The previous site analysis and human scale studies have informed me of what I must address in context to the site and with what aesthetic finesse I am to

execute this endeavor. Logically I am starting from the study of the human form through space and time to inform me of the form my building is to take

place and secondly I am implementing the needs of the site into this form, namely the addressing of views beyond the site.

1) How have you gathered and applied information about human needs and behavior, sensory/physiological/ psychological perception and aspirations to

inform the design process.

In my own observations and of knowledge learned throughout my studies I am implementing several architectural elements into the design to address

human psychology and needs. Among these human perceptions is the social need to gather and congregate without impediment as well as awareness of

one’s surroundings and sheltering from direct sun.

1) What ecological impact does your project have on this project?

The increase in impervious area is a result of the footprint of the addition as well as the possibility of solar gain in the roof, though this can be addressed

in the albedo of the roofing material. However water harvested from roof and site runoff can be stored and utilized in irrigating the landscaping of the

site.

1) What role does scale, distance, and movement play in the perception of the site and the design in this urban environment? How do man, landscape, and

building relate?

My design respects the scale of surrounding structures including the SCAD Museum and Eichberg Hall in that it does not exceed the height of these

buildings. Additionally it is this scale that is also about the average height of the tree canopy in the Oak trees found throughout the squares of the city.

1) How does your project address the organizational and spatial issues?

The program is divided into three sections; public performance, administrative, and private residences and as such the building will reflect these divisions

by separating these functions into three separate buildings. In doing so, unobstructed views through the site for pedestrian and vehicular traffic are

afforded as well as improved circulation through the site.

1) How does your design utilize vegetation (existing or proposed) as space making and character giving elements?

All existing site trees are left untouched and additional foliage is envisioned to accentuate the concept of flowing forms by mimicking the \undulating

massing of the roof. Additionally the patterning of these plantings can delineate further exterior spaces around the addition to, in essence, further the

performance into the surrounding environment.

1) What role has the gestural sketch played in the design and representation of this project?

Gestural sketches of human movement have directly led me to the conclusion that the structure is to be united by a single-undulating element. In

sketching, I took note of line clusters and gatherings to tell me where important forms of my design are to be placed and scaled.

1) How are handicapped codes and site restrictions manifested in your design thinking and building/ site making?

The building is on level topography so floor level changes require no wheelchair accessible ramps. The site’s adjoining pedestrian sidewalks are

left intact and not encroached upon so as to allow all pedestrian (and wheelchair) traffic to flow in an unobstructed manner.

1) How are you dealing with the interface between vehicular (patron and emergency) and pedestrian circulation in your project? How are you

addressing parking?

Increased onsite parking behind Eichberg Hall will allow for additional visitors from abroad. But it the form of my design that enhances pedestrian

circulation through the site as the footprint of the structure is separated into three envelopes. This allows for a flow of foot traffic through the

building site in two areas.

1) What historical architectural precedents, conceptual idea, technical ideas, ethical values and aesthetic/ theoretical issues have helped you determine

your design?

Le Grande Arch in Paris by Johan von Spreckelsen is of great inspiration to me on the project as this structure links past and present through

expressed structure and form. Most significantly is the Arche’s alluding to history by referencing the form of the Arc de Triumph while allowing for a

direct view through the building as it sits on an important axis of the city.

1) What has been the greatest site design challenge in this project?

The greatest design challenge for me so far in this project is the successful expression of the human body in a dance movement. It is highly difficult

to express a human gesture in building scale while also fulfilling a program within a complex site with a myriad of conditions and considerations.

1) What makes a good performance space?

A successful performance space provides a setting in which an artistic performance is held and allows for an audience to experience the artistry

with the highest sensory degree. A performance space should enhance the performance experience through architectural auditory and lighting

techniques while also acting as a social center of the community.

FINAL PROJECT 21 P E R S P E C T I V E I M A G E R Y

FINAL PROJECT 22 P L A N S

FINAL PROJECT 23 S E C T I O N S A N D E L E V A T I O N S

FINAL PROJECT 24 P R E S E N T A T I O N P O S T E R

Documents

Studio Fundamentals III Process Book