Auburn Universtiy School of Architecture 5th Year Portfolio: Casey Canouse

W O R K S

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ATLANTA PUBLIC LIBRARY

CHICAGO CHILDREN’S HOSPITAL

AUBURN FURNITURE PROJECT

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ATLANTA PUBLIC LIBRARY | 4

ATLANTA PUBLIC LIBRARY CENTRAL BRANCH

In the heart of downtown Atlanta, a few blocks from Centennial Park and the Georgia Aquarium, the Marcel Breuer-designed public library attracts few visitors.

We were charged with treating the site as if already leveled and creating a new library for the city of Atlanta. Our goal was that it might assist in the revitalization of this former center of all downtown Atlanta, the particularly famous Margaret Mitchell Square.

The main site challenges include a sloped site and complicated

traffic intersection as well as neighboring buildings that top at 700 feet.

What arose was a series of questions about attracting everyday office-goers as well as tourists, competing with taller buildings, and the existing validity of a library in the future at all.

The points at which the roof peaks at the front entrance wall and the back of the building, seek to compete with neighboring buildings’ heights without actually reaching similar heights. It is in fact the same height as the Candler building.



“HEART”

“FORUM” EVENT ROOM BY UNDERGROUND RAILWAY

“PROMENADE” INTERMITTENT SPACE CIRCUMSCRIBING GALLERY HALL

“INTERSTITIAL SPACE” BETWEEN PROMENADE AND EXTERIOR SHELL

GALLERY HALL (CONTAINS

CASE STUDY STUTTGART LIBRARY, GERMANY

“HEART”



PROGRESSION TO FINAL MODEL


south east

north west

BASIC MASSING | ROOF CURVATURE AND ENVELOPE


01

05

09


DNUP

UPDN

UPDN

UPDN

DNUP

UPDN

UPDN

UPDN

FLOORS 1-4

contain minor floor plates, mostly laptop seating and reading areas

the first floor contains a field of bookcases.

FLOORS 5-8

contain major floor plates.

they contain the children’s library, conference rooms, auditorium & support rooms, and finally the main sets of offices.

FLOORS 9-12

complete the volumes that fill the interior space.

they contain viewing platforms and some smaller offices.

01 02 03 04

05 06 07 08

09 10 11 12


SOLID WALL - SECONDARY FACADE

an internal envelope is sliced away where the once conceptual curves intercept, which gives birth to a mysterious solid-void balance.

CURTAIN WALL - PRIMARY FACADE

the entire object is encased in glass that both reflects the sky from the ground, and allows a view inside to the pedestrian outside.

ASSEMBLY EXPLODED COMPONENTS


FLOOR PLATES & ROOF SURFACE

the introduction of floor plates slightly obscures the play with solid and void, while giving a sense of scale to the building not previously felt.

ROOF SURFACE

the complex curve of the roof allows for multiple views of the surrounding city. Also, the tallest point (seen here in back) has railings, but nothing keeps visitors from walking as high as they can.


VIEW FROM LIBRARY ENTRANCE

A short entry sequence quickly reveals the vaulting interior space (seen on page 5). The book stacks fill the expansive first floor, drawing visitors into a maze if they wish to get a better view of the hovering shapes above.

VIEW FROM THIRD FLOOR COMPUTER AREA

Minor Floorplates, with a range of smaller spaces located in the corners of the building, host either a laptop bar overlooking the interior and desks with desktop computers, or comfortable reading areas.

VIEW FROM THE ELEVENTH FLOOR

Major floorplates float in the center of the interior, They contain designed office space and open office space, as well as an auditorium, childrens reading and book stacks area, and a thin, viewing floor for visitors to look over and see it all from up top.

INTERIOR SPACES IMPORTANT VIEWS


VIEW OF THE MAIN INTERNAL MASS

This internal view shows the Major floorplates that crate a comlex volume in the interior that seems to float above the regular, grid-like book stacks on the ground floor.

It is wrapped in a partially structural grid that separates the spaces inside from sound contamination while also allowing views in as well as out.

The auditorium space would have smart glass, allowing for privacy and a darkened space if needed.

CHICAGO CHILDREN’S HOSPITAL | 16

CHILDREN’S CARDIOVASCULAR HOSPITAL CHICAGO

Near the train tracks in the historical Printer’s District of the Loop of Chicago, sits a small suburban-style bank, complete with drive through.

It was this obvious violation of urban fabric that lead to its selection as the site for the traditional ALAGASCO competition Hospital project.

The site is approximately 250 feet long and 100 feet wide. This led to the program dictating a minimum of eight floors.

With the help of a healthcare Architect, the class received a realistic program. With the advice of an RN Nursing Professor, the adjacencies of spaces was accomplished.

Finally, the bulk of the design was aimed at the Patient Floors and the Patient Care Unit, or patient rooms.

A floor-by-floor terrace scheme provides sick children at most physical, at least visual connection with the outdoors and plants.



CASE STUDY MASSACHUSETTS GENERAL HOSPITAL ADDITION, BOSTON



looking from northwest looking from southeastlooking from west

BASIC MASSING SHIFTING ROOFS & TERRACES



ENTRANCE

A directory area, this entrance serves to steer visitors towards the waiting area, the dining area, or the elevators to see their loved ones.

WAITING AREA

The slowly sloping floor of the waiting area is enveloped by a recycled bioglass wall that is about 80% opaque,but still allows both light and sound to permeate the visual barrier.

FLOOR PLANS GROUND FLOOR


UP

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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GROUND FLOOR

On the long street facade is the eating area, which surrounds the sloping waiting area. The curved stairs lead to a quieter, more private waiting area above.

N

VIEW 1

VIEW 2


FLOOR PLANS PATIENT CARE FLOOR(S)

PATIENT CARE UNIT

A variation on the patient rooms from the University of Minnesota medical center, the now squared rooms contain a stand-up shower, whose doors allow for more space, along with a Murphy bed for parents that stay. Finally, a small station outside for medical charting.

PATIENT CARE UNIT FROM THE OUTSIDE

View from the outside looking in. A series of uplights creates a night-light type of atmosphere. The parent’s murphy bed is on the left.


DN DN

UP

UP

PATIENT CARE FLOOR

Shifting square volumes move the patient rooms as well as the service corridor in between to make room for the terraces. Each floor has a different configuration, since the arrangement loses a set of about 8 rooms each time you move upward.

N


TERRACE 1, FACING WEST AND SOUTH

A series of native plantings form a prairie-like atmosphere with a modern arcade creating a bit of shelter against the building. The roof is made of semi-transparent Photovoltaic panels, that will assist in the watering system for all of the other terraces.

TERRACE 2, FACING EAST

Also a series of native plantings, the second terrace contains a winding path with a bench as well as a fountain. On the South facing wall, the climbing vines create a wall of vegetation.

accessible from the 1st patient floor, viewable from the 2nd patient floor accessible from the 2nd patient floor, viewable from the 3rd patient floor

TERRACES PROPERTIES AND PERSONALITIES


TERRACE 3, FACING WEST

The only terrace that does not contain plantings, the third terrace is a sheltered area with an undulating metal skin as a wall. Circular punctures in the skin allow a clear view to the exterior. Its juncture at two sloped roofs meeting points show how it is the ideal place to collect water and cycle it through a continuous waterfall.

TERRACE 4, FACING EAST AND NORTH

The northernmost terrace, with the least direct sunlight, has the most exotic plantings. They are protected from the harshest of Chicago weather with a greenhouse-like roof.

accessible from the 3rd patient floor, viewable from the 4th patient floor accessible from the 4th patient floor, viewable from the 5th patient floor

AUBURN FURNITURE PROJECT | 28

AUBURN FURNITURE PROJECT: FLEXIBLE WOOD

The main project of first semester of Second Year in Architecture school at Auburn is typically the “House Project.” Gearing up for the project, our class was presented with a series of studying projects. The first was a facade study and redesign in Opelika, the second was a Furniture design.

The assignment was called “Mobilia Inhabitabile” since its main purpose was to design a ‘livable space.’ In this way, a home was equated to a piece of furniture.Our professors made this a group project since it lasted two weeks.

Our site was selected between three trees South of our nearby Amphitheater.

The design goals of our project were to create flexible wood pieces for maximum comfort, establish a view upward toward the treetops, and create an unusual piece that was self-explanatory and needed no supervision.

Overall, the plan was successful in achieving those goals and our surveys proved it. Group Members: Brad Greene & Ashley Williams



DESIGN DEVELOPMENT SKETCHES, MODELS, SITE ANALYSIS

site documentation by: Casey Canouse


sketch by: Brad Greene

sketch by: Casey Canouse

sketch by: Brad Greene

sketch by: Brad Greene model by: Casey Canouse & Ashley Williams


FINAL MODEL DIGITAL

BODYmedium flexibility

full strength wide spacing

HEADhigh flexibility half strength

closest spacing

FEET & WALKINGmedium flexibility

full strength closest spacing


SCREEN field of 1” x 1” sticks that shielded views inward and obstructed the outward views; also allowed wind to enter

BED varying distribution and thickness for flexibility of wooden plane, designed for comfort of occupant

BASE light touch on the ground and allowed for flexing of the wooden bed

STABILITY FRAMING kept the screen from racking, provided stability for entrance

SKYFRAME to frame the view and direct the gaze upward

EXPLODED MODEL DESIGN ELEMENTS


TESTING & SURVEYING OVER FIFTY SATISFIED CUSTOMERS

50% entered by crawling

95% knew to lay down

without any direction

50% thought manipulating “view” was the main concept

of all of the senses affected, 48% said

sight was most prom-inent while 22% said

touch (comfort)


84% had confidence in the design’s sturdiness

87% believed the material choice was

successful in highlight-ing the piece while still

blending in to surroundings

some even jumped up and down on the flexible bed just to

make sure; it didn’t break


FINAL MODEL PHYSICAL

WOOD TYPEcedar

METHODcut with University Shop facilities, hand-stained, nail gun and hand-screwed

DIFFERENCES IN COLORhand applied stain


ARTWORK WATERCOLORS | 38

ARTWORK WATERCOLORS

REPRODUCTION TURKISH ARCHITECT - SEDAT CETINTAS

location: Bursa Hudavendigar Mosque . Minaret balcony. ITU Faculty of Architecture Archive.

ARTWORK WATERCOLORS | 39

REPRODUCTION WATERCOLORIST - MICHAEL REARDON

Orvieto, Italy

ARTWORK PHOTOGRAPHY | 40

ARTWORK PHOTOGRAPHY

Last day of CarnivalPienza, Tuscany, Italy (left)

Piazza del Margherita Venice, Italy (middle)

Purple Umbrella Ostia Antica, Italy (right)

ARTWORK PHOTOGRAPHY | 41

ARTWORK SKETCHES | 42

ARTWORK SKETCHES


VILLA GIULIA

These are a series of sketches done during a class trip to the Villa Giulia. The Villa was owned by a prominent Roman family and is located just North of the Piazza del Popolo.


ARTWORK SKETCHES


THE SPANISH STEPS

These are a series of sketches done during a class trip to the Spanish Steps. This was a period during which most of my sketches were highlighting one specific aspect, usually with a singular color within an otherwise graphite-stick drawn sketch.

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The Hospital Project taught me that form and large ges-tures are more immediate to me than materiality and de-tails. This lead to my thesis topic concerning details.

This is the first project I ever used Revit with. It enabled me to better handle the sheer size and scope of the program.

The Library Project took me beyond my comfort zone. Large, complex curves have proven to be more grace-ful than the orthagonal de-signs that I clinged to. I have to thank my professors for pushing me far enough.

Also, my skills with Revit greatly improved with the in-put of this project.

The Furniture Project was my best group project and al-lowed me to deal with typical group dynamics.

Our project was the only one to survive past the due date. In fact, it stayed in the middle of the studio, where many tired students would take naps.

Upon reflection, Architecture School has been quite a blessing. First year they taught us to throw ourselves into our projects. Second year I learned to accept criticism, and to not take it personally. Third year I learned to try new things, and that anyone, even I, can sketch beautifully. Fourth year I set goals for myself that I could have easily failed in reaching, and met them.

Thesis year is proving to be the biggest challenge yet, which, if pattern holds true, could be my best project of all.

Documents

Auburn Universtiy School of Architecture 5th Year Portfolio: Casey Canouse