need help

I have difficulty to find out my case study. Could anyone recommend me the space concern about cultural mix or culinary architecture?

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Marc,

I went to the Lindy Roy website, which was fantastic- thanks for the info! I do think that it is crucial to acknowledge the character of the site when designing...it's history, purpose, dynamics, culture, etc. The bar Lindy Roy did that you were referring to, "Noah," did pick up on the aspects of the meatpacking district (gay culture, "bar pickup scene", industry, meat, etc). I also found another example that I thought was interesting by Hariri & Hariri, which was actually their proposal for the High Line.

They created an enclosed space (much like the one inherent to my project) and integrated human scale seating to allow High Line visitors to literally interact with the building. Now the building is not only a inhabitable structure on the interior but also a "chair" on the exterior. It capitalizes on the movement of people and alters their path, inviting them to merge with the landscape/form of the building itself.

For my program, I was thinking about taking the quantitative aspects of the hotel processes (timetable, # of guests, # of rooms, etc.) and allowing them to inform the building or the rooms in a qualitative way. And on the opposite end, having the individual/qualitative aspects of the people (either those on the high line or those in the hotel) to inform the building in a quantitative way.

For example, when an occupant turns on the light in their hotel room, maybe it illuminates a completely different part of the building (on the exterior perhaps? in color?) or when guests check in at the front desk in late afternoon-evening, it affects the bar in some way, such as the music gets gradually louder with each guest who checks in.

Window Balconies

This is the type of thing I am talking about for my project, where one type of architectural element can become another and thereby bring animation and life to the building by way of movement. These for example, would change the look of the facade depending on how many balconies were open. It would be ever-changing based on the individuals who occupy the space inside...the architecture is being influenced by people and is never static.

(These are windows by a Danish designer that convert into little single-person balconies)

zumthor vids

check out zumthor videos on the arch thesis blog...

Hyeryun Hong post

“THE CHELSEA CONNECTION”

AN ART GALLERY IN
CHELSEA, NEW YORK

Gallery- a room or building devoted to the exhibition of works of
art. This is the definition from dictionary. What do you think about this? “ a room or building devoted to exhibition of art and to enjoy and learn about art.”
Many artists and architects inspired from some small objects which can be seen easily from around you, like flowers or abandoned pan or foreign letters… To design this gallery, one stack of firewoods gave me an idea. By stacking same woods at random, it had certain shape and form. That is the way what I want to make this gallery, free spirit from individual wood and unexpected shape of building from stacking. By stacking similar shape of space differently, artist and art lovers can enjoy different experiment.
Nearly twenty years ago, I owned an art gallery in Seoul, South Korea. For reasons beyond my control I was forced to sell my gallery and since that time I have wanted to develop another one either in the U.S. or South Korea. I am an art lover and enjoy both traditional and modern art with frequent visits to galleries in South Korea and New York City.
Most galleries merely provide the artist with a large room to display his or her work. Although this does in fact give the potential patrons a chance to see the work, it does little other than that. As a purchaser of fine art I understand that the potential art buyer need to make a deep and meaningful connection with art work in order to invest any significant amount of money. This is how it should be. To foster a deeper connection with the art this gallery will do a series of subtle and not so subtle things to help the process along. That would include the following.
1) In addition to the obvious exhibition hall there will be a café immediately adjacent to it which will allow the patrons to relax, feel welcome, to linger and to gaze at the art work as they have coffee or tea.
2) There will also be a bookstore in the café which will give the patron a chance to learn more about the artist and about art in general.
3) The café will serve as a lecture area where the artist can mingle with the patrons and give a lecture as well.
4) The gallery will supply a room for the visiting artist to stay which will save them the cost of a hotel room and make it far easier for them to set up their art and any back up materials. This can be a very great problem for artists that are traveling from either over seas or from another part of the country.
5) A small studio will be available for the artist to set up shop and to work. This will provide unique creative environment for the gallery and give the patrons a chance to observe the artist in action. Again this will give both the artist and patron a chance to connect on a deeper level which will enhance greater understanding of the works in questions and increase the chance for more purchases.

As you can see, the theme of this gallery is one of connection. I want to help the patron to connect with the art and the artist in ways that are not ordinarily seen. Not only will there be a connection between East and West, past and present but most importantly this will be a gallery where patrons will connect with their passion for art and with their passion for beauty.

Diagram

My new diagram will respond to the interaction between static and moving elements in the built environment

sundial bridge

The Sundial Bridge at Turtle Bay crosses the Sacramento River in the heart of Redding, California. Opened July 4, 2004, the bridge links the north and south campuses of Turtle Bay Exploration Park and serves as a new downtown entrance for Redding's extensive Sacramento River Trail system.The bridge celebrates human creativity and ingenuity, important themes of the 300 acre Turtle Bay Exploration Park. The steel, glass, and granite span evokes a sense of weightlessness and the translucent, non-skid decking provides for spectacular viewing at night. The bridge is also environmentally sensitive to its river setting. The tall pylon and cable stays allow the bridge to avoid the nearby salmon-spawning habitat there are no supports in the water while encouraging public appreciation for the river. Plazas are situated at both ends of the bridge for public use; the north-side plaza stretches to the water allowing patrons to sit at the river's edge.In addition to being a functional work of art, the Sundial Bridge is a technical marvel as well. The cable-stayed structure has an inclined, 217 foot pylon constructed of 580 tons of steel. The deck is made up of 200 tons of glass and granite and is supported by more than 4,300 feet of cable. The structure is stabilized by a steel truss, and rests on a foundation of more than 115 tons of steel and 1,900 cubic yards of concrete. The McConnell Foundation, a private, independent foundation established in Redding in 1964, funded the majority of the bridge's $23 million cost.

World renowned Spanish architect and engineer Santiago Calatrava conceived the Sundial Bridge's unusual design, his first free-standing bridge in the United States. Calatrava has built bridges, airports, rail terminals, stadiums, and other structures around the world. His notable designs include the new PATH transportation terminal at the World Trade Center site in New York City and several projects at the 2004 Olympic Games in Athens, Greece, including the main stadium where opening and closing ceremonies were held.

diagram

Earth rotation and revolution around the sun makes sunrise and sunset. Sun altitute and azimuth is changed by earth rotation. Depending on sun altitute and azimuth direction of sunlight and shadow is change. Draw diagram of relationship between rotation of earth orbit and shadow of sundial will help me to organize my idea of youth hostel.

youth hostel

The rhythm of day and night had regulated all life on the earth for a billion years. Sunrise and sunset is a kind of signal to change their activity. As sun is moving it makes shadows. Length and direction of the shadow is rapidly change by time. Using sun altitude and azimuth, find out relationship between architecture and shadow, it can create different circumstance of the space. My thesis project is youth hostel. Traveling is change of locations from one place to another. Traveling is not only move to another place. While we are traveling the place, time is also passing. It means traveling is moving to another place and also time. Place and time that we are travel can be the past, present and future. If hostel can move by itself, it makes continuing traveling even travelers are sleeping and taking a rest. From this project as time goes by people who are inside the building and also outside the building can feel the change of the time and the space.

The site of my project is in time square. Based on hostel users’ survey, travelers want the location which is close from transportation and walk to many attractions. I choose my hostel site at 119west 45street. It is very close to time square and easy to take subway to anywhere in New York City. Right now this building is used as hostel which is highest rating in New York City hostels because of its location.


Sundial is timepiece that indicates the daylight hours by the shadow. The shadow of sundial changes by sun altitude and azimuth. Reciprocal action between sun and shadow, shadow and architecture, and architecture and people is the main intention of this project.

inspiration

casting shadows

methods of shaping the shadows.
projecting from two differnt kinds of light sources.

inspiration

Sequence of shadows as the sun emerges from clouds

analytique..

First of all, I thought about the differences between memories and moments. According to the duration of time, I divided up three categories – a particular point in time- the moment
short-term memory
long-term memory.
So I want to capture moments and hold memories.

Basically, I think shadow is a container of memories. I want to bring “shapes of shadows” into my diagram. First, there are some relationship between the span (duration) of memories and the length of shadows. By changing the container, it is not only the changing of spaces itself, but it could be also some opportunities to change their memories.

There are some experiments for analytique..What I’ m going to do is that

1. Using different lengths of shadows, see what happen – I can get different shapes of shadows from the same object.
Which represents that people can recall different memories from same memories according as spaces changed.

2. With various materials like transparent, translucent, textured- that they have own character, see different shapes of casting shadows. See diffused lights and spread lights.
Which represents that various materials focus on more individual characters that I want to hold onto space.

3. I want to explore some particular shapes like a slit or a pod that could be produced by overlapping different shapes of shadows.

My intention is that I want to make a kind of very slender windows (?? maybe just a slit). By means of slits of pods that show just particular moments of spaces, it evokes a curiosity and it makes people (neighborhoods) come into the space and participate in there.

im still working on statement. i'll post it as soon as possible.

Rachel Whiteread

"Untitled (Paperbacks)" by Rachel Whiteread, room installation, containing plaster and steel, gift of Agnes Gund; Thomas W. Weisel, Patricia Phelps de Cisneros, Frances R. Dittmer, John Kaldor, Emily Rauh Pulitzer, and Leon Black funds, and an anonymous fund, 1997

Rachel Whiteread turns, she maintained, to "the notion of interiority…of the literal inversion of space, to dig into the pool of memory and collective history. Her casts in plaster, wax, rubber, resin, or concrete, which range from domestic objects to full-scale rooms…, convey a sense of history even as they signal human absence. Untitled (Paperbacks), 1997, [shown above]…, is the negative cast of a walk-in library, where row upon row of paperbacks, shelved spine inward, double as a mnemonic field."

Precis

My thesis will focus on the interaction between individuals and the space they occupy, in this case, a hotel. I believe that the built environment should engage in dialogue with its occupants; they should respond to, as well as influence, one another. The architecture can influence people in many ways. It can manipulate the way they move through the space, the amount of light or air that is provided, and create a certain atmosphere. People can also create their own experience in a space by altering the lighting conditions or opening and closing doors and windows. I will amplify these options in my program.
The program, a hotel, inherently engages in repetition on both a logistical and physical level. That repetition contrasts with the transience and diversity of the people who move through and occupy the space. The systems the hotel employs (such as valet, maid service and check-in/check-out) and the rigidity of its layout (identical, stacked, numbered rooms) imply a place of static. The vigor and individuality of the guests who occupy the hotel for brief, staggered moments in time are what brings it to life. My program will seek to magnify the role that individuals play in the rooms they occupy, removing the identical quality that is found so often in this type of program.
Often, a hotel includes a bar as one of its amenities. The bar is the rebellious younger sibling to the hotel that houses it. The bar is where patrons leave their inhibitions behind and interact with strangers. In the daytime, when there are few patrons, the bar is relatively quiet and still, but in the evening hours, people come and bring it to life. The change is marked by the level of light, noise and temperature, by the atmosphere of interaction, and the movement of the bartenders and patrons.
The hotel will be situated on the far West side of Manhattan, in the northern part of the burgeoning Meatpacking District, and the southern part of West Chelsea. West Chelsea is quickly becoming one of the most coveted parts of the city for culture and entertainment. This growth is directly related to the imminent construction of the High Line. The High Line is an elevated steel and concrete structure that was built in the 1930s to accommodate freight trains transporting goods through Manhattan. In the 1950s, the demise of the High Line began and it was ultimately taken over by weeds- a moment of intervention between natural and artificial- as it stood vacant and unused. The structure is currently being revitalized and adapted as a public park. It will provide contrast to the loud, fast, artificial city that surrounds it by assuming a dramatically different stance, one of slow, thoughtful reflection, new vantage points, integration with the buildings and city it inhabits, and a place to experience a piece of Manhattan’s history. The building itself, 450 W. 14th Street is unique in that the High Line intersects its third and fourth stories, creating a void in the space between the building and the Highline, and again between the Highline and the street below. This intersection represents an opportunity to explore the relationship between movement and stillness, above and below, and indoors and outdoors.
I propose to create a space that is influences and is influenced by its inhabitants and its site. The architectural elements of the space will overlap, intersect and move in ways that allow them to be used for more than one purpose and to create more than one type of space. The movement of people along the High Line provides a continuously changing view for those who are inside the hotel. The hotel will mirror that movement and transformation for those on the High Line to look at.

Title of a diagram

My title will be ' 1:00 pm, Lunch at restaurant' . I am thinking about sun light and outside view which penetrate several layers.

Arab Institute in Paris

Thesis statement

In the movie “The Cabinet of Dr. Caligari”, the hero keeps a means in the cabinet which can achieve his desires. The means in the cabinet can be awaked or slept by his necessity. That is, through the cabinet, he owns the time that he wants to preserve. As a result, he can control his time by keeping what he wants to realize. In this way, if I consider the cabinet as a unique space and the time as a history, I can think that the cabinet is a place which contains a history, and this is a museum.

My program is an about a history museum. History museums cover the knowledge of history and its relevance to the present and future. Therefore, the museum should maintain relationships between past and future in a continuous time. In my program, the museum is a space that preserves times has existed and offers it to people looking at it. This program started from some thoughts about extracting period times from an original flow of history, not only a concept of meanings but appearances. Finally, my program is a series of processes that pulls out the space from a continuous history, and put the fragments of times in it.

I could figure out that the axis of nature is a continuous space and the axis of the city is a flexible space, through the site analysis. The intersection of these two directions makes some distorted space. In terms of this concept, gap spaces will be made by between the distorting forms and existing forms, and these provide experiences to people that see the time of the inside from the out side. Consequently, the program can be diversified by several activities in my program – extracting, slanting and twirling. Additionally, there are indispensable studies about the scientific phenomena by distorting shapes. For example, the lights also could be the most important features in here, because space makes different effects according to lights with other circumstances such as color, materiality and time.

Analytical sequence

What I'm thinking about this is the sequence of spatial changes when person open a cabinet or drawer. This include not only explicit spaces but implicit spaces. People have a biological space-body, and there are implicit spaces surrounding his body. After he have a intention of opening the cabinet, there are chages at both of spaces. Maybe they can be accompanied with changes of volume, density and so on..... I'm still thinking about its method of illustration.

Precis

Culture, food and space


When we have food from another country, we can say that we are encountering of the culture in that country. This is because food can be seen as the condensation of every day life. If we encounter this food in a right space, a synergistic effect is created and it will be a special memory. My thesis project is a space for food, especially based on Cuban Chinese culture. The space contains a cooking studio, a restaurant and a gourmet shop. My challenge is to create a space that combines the different characters of these three elements harmonizing culture, food, and space in a way that will produce synergy.

The space is located in DUMBO. DUMBO is an energetic artistic community which has a vibrant history and a stunning view at the foot of the Brooklyn Bridge. This merit plays an important part in making it an axis of visual sequences. As west met east, they were both transformed, such as Cuban Chinese. The space will reflect this mutual transformation, as every element in the space is interwoven with every other element. Sometimes, different purposes or dissimilar properties penetrate each other and some spaces peek through the other spaces. It makes an experience of overlapping layers in one point of view. This aesthetic quality expression will give patrons an opportunity to participate in the performance of cooking, and to encounter unexpected scenes and partake in new cultural experiences.

My intent for this project is to discover how spaces are expressed and developed during the assimilation and deformation of converging cultures and how such spaces can be harmonized under a multi-cultural theme. I would ultimately like to integrate the technical, aesthetic, and intellectual aspects of time and space in this project.

post

http://prattinteriordesignresearchacooney.blogspot.com/

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