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Design portfolio for a recent Masters of Architecture graduate seeking a junior level architecture positions.
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DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER DONNER DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER PORTFOLIO DONNER ADAM H.
ADAM H. DONNER PORTFOLIO
and projects meanings. The ultim
ate mean i ng
of an
y bu
il ding is
beyond architecture; it directs our conscio usness b
ack to the wo
rld and
towa
rds ou
r own se
n
se of
It is 2:00 pm. Th e sun is h ot
. The
breee occurs infreuen
t ly an
d is
cool fro
m co
ming off of th
e surro
undin
g
self and being. ignificant archite cture make
s us e
perienc
e ou
rsele
s as
world and towards our own sense of self aInstead of creating mere objects of
isual sed
uctio
n archite
cture re
lates med
iates
Instead of creating mere objects of isual seduction architec
ture re
lates
med
iates
and
projects mea
ning
s. The
ultim
ate
The h
istorical ag
gran
die
men
t of the
isual
Instead of creating mere ob
jects of is
ual sed
uc
tion arch
itectur
e relates mediates
try and distingu ish wha t and how
many people pass by
just through listeni ng. I always guess low for the numbers of people.
ot e
ery sho
e m
akes noise and not eery perso
n talks. ug
gage an
d Th
e his
torical aggrandiement of the isual sense has arguably deelo ped
startin
g from t
he abstracted sy mbo
lic m
easu
ring of ge o
metry thro
ugh ad
an
ceme
nts o
f isu
ally
ignificant architecture makes us eperience ourseles as comple
te em
bodied and s
piritu
al be
ings
. In fact this si
the grea
t function
of a
ll me
aning
ful
accommodating technolo
gies to the consumerist cult ure dom
inated by the need to epress a
thing
in th
e fastest most easily stimu
lating
way pos
sible.
water. I am
poolside. The
re is
a sub
tle white no
ise of rushing
water. T
his come
s
from a small fountain about 0 feet away. It drowns out a
ny dist
ingu
ishing
con
ersation fro
m anybo
dy
The sun is
warm on my face an
d ar
ms.
I can feel it sl
i ght
ly through my shirt. The
re are m
omen
ts of c
hille
d br
eee. I
t is
noon. si
story bu ilding b locks the sun from
rea ching about half of the public space. I hear h
eeled s
hoes on
t
he marble
and granite paing. hairs
sliding and adjus
ting on
the w
ood dec
k upon wh
ich I sit. trollers are freuently going by o
ther th
an con
er s
atio
n
rchitecture too has fallen into this image based aggregation. It is im
plicit that we lie in a culture where image is a commodity and
it only
mak
es sen
se that image based architect
ure would
fall into t
he ca
tego
ry of t
his as well.
the strongest a nd smartest men whoe eer li
ed. I see all this potential and I see suandering. od
damn
it an en
tire generation pumping gas
waitin
g table
s; sla
es w
ith w
hite collars.
paing. hairs sliding and adjust ing on the wood deck upon which I sit. t rollers are freuently going by other than conersation these are the noisi
est things
. The
re i s
music playing from the
si story build
ing. I close
my ey
es to
ne can
argue that architectur e is j udged mostly for how it looks. This is not a good thing. uy ubord author of The ociety of the
pect
acle
argu e
s that the perceptible wor
ld is replac
ed by a s
et of
imag
es
and projects meanings. The ultimate m
eaning of any bu il ding is bey
ond architecture; it directs ou
r conscious
ness bac
k to th
e wo
rld and
towa
rds
seem to echo each others call with well pronounced sho r
t chirps. The
bree
e is spo
radic
. hen it gusts it c
an be
Througho
ut history there hae been adancem
ents in technologies th at hae priileged
the e
ye.
ro
m the printing press to the c
amera
to the tele
ision th
ese tech
nologies h
ae been
meaningful art. Information can be just that;
umb and i nert. It needs tools of int erpretation discernment and
judgme
nt in
order to hae meaning as su
ch is
a slipp
ery slo
pe. In fact the
slop
e is steep
er and more
sens
e has
argua
bly deelop ed starti ng from the abstracted symbolic m
easuring
of ge
ometry
through a
dan
cemen
ts of isu
ally ac
commod
ating
mean ings. The ultimate m
eaning of any building is beyond architectur
e; it dir
ects
our c
onsciou
sness b
ack to th
e
consciousnes s back to the world and towards our own sense of self and being. ignificant architecture makes us eperienc
e ourse
les a
s complete embodied and spi
ritual b
eings. In
fact t
his si
the grea
t fun
ction of all
hroug
hout history t
h ere ha
e been
ad
a ncement s in technologies that hae priileged the eye.
rom the
printing
pres
s to
the c
amera to
the teleisio
n thes
e tech
nolog
ies ha
e
Instead of creating mere objects of isual
seduction
arch
it ectu
re re
lates m
ediates an
d projec
ts m
eaning
s. The
eperience oursel
es as complete embodied and spiritual beings. In fact this si the great function of
all meaning
ful a
rt. Information can be just tha
t; um
b and inert. It ne
eds tools of in
terpretation
passing by. In the distance there is music. T h e b
eat can
be he
ard bu
t not deciph
ered. It c
ompe
tes w
ith othe
r
It is 2:
00 pm. The sun is hot. The breee o
ccurs infre
uen
tly an
d is c
ool from coming off of
the su
rrou
nding wa
ter. I a
m poo
lsid
e. There is a subtle white noise of rushing water. This com
es from a sm
all fo
unt
ain ab
out 0
feet away . It dro wns out any distinguishing c
one
rsation from anybod
y passin
g by. In th
e distance there is music. The beat can be hea
rd but n
ot dec
iphe
red. It
c
ompetes
w ith
othe
r
the strongest and smartest men
whoe
eer li
ed. I s
ee all th
is potentia
l a nd I see suandering
. od
dam
n it
an en
tire ge
nera
tion pum
ping gas waiting tables; s lae s with white collars.
d ertising has us chasing cars and c
lothes
working jobs w
e hate so we can buy shit we dont ne
ed.
ere
the midd
le ch
ildre
n of history man
. o p
urpo
se or p lace. e hae no reat
ar. o reat epression. ur reat
ars a spiritua
l war... o
ur reat
we
re slowly le arning that fact. Instea d o f creating mere objects of
isual seduction architecture relates mediates and projects m
eanin
gs. T
he ultimate meaning of any build
ing is be
yond arch
itec
ture;
it dire
cts ou
r
Instead of creating mere objects o f isua
l seductio
n a
rchite
cture re
lates
med
iates a
nd projec ts
can be
heard cle
arly. The
mus
ic ha
s a d
ecen
t beat b u
t it is
a po
or s
oundtrack fo r this scene of life. I am now
in the
shade;
the si s
tory b
uilding
is blockin
g the
su n
from
me. ha
lf a b
lock
away
cha
irs
can be heard clanking onto the m
arble floor. I notice when the song c hanges to one without a beat causing m
e to no longer want to tap my foot along. There are slight am
ounts
of traffic
hea
rd from a ery busy stree
t to the outh. T
he stre
et is
a half
It is 2
:00 pm
. The sun
is hot. T
he
bre e
e occ
urs infr
euently and is cool from coming
off of th
e surro
undin
g wate
r. I am poolside. There is a su
btle white noise
of rushin
g water. T
his c
om
es from a sm
all fountain about 0 feet awa y. It drowns ou t any distinguish i ng con
ersation fro m anybody passing by. In the distance there is music. The be
at can
be hea
rd but not deciphered. It
competes
with o
ther music. ess can be heard
f rom
the
omnipresenc
e of pho
tograp
hs has an inca
lculable
affect o n
ou r ethica
l sen
s
ibility. allasmaa 200 allasma
a says
that t
hroug
h are e
iden
t compu
lsion for a
simp li fica
tion an
d objec
tifica
tion o
f men
tal images that
ur sensory contact with the world be c omes cold er as isua l rem
oteness gains s u premacy oer the intimacy of tactility Instead of creating mere o
bjects
of
i sua
l seduction architecture re
lates m
ediates and
projects
fact this si the great function
of all
meaning
ful a
rt. Inform
ation can be
ju
st tha
t; um
b and inert. I
t needs
tool
s of interpreta
tion discernm
ent and judgment in order to hae m
eaning a
s such is a slippery slope. In fact the slope is
steeper and m
ore tre
ache
ro
us now as the sh
eer u
antity o
f inform
ation grows. To see a photograph of a th ing is to see an interpretation of it w
hethe
r by the photographer the remote sate l l ite camera or the
umans at one point in history used the body as a m
eans to measurement. The g
yptian
ubit for
eam
ple was one mode of mea
sureme
nt th
at had
a dire
ct con
nection
to the body and a
that are superior to that world ye t at the same tim
e impose them
seles as eminently perceptible. idler 200 e eperience
archite
cture th
rou g
h its image; the image is what
is pushed
into the c
onsu
mer culture so it
n in
depth
i nu
iry i nto how
one e
perienc
es was do ne to gain an unders tanding
the str
onge
st a
nd smarte s
t men whoe ee
r li
ed. I see a
ll this
potential a
nd I se
e su
andering.
od dam
n it an entire generation pumping gas waiting tables;
slaes
with white collars. dertising has us chasing cars
and clo
thes wor k
i ng jobs
w
e hate so we can b
uy sh
it we
dont need. ere the middle children o f history man. o purpose or pl ace. e ha
e no
reat
ar. o reat epression.
ur reat
ars a
comp
ound
ed the comm
ercial
ism an
d tou
rism of to
day to an i mage based com
modity. usan ontag aut
hor of
n hot
ograph
y said th
e ca
mera
has be
come the prim
e ins
trum
ent o
f tourism
and
The
n in
dep
th in
ui ry
into h
ow one
e
periences was done to gain an understandin
g of ho
w one
comes to understand their em
bodime
nt with the world. nder
the assumed do ctrine b y ohne ocke of the
tabula ro
sa or
allasmaa a rgue
s that st
a nda
rdia
tion an
d ind
ustria
li
ation go along
with
the
embodied detachm
ent o f the senses that our
music. ess can be heard from the second m
usic. irds are
chirping
. The
re are tw
o birds at th
is mom
ent. Th
ey
Instead
of crea
ting m
ere ob
jects o
f isua
l s
eductio n architecture rel
ates me
diates
and
proje
cts meanin
gs. T
he ultimate meaning of any buildin g is beyo nd architectur
e; it directs our c
onsciousness back to the world and toward
s our
own se
nse of s
elf and being. ignific
ant
arch
itectur
e makes us e perience ourseles as complete e mbodied and sp
iri
tual beings. In
second music. irds are ch
irping
. The
re are
two bird
s at this mom
ent. T
hey seem to ec ho each oth
ers ca
ll with w
ell pro
nounc
ed sh
ort c
hirps. The breee is s
poradic
. he
n it gu
sts it c
an be
heard. I am
curious as to the arying wind speed and their r esulting noise
leels. Th
is wind is faint to the ear. o leaes ru stle and no footsteps are heard. This has to be because of the wa
ter no
ise. T
here
are bushes and trees all a
round
with ston
e for wal
kways. lot of the people that do walk by
are
be
en m
ediums
of trans
f erri ng isual im
agery to the masses. These aenues
of ision
hae de
elope
d an ea
se an
d pr
oduc
tio
n of imag
ery that ha
s
meaning of any building is beyond architecture; it directs our consc
io
usness
back
to th
e world and
towa
rds ou
r own
sen
se of self a
nd bein
g.
strollers are rolling by and a re ery distinguishable. The m
usic playing out loud does not drown out babies crying from afar and pigeons flappi
ng the
ir wings
twen
t y feet away. asual banter from p
eople up
to 2 fe
et a
way
as su
ch is a
slipper
y slope. In fact the slope is steeper and more treacherou
s now
as th
e she
er ua
ntity of in
form
ation
grows. To
see
a pho
tograp
h of a th
ing is
to se
e
dertising has us chasing cars and clothes working jobs we h
ate s
o we can buy shit we dont need. ere the m
iddle ch
ildren of history
man
. o pu
rpos
e or place
. e ha
e
no reat
ar.
o
reat
allasmaa argues that
sta
ndard
iatio
n an
d in d
u strialiation
go
along with th e embodied d
etachment of th
e senses
that o
ur bias towards ision has caused. e s ays that s
the art of architecture sinks under the current payload of p
ractical
deman
ds
t
here has been an inc
reasin
g anonym
ity of buildi ng in the industrialied world and its detach
ment from
hu
man
art. Information can be just that; umb and inert. It needs t
ools o
f inter
pretation disc
ernm
ent an
d jud
gmen
t in orde
r to
hae m
eaning
The sun is warm on m
y face and arms. I can feel it slightly through m
y s hi rt. There are moments of chilled breee. It is noon. si story building blocks the sun from reac
hing abo
ut
half o
f th e
pu
blic space. I hear heeled shoe
s on the m
arble an
d gra
nite
epression
. ur reat ar
s a spiritual war... our reat epression is our lies.
ee all been raised on teleision to
beliee
that o
ne day wed all be millionaire
s and
moie
gods a
nd ro
ck st
a rs. u
t w
e wont. nd
DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER DONNER DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER PORTFOLIO ADAM H. DONNER ADAM H. DONNER DONNER ADAM H.
CONTENTS
Vertical Marketspace
Tailgate Park
Ateneo de Madrid
Art + Produce
Mixed-Use
Haptic Vision
................................................4
................................................8
..............................................14
..............................................18
..............................................22
..............................................26
Adam H. Donner, Assoc. AIA
48
14182226
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
4 18
8 22
14
26
VERTICAL MARKETPLACE
OBJECTIVE:
Challenge the notion of the high-rise office typology as an interactive social space to meet diversi-fied work environments.
DESCRIPTION:
Modern offices are constantly changing, especially offices that deal primarily with the exchange of information and communication. In-office project teams that work for these types of businesses will be continuously forming and reforming and a majority of them will be smaller in nature than they have historically needed to be. Businesses are more specialized and are better able to utilize out-sourcing because of enhanced technologies for communications and networking. There is a broad continuum that explains the diversity of working environments within different office businesses. On one end you have people who have to work at a fixed location with rigid working hours, and on the other end you have people who can work wherever they want whenever they want. This is a response to that diversity.
Sectioned space connections
_Primary Egress and Ingress Connections
_Primary Egress and Ingress Connections
Wo
rking
at a fixed lo
cation
, at a fixed
time
Wo
rking
wh
enever o
ne
wan
ts to, w
herever o
ne
wan
ts to
Structu
red Sp
ace
Structu
red Sp
ace
Freeform
Ho
rizon
tal Sp
ace
Working at a fixed location, at a fixed time
Working whenever one wants to, wherever one
wants to
Structured Space
Structured Space
Freeform Horizontal Space
Working at a fixed location, at a fixed time
Working whenever one wants to, wherever one
wants to
Structured Space
Structured Space
Freeform Horizontal Space
Working Whenever One Wants To,Wherever One Wants To
Working At A Fixed Location,At A Fixed Time
Structured Space
Freeform Horizontal Space
Structured Space
Floor 26
Floor 7
Ground Floor Lobby/Retail0% Rotation
50% Rotation
100% Rotation
50% Rotation
0% Rotation
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
10 floors 20 floors 30 floors 40 floors 50 floors 60 floors
0 percentrotation
50 percentrotation
100 percentrotation
Grasshopper iterations
100%Rotation
50%Rotation
0%Rotation
10 Floors 20 Floors 30 Floors 40 Floors 50 Floors 60 Floors
This configuration is preferred as it provides tailgaters and visitors the opportunity to park their vehicles either underneath or directly adjacent to the green berms. The forms encourage pedestrian move-ment from circulatory roads and designated parking areas to the elevated bermed green space above.
Private
Diverse
CongregationalDiverse
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
DRAINAGE DIAGRAM
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
DRAINAGE DIAGRAM
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
DRAINAGE DIAGRAM
Old Pavement
New Pavement
Old Parking
New Parking
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
DRAINAGE DIAGRAM
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
DRAINAGE DIAGRAM
Old Green Space
New Green Space
Nor
th 8
th S
tree
t
9th
Stre
et
10th
Str
eet
1145
1140
1145
1155
1160
1150
5 20 40 100
1 = 40
Master Plan
Bathrooms / Waste Collection
Primary Pedestrian AccessExisting Billboard
Primary Vehicle Access
Proposed Site PlanARC 311/LARC 311_Project_1 Donner.Stokke.Gage
Information Kiosk
Proposed Tree Suggestions: White Oak Red Sunset Maple Crimson Queen Maple Kentucky Coee Tree Thornless Honeylocust American Sycamore
1140
1145
1 = 30 Focused Site Plan
15 30 100
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
1 Chosen Ideal Configuration
2 Configuration Extruded In A Single Direction
3 Configuration Fragmented and reversed every other section
4 Sine curve extruded
5Sine and Cosine curves lofted to create surface that achieves con-stant ideal configuration
6 Surface laid on standard parking grid with 24 wide circulation space
7 Surfaces scaled as they reach the north and south of the site allowing for a diversity of space
8 Adjustments made for existing site circulation constraints
9 Bermed surfaces applied to site, circles denote berm ends where surface breaks the established geometry to create flat elevation surfaces for access points
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
TAILGATE PARKLandscape Development
OBJECTIVE:
Develop a existing hardscaped parking lot into a usable, integrated greenscape to make use of existing and potential sorrounding programs.
DESCRIPTION:
The idea for this tailgate park challenges the normative greenspace/parking lot organization. It utilizes the diversity of its users as well as the potential to maintain the number of parking spaces while increasing the green and program space within the constraints of the site. This is accomplished by a chosen ideal configuration to exploit the desired heterogeneity of its users and program.
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
B
B
Northwest Sectional ElevationARC 311/LARC 311_Project_1 Donner.Stokke.Gage 155 30
1/16 = 1
Parking Green Space Football_BaseballTailgating
Farmers Market Drive In Movies
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
B
B
Northwest Sectional ElevationARC 311/LARC 311_Project_1 Donner.Stokke.Gage 155 30
1/16 = 1
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage
B
B
Northwest Sectional ElevationARC 311/LARC 311_Project_1 Donner.Stokke.Gage 155 30
1/16 = 1
ARCH 311/LARCH 311_Project_1 Donner.Stokke.Gage 155 30
1/16 = 1East Sectional Elevation
Auto Shows Sledding
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO DESCRIPTION:
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space, and reflecting the ever dynamic and flourishing ambitions, and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to offer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reflects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system defines the space in three interconnected panel clusters united in a logical progression to the reception area direct-ing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
OBJECTIVE:
An ideas competition to renovate the entrance hall of the building and make it a contemporary form of welcoming and wayfinding to the many activities associated with what makes the Ateneo an important part of the history and culture of Madrid.
ATENEO DE MADRIDAteneo Cientifico, Literario Y Artistico De Madrid
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
1 Circular standoffs con-nect to the super structure and create a sandwiched effect connecting two panels
2 Glass panels of varying opacity becoming more transparent as you travel through the space includ-ing strategic placement of multi media boards allowing for display of information and calendar of events
3 Super structure allow-ing for minimal intervention to existing wall finish and ease of reversibility
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
The Ateneo of Madrid is a center of culture teeming with ideas, opportunities and great diversity. The new Entrance space will serve as a welcoming handshake to its members and the greater city of Madrid as a celebration of the art, literature, science and a homage to its complex and rich history. A balanced, considered response is made through celebrating the historic integrity of the space and reecting the ever dynamic and ourishing ambitions and values of the Ateneo today.
A panelized backdrop takes on a life of its own countering the ideal static historical attributes of the entrance hall by empowering and informing the user in new ways, constantly changing with their perceptions as they move through the space. The Entrance is transformed and reinvigorated through a constellation of inherently incremental interventions. The panels represent the wealth of knowledge that Ateneo has to oer through its library - containing volumes of explicit knowledge and the power of exchange of tacit knowledge shared within and between the Ateneos nineteen sections. The ever changing sequence through the space reects the cyclical relationship of these tacit and explicit knowledges.
The funnel of information becomes the focus for the Entrances circulation systems, revealing and expressing its programs and guiding the users experience. The panel system denes the space in three interconnected panel clusters united in a logical progression to the reception area directing new users by reinforcing the linear circulation path. Through varying opacity and translucency the panel clusters symbolize the importance of celebrating the past, marking the present and looking to the future as a powerful exchange of ideas between tradition and innovation.
ILLUMINATED TIMELINE WITH HISTORIC PICTURES AND TEXT BLOCKS
PENDANT INDIRECT FIXTURES FOR ADDED AMBIENT LIGHTING
CIRCULAR STANDOFFS CONNECT TO SUPER STRUCTURE AND CREATE A SANDWICHED EFFECT CONNECTING THE TWO PLANES
GLASS PANELS OF VARYING OPACITY BECOMING MORE TRANSPARENT AS YOU TRAVEL THROUGH THE SPACE INCLUDING STRATEGIC PLACEMENT OF MULTI MEDIA BOARDS ALLOWING FOR DISPLAY OF INFORMATION AND CALENDAR OF EVENTS
SUPER STRUCTURE ALLOWING FOR MINIMAL INTERVENTION TO EXISTING WALL FINISH AND EASE OF REVERSIBLITY
SUB-STRUCTURE CONNECTS PANELS TO THE SUPERSTRUCTURE AND HOUSES LINEAR LED FOR BACKLIGHTING CREATING A GLOW BEHIND THE GLASS PANELS HIGHLIGHTING THE TEXTURE AND DEPTH OF THE EXISTING WALL FINISH
RECEPTION SPACE TO BE PAINTED ACCENT COLOR
CURTAIN WALL AND GLASS DOORS LEAD TO THE BRIGHTLY COLORED AND LIT RECEPTION SPACE AIDING IN WAYFINDING AND BECKONING VISITORS
LCD SCREEN INTEGRATED INTO THE TIMELINE DEPICTING THE CURRENT ONGOINGS OF THE ATENEO
4 Sub-structure connects panels to the superstructure and houses linear LED lighting as backlighting to create a glow behind the glass panels high-lighting the texture and depth of the existing wall finish
5 Reception space to be painted an accent color
6 Curtain wall and glass doors lead to the brightly colored and lit reception space aiding in wayfinding space and beckon-ing visitors
9 Pendant indirect fixtures for added ambient lighting
7 LCD screen integrated into the timeline depicting the current ongoings of the Ateneo
8 Illuminated timeline with historic pictures and text blocks
ART/FARM RESIDENCYCreative Processes Exposed Through Art and Food
Weekly Garden Activity
Daily Garden Activity
Art Activity
program concept
The program is to be organized so as to fully integrate both artistic processes and food production processes. In an effort to fully expose these processes, the gardens have been established as the heart of productivity from which all activities related to art and food produc-tion take place. Scheduling during the summer would permit a week-end market which would open all studios and gardens to the public and serve as a promenade for which all public visitors experience as they circulate into the main market and gallery spaces.
A
B
This diagram illustrates the productivity of the residents during their three season stay at the residency. During the week, residents would have a generous amount of time to work on their artwork until the start of the weekend when their help would be needed to set up for the weekly market. Day-to-day chores in the garden will be necessary but minimal so as to allow for artists to develop their work. All artistic production occurs around these necessary and simple gardening/market tasks.
Public exposure to both processes is an integral component of the design of this residency. Diagram B represents how both processes relate to one another to intertwine with the ciculation of the public visitors to the residency. Educating the public through exposure is intended to engage the community and promote appreciation for the arts and organic foods. Drawing a relation to the harvest of crops, the end of the stay for the residents represents a moment of celebration in which the residents art would leave their studios and be put on display in the galleries for public viewing. Just as food is cultivated into a product, so is art.
ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2 Donner.Stokke.GageDonner.Stokke.GageDonner.Stokke.GageDonner.Stokke.Gage
Weekly Garden Activity
Daily Garden Activity
Art Activity
program concept
The program is to be organized so as to fully integrate both artistic processes and food production processes. In an effort to fully expose these processes, the gardens have been established as the heart of productivity from which all activities related to art and food produc-tion take place. Scheduling during the summer would permit a week-end market which would open all studios and gardens to the public and serve as a promenade for which all public visitors experience as they circulate into the main market and gallery spaces.
A
B
This diagram illustrates the productivity of the residents during their three season stay at the residency. During the week, residents would have a generous amount of time to work on their artwork until the start of the weekend when their help would be needed to set up for the weekly market. Day-to-day chores in the garden will be necessary but minimal so as to allow for artists to develop their work. All artistic production occurs around these necessary and simple gardening/market tasks.
Public exposure to both processes is an integral component of the design of this residency. Diagram B represents how both processes relate to one another to intertwine with the ciculation of the public visitors to the residency. Educating the public through exposure is intended to engage the community and promote appreciation for the arts and organic foods. Drawing a relation to the harvest of crops, the end of the stay for the residents represents a moment of celebration in which the residents art would leave their studios and be put on display in the galleries for public viewing. Just as food is cultivated into a product, so is art.
ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2 Donner.Stokke.GageDonner.Stokke.GageDonner.Stokke.GageDonner.Stokke.Gage
Weekly Garden Activity
Daily Garden Activity
Art Activity
s m t w t f s
Day 1 2 17543 2 3
Activity Integration
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
1. Twin Buildings 2. Re-size for Program
OBJECTIVE:
To develop the objective for an art residency combined with an organic farm, then design the public exposure to the organization through a restaurant and organic market.
MISSION STATEMENT:
The intent of this unmatched art residency is to allow for a diversity of talented artists to congregate while outfitting a space that fully exposes and relates the creative processes involved in art with those processes involved with the cultivation of organic foods. As food production has become quite a distant and unkown operation to the majority of humans, an effort to expose this process to the community is a commitment the residency holds with upmost importance. In doing so, this institution aspires to embed in the community appreciation for both artistic production and food production. Ultimately, focus is concen-trated on processes over product.
DESCRIPTION:
First, the relationship between the artist and the daily activities of the farm was defined. This organizing relationship was then diagrammed to coincide with the point of contact between the processes of art and food to the general public. This exposure, occuring at repetitious intervals, was an opportunity to design a welcoming gesture through hand-rails and paralax that would give increased meaning to what was happening beyond the initial welcome to the site. The public exposure would occur daily at the restaurant and market, requiring these two designs to initiate the first notions of the process to the public. This is done by revealing framed views through paralax to emphasize important aspects of the subsequent artist studios, farm, and galleries.
Weekly Garden Activity
Daily Garden Activity
Art Activity
program concept
The program is to be organized so as to fully integrate both artistic processes and food production processes. In an effort to fully expose these processes, the gardens have been established as the heart of productivity from which all activities related to art and food produc-tion take place. Scheduling during the summer would permit a week-end market which would open all studios and gardens to the public and serve as a promenade for which all public visitors experience as they circulate into the main market and gallery spaces.
A
B
This diagram illustrates the productivity of the residents during their three season stay at the residency. During the week, residents would have a generous amount of time to work on their artwork until the start of the weekend when their help would be needed to set up for the weekly market. Day-to-day chores in the garden will be necessary but minimal so as to allow for artists to develop their work. All artistic production occurs around these necessary and simple gardening/market tasks.
Public exposure to both processes is an integral component of the design of this residency. Diagram B represents how both processes relate to one another to intertwine with the ciculation of the public visitors to the residency. Educating the public through exposure is intended to engage the community and promote appreciation for the arts and organic foods. Drawing a relation to the harvest of crops, the end of the stay for the residents represents a moment of celebration in which the residents art would leave their studios and be put on display in the galleries for public viewing. Just as food is cultivated into a product, so is art.
ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2ARCH 311/LARCH 311_Project_2 Donner.Stokke.GageDonner.Stokke.GageDonner.Stokke.GageDonner.Stokke.Gage
Cycle of Produce
Cycle of Public
Public Exposure
PublicExposure
Art
Food
Cycle of Produce
Cycle of Public
Process of Art
Point Of Contact;The End Celebration
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
1. Twin Buildings
2. Resize for Program3. First Visual Handrail
3. Repeated Gesture Handrail to Bridge & Finalized Dynamics of Social Space
4. Funnel Effect Handrail From Parking Lot
Market/Gallery
ParkingParkingParking
Parking Parking
BRID
GE
3. First Visual Handrail 5. Repeated Gesture4. Funnel Effect Handrail
AServing as a transition point between the private and public ar-eas of the residency, the reception/cafe/farmstore is essentially a traf c cop where vistitors and artists begin their circulation through the site. The gardens/studios/market/galleries are only open to the public during the weekend market. Every other day of the week, the studios are shut off to the public to allow the art-
.tnemnorivne gnikrow evitcudorp a ot evisudnoc ycavirp stsiThe reception/cafe/market is elevated to allow daily visitors to gander into the residency. However, these views are intended to be limited and obstructed for the sake of the artists privacy.
A
Serving as a transition point between the private and public ar-eas of the residency, the reception/cafe/farmstore is essentially a traf c cop where vistitors and artists begin their circulation through the site. The gardens/studios/market/galleries are only open to the public during the weekend market. Every other day of the week, the studios are shut off to the public to allow the art-
.tnemnorivne gnikrow evitcudorp a ot evisudnoc ycavirp stsiThe reception/cafe/market is elevated to allow daily visitors to gander into the residency. However, these views are intended to be limited and obstructed for the sake of the artists privacy.
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
Farm Store Elevation - A 1/8=1 FT.
A
http://www.hendersoncorporation.com/images/siding/mini-grey_weathered_siding_metzler.jpgv
http://www.ickr.com/photos/funkymonk2000/4358005288/sizes/l/
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
Farm Store Elevation - A 1/8=1 FT.
A
http://www.hendersoncorporation.com/images/siding/mini-grey_weathered_siding_metzler.jpgv
http://www.ickr.com/photos/funkymonk2000/4358005288/sizes/l/
Section - A 1/8=1 FT.
A
A
ARCH 311/LARCH 311_Project_2 Donner.Stokke.Gage
Required program of a 15,000 sq ft. grocery store
Elevated to create urban space beneath, allows for interior site circulation and increased retail facadal square footages
Grocery elevated to level 2.5 and bridged between the split office towers. The office towers are modu-lated to create a stepped terrace facade
Retail street side square footage is increased and the urban interior of the site is enclosed.
Typical city block sidewalk-retail to pedestrian links (They are intimate with only one retail facade)
Split the typical building block and reverse retail facades in on themselves
Creating a personal dual retail experience
Barrier to high volume vehicular traffic
OBJECTIVE:
Design A Mixed Use Building Defined By Its Location And Urbanity. Making Use Of A Systemic Design Strategy As A Tool For Development.
DESCRIPTION:
This design rethinks the efficiency of the pedestrian retail experience and this site as a circulation hub to the surrounding three neighborhoods. The center of the site is liberated from circulation constraints and is turned into an urban social atmosphere to allow an increase of passersby and retail shoppers. Also, a stepped terrace facade is used to integrate a greenscape that is oriented in a modulated way.
MIXED-USE OFFICE COMPLEXPublic Integration
Facade System
Facade System
Facade System
Rails
Mullions
InsulatedGlassUnits
Modulating Angles1
23
45
Mul
lion
Profi
le A
Gla
zing
Ang
le 1
Gla
zing
Ang
le 1
Mul
lion
Profi
le B
Gla
zing
Ang
le 2
Gla
zing
Ang
le 2
Mul
lion
Profi
le C
Gla
zing
Ang
le 3
Gla
zing
Ang
le 3
Mul
lion
Profi
le D
Gla
zing
Ang
le 4
Gla
zing
Ang
le 4
Mul
lion
Profi
le E
Gla
zing
Ang
le 5
Donner, Adam H. ___Fall 2010 ___Studio___
Sections1/16=1
a b
Donner, Adam H. ___Fall 2010 ___Studio___
Sections1/16=1
a b
Office bridge floor plan1/16=1
Donner, Adam H. ___Fall 2010 ___Studio___
1/16=1
Donner, Adam H. ___Fall 2010 ___Studio___
1. Precast Concrete Planter Box2. Fiberglass Insulation3. Carpet Squares4. Green Roof5. CIP Concrete Column6. Pilon Cap7. Pilon8. Concrete Footing9. Concrete Foundation Wall10. W-Beam11. Deep Rib Floor Deck12. CIP Concrete Floor13. Concrete Slab-on-grade14. Wood Lathe Light Diffuser
Note: Reinforcing Steel Not Shown For Clarity
15. Insulated Glazing Unit16. Radiant Finned Tube Heating17. Anchors Embedded Into Concrete18. Steel Connection Plate19. Continuous C-Profile20. Rigid Insulation21. Growing Medium22. Water Storage and Drainage23. Waterproof Membrane24. Root Barrier25. Upper Deep Leg Track26. Backer Rod, Sealant and Shim27. Rail
28. Flashing29. Weep30. Sill Track31. Glazing Strip32. Silicon Wet Seal Over Glazing Strip33. Sill Flashing34. Setting Block35. Gasket36. Pour Stop37. Shelf Angle38. Steel Shims39. Drainage Mat and Waterproof Layer40. Rigid insulation41. Protection Board
Detail A
Detail B
12
3 10 11 12 4
5
14
9
86
7
13
10
Glazing A
Glazing B
Glazing C
Glazing D
12
2625
27
18 17 16
21 22 23 24
2019
Glazing C
394041
28
2930
3231
35343336
37 38
ModulatingInfill GlazingSystem
Modulating Infill Glazing System
Aluminum Wrapped Trusswith Interstitial Glazing
CIP Concrete Cores
Primary W-Beams
Secondary W-BeamsCIP Concrete Cores
Box Truss Bridging
CIP ConcreteColumns
HAPTIC VISION
OBJECTIVE:
In a visually biased world can one design in such a way as to improve the experiential qualities of a space through the sense of touch?
DESCRIPTION:
Haptic Vision is an investigation into the idea that the experience of architecture is lacking because of the bias Western society has placed on vision, that the other senses are stifled by this and that it is a result of us living in an occularcentric society. Architect and theorist Juhani Pallasmaa has said that, While our experience of the world is formulated by a combination of five senses, much architecture is produced under consideration of only one - sight. The suppression of the other sensory realms has led to an impoverishment of our environment, causing a feeling of detachment and alienation. In order to combat this detachment, and increase the experiential qualities of our environment, architecture should be designed in consideration of the other senses, in particularly that of touch. Touch is the sense that is most closely related to visions ability to understand our environment.
Human experience can be improved upon if sensual experiences are more duly considered. When the other senses besides the visual are regarded there can be an expe-rience that is created that is more embodied with an increased feeling of attachment to our spaces, buildings, and environments.
An in-depth inquiry into how one experiences was done to gain an understanding of how one comes to understand their embodiment with the world. Under the assumed doctrine by Johne Locke of the tabula rosa, or blank slate, the senses are the only sources of knowledge about the world. This is directly related to research into sensual psychology, sensory deprivation and sensory overload. These were researched to form a solid base of information towards the consideration of the physiology and psy-chology of how one senses and perceives the world. From there, an investigation was undertaken to understand physical objects in regards to their inherent haptic nature. This was accomplished by building various three-dimensional artifacts as a physical manifestation of the ideas received from the research. Each artifact had a recipe for design intent that dealt with the sense of touch regarding the hand, and the eyes. This is research for the exploration of relationships using contextual, rather than quantita-tive data. The design process, the creation and, observations of these artifacts are considered for the qualitative research and evidence. The results were not necessarily generalizable, but were transferable.
The artifact research was done to understand the relationships between vision and touch, exploratory touch, sensual information received through touch, and what hap-pens when a physical object considers its own haptic qualities for aesthetic and pragmatic interaction. It is important to note that with these it is the hand that is of value. Because of their scale they are tailored to the intimacy of the hand. What was learned from the artifacts was then taken and applied to the concepts of a wall, a space, and to architecture. This was done for the sake of the body as well as the hand. Because the back will interacts differently than the hand, the feet differently than the elbow.
As an architectural investigation into Haptic Vision there was a designed addition to the Southern entrance of the link of Architecture Hall. Three programs were exercised into the design to fully investigate the potentials and limitations in consideration of the haptic dimension in architectural design.
SEEING IS BELIEVING, BUT...........
................FEELING IS THE TRUTH! Thomas Fuller
In Pallasmaas affirmation he is arguing that the experience of architecture is lacking because of the bias Western society has placed on vision. That the other senses are stifled by this and that its a result of us living in an occularcentric society. The term ocularcentrism was conceived by Martin Jay in his book Downcast Eyes, which is an intellectual history of the gaze. Jay was recognizing the primacy of the visual image and the privileging of the ocular observation as a path to certainty and knowledge. This is exemplified by societys forgetting of the second half of the popular expression seeing is believing. The full expression goes, seeing is believing but, feeling is the truth. (Paterson, 2007)
The historical aggrandizement of the visual sense has arguably developed starting from the abstracted symbolic measuring of geometry, through advancements of visually accommodating technologies to the consumerist culture dominated by the need to express a thing in the fastest, most easily stimulating way possible. Humans at one point in history used the body as a means to measurement. The Egyptian Cubit for example was one mode of measurement that had a direct connection to the body, and a way to visualize geometry in comparison to the body. Measurement was then slowly standardized and abstracted into symbolic visual terms. The idea of geometry somewhat lost its connection to the body to a supposedly distanced, abstracted visualism that obscures the actual body processes of measurement. (Paterson, 2007)
Throughout history there have been advancements in technologies that have privileged the eye. From the printing press, to the camera, to the television, these technologies have been mediums of transferring visual imagery to the masses. These avenues of vision have developed an ease and production of imagery that has com-pounded the commercialism and tourism of today to an image based commodity. Susan Sontag, author of On Photography, said, the camera has become the prime instru-ment of tourism, and The omnipresence of photographs has an incalculable affect on our ethical sensibility. (Pallasmaa, 2005) Pallasmaa, says that, through are evident compulsion for a simplification and objectification of mental images, that Our sensory contact with the world becomes colder as visual remoteness gains supremacy over the intimacy of tactility. (Pallasmaa, 2005)
Architecture too has fallen into this image based aggregation. It is implicit that we live in a culture where image is a commodity and it only makes sense that im-age based architecture would fall into the category of this as well. One can argue that architecture is judged mostly for how it looks. This is not a good thing. Guy Dubord, author of, The Society of the Spectacle, argues that, the perceptible world is replaced by a set of images that are superior to that world, yet at the same time impose themselves as eminently perceptible. (Vidler, 2008) We experience architecture through its image; the image is what is pushed into the consumer culture, so it only makes sense that there would be a bias towards vision, and a disregard to the other senses. According to Terry Smith, Professor of Contemporary Art History and Theory at the University of Pittsburgh, there has been a build-up of architecture typologies that have fed into this consumerist and touristic society that has, in a way, set the bar for what architecture is supposed to be in peoples eyes and the world of architecture. (Vidler, 2008)
Pallasmaa argues that standardization and industrialization go along with the embodied detachment of the senses that our bias towards vision has caused. He says that, As the art of architecture sinks under the current payload of practical demands there has been an increasing anonymity of building in the industrialized world and its detachment from human experience. (Pallasmaa, 2005)Human experience would be improved upon if sensual experiences were more duly considered. When the other senses besides the visual are regarded there can be an experience that is designed that is more embodied, with an increased feeling of attachment to our spaces, buildings, and environments.
Occularcentricism
DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER DONNER DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER ADAM H. DONNER PORTFOLIO DONNER ADAM H.
ADAM H. DONNER PORTFOLIO
and projects meanings. The ultim
ate mean i ng
of an
y bu
il ding is
beyond architecture; it directs our conscio usness b
ack to the wo
rld and
towa
rds ou
r own se
n
se of
It is 2:00 pm. Th e sun is h ot
. The
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t ly an
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m co
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s us e
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rsele
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world and towards our own sense of self aInstead of creating mere objects of
isual sed
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Instead of creating mere objects of isual seduction architec
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tes m
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and
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s. The
ultim
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The h
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Instead of creating mere ob
jects of is
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itectur
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try and distingu ish wha t and how
many people pass by
just through listeni ng. I always guess low for the numbers of people.
ot e
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akes noise and not eery perso
n talks. ug
gage an
d Th
e his
torical aggrandiement of the isual sense has arguably deelo ped
startin
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he abstracted sy mbo
lic m
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metry thro
ugh ad
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ceme
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f isu
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ignificant architecture makes us eperience ourseles as comple
te em
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piritu
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ings
. In fact this si
the grea
t function
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ll me
aning
ful
accommodating technolo
gies to the consumerist cult ure dom
inated by the need to epress a
thing
in th
e fastest most easily stimu
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way pos
sible.
water. I am
poolside. The
re is
a sub
tle white no
ise of rushing
water. T
his come
s
from a small fountain about 0 feet away. It drowns out a
ny dist
ingu
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con
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m anybo
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The sun is
warm on my face an
d ar
ms.
I can feel it sl
i ght
ly through my shirt. The
re are m
omen
ts of c
hille
d br
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t is
noon. si
story bu ilding b locks the sun from
rea ching about half of the public space. I hear h
eeled s
hoes on
t
he marble
and granite paing. hairs
sliding and adjus
ting on
the w
ood dec
k upon wh
ich I sit. trollers are freuently going by o
ther th
an con
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atio
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rchitecture too has fallen into this image based aggregation. It is im
plicit that we lie in a culture where image is a commodity and
it only
mak
es sen
se that image based architect
ure would
fall into t
he ca
tego
ry of t
his as well.
the strongest a nd smartest men whoe eer li
ed. I see all this potential and I see suandering. od
damn
it an en
tire generation pumping gas
waitin
g table
s; sla
es w
ith w
hite collars.
paing. hairs sliding and adjust ing on the wood deck upon which I sit. t rollers are freuently going by other than conersation these are the noisi
est things
. The
re i s
music playing from the
si story build
ing. I close
my ey
es to
ne can
argue that architectur e is j udged mostly for how it looks. This is not a good thing. uy ubord author of The ociety of the
pect
acle
argu e
s that the perceptible wor
ld is replac
ed by a s
et of
imag
es
and projects meanings. The ultimate m
eaning of any bu il ding is bey
ond architecture; it directs ou
r conscious
ness bac
k to th
e wo
rld and
towa
rds
seem to echo each others call with well pronounced sho r
t chirps. The
bree
e is spo
radic
. hen it gusts it c
an be
Througho
ut history there hae been adancem
ents in technologies th at hae priileged
the e
ye.
ro
m the printing press to the c
amera
to the tele
ision th
ese tech
nologies h
ae been
meaningful art. Information can be just that;
umb and i nert. It needs tools of int erpretation discernment and
judgme
nt in
order to hae meaning as su
ch is
a slipp
ery slo
pe. In fact the
slop
e is steep
er and more
sens
e has
argua
bly deelop ed starti ng from the abstracted symbolic m
easuring
of ge
ometry
through a
dan
cemen
ts of isu
ally ac
commod
ating
mean ings. The ultimate m
eaning of any building is beyond architectur
e; it dir
ects
our c
onsciou
sness b
ack to th
e
consciousnes s back to the world and towards our own sense of self and being. ignificant architecture makes us eperienc
e ourse
les a
s complete embodied and spi
ritual b
eings. In
fact t
his si
the grea
t fun
ction of all
hroug
hout history t
h ere ha
e been
ad
a ncement s in technologies that hae priileged the eye.
rom the
printing
pres
s to
the c
amera to
the teleisio
n thes
e tech
nolog
ies ha
e
Instead of creating mere objects of isual
seduction
arch
it ectu
re re
lates m
ediates an
d projec
ts m
eaning
s. The
eperience oursel
es as complete embodied and spiritual beings. In fact this si the great function of
all meaning
ful a
rt. Information can be just tha
t; um
b and inert. It ne
eds tools of in
terpretation
passing by. In the distance there is music. T h e b
eat can
be he
ard bu
t not deciph
ered. It c
ompe
tes w
ith othe
r
It is 2:
00 pm. The sun is hot. The breee o
ccurs infre
uen
tly an
d is c
ool from coming off of
the su
rrou
nding wa
ter. I a
m poo
lsid
e. There is a subtle white noise of rushing water. This com
es from a sm
all fo
unt
ain ab
out 0
feet away . It dro wns out any distinguishing c
one
rsation from anybod
y passin
g by. In th
e distance there is music. The beat can be hea
rd but n
ot dec
iphe
red. It
c
ompetes
w ith
othe
r
the strongest and sm