Thesis Project Book

Table of ConTenTs

Table of ConTenTs Thesis sTudio (spring 2010) - absTraCT Thesis prep i (fall 2009) - prospeCTus Thesis prep ii (fall 2009) - siTe Thesis sTudio (spring 2010) - siTe Thesis prep ii (fall 2009) - program Thesis sTudio (spring 2010) - program Thesis prep ii (fall 2009) - preCedenTs Thesis sTudio (spring 2010) - preCedenTs Thesis sTudio (spring 2010) - preliminary ConCepTual skeTChes Thesis sTudio (spring 2010) - siTe animaTion sTudies Thesis sTudio (spring 2010) - design phase 1 Thesis sTudio (spring 2010) - design phase 2 Thesis sTudio (spring 2010) - design phase 3 Thesis sTudio (spring 2010) - final design Thesis sTudio (spring 2010) - ConClusion bibliography

Table of Contents

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4-1314-2425-3435-3738-4243-4849-5152-5960-6263-7374-8081-92

93-118119-121122-123

1

Thesis Studio - Abstract

Thesis sTudio(spring 2010)

AbstrAct

2

The arTisT CommuniTy is inTegral To The CulTure and vibranCy of The CiTy of bosTon. many Times The proCess of produCTion is disConneCTed from The final display of arT. many

people experienCe arT by viewing The final produCT wiTh liTTle or no undersTanding To The proCess assoCiaTed wiTh CreaTing These pieCes of work. This Thesis will look aT revealing This

proCess Through arChiTeCTural form. CreaTing TransparenCy beTween produCTion and display provides The viewer wiTh a mulTifaCeTed view of arT. This Thesis will explore how arChiTeCTure

Can ConneCT The produCTion and display of arT To The CiTy of bosTon.

The building will speCifiCally house faCiliTies Capable of manufaCTuring and displaying large-sCale sCulpTures. The main porTion of The building ConsisTs of exhibiT/produCTion

spaCes ThaT provide large, expansive spaCe Capable of manufaCTuring large sCale arT. flanking These spaCes are Three main Cores ThaT house The arTisTs’ sTudios, adminisTraTion offiCes,

lounges, Cafe, booksTore, lavaTories, egress and freighT elevaTors. primarily arTisT and sCulpTors who will be working on produCing sCulpTures will oCCupy The building during The

day. The arChiTeCTure aCTs as a desTinaTion for The CiTy in The evening as The building Transforms from produCTion mode To display mode. The produCTion areas will Transform inTo exhibiT

spaCes for The sCulpTures, allowing visiTors To pass freely from spaCe To anoTher.

a sTruCTure Capable of housing produCTion and display faCiliTies allows The publiC and The surrounding CommuniTy To experienCe The proCess from sTarT To finish. This Thesis

will explore The idea of projeCTing The proCess of arT on The CiTy of bosTon and The CommuniTy of souTh bosTon.

The siTe is loCaTed in souTh bosTon, near The arTisT for humaniTy building and adjaCenT To a new arTisT residenCe. The ConneCTion To The hisToriC indusTrial pasT of souTh

bosTon and The prevalenT arTisT CommuniTy in souTh bosTon was imporTanT in Choosing The siTe. The “arTisT iniTiaTive aCT” sTaTed on The bosTon redevelopmenT auThoriTies websiTe

provided The neCessary informaTion regarding The growing arTisT CommuniTy in The CiTy of bosTon. The arTisT CommuniTy in souTh bosTon CreaTes a dynamiC relaTionship beTween The CiTy

and The arT ThaT is produCed. merging The produCTion proCess of large sCale sCulpTures wiTh a TheaTriCal aesTheTiC CreaTes a unique arChiTeCTure in souTh bosTon. designing a building

Capable of merging These ideas and exposing The proCesses of manufaCTuring beCame The foCus of my Thesis exploraTion.

designing a sTruCTure Capable of Transforming iTself To meeT The needs of The sCulpTors and The publiC CreaTes a dynamiC TheaTriCal expression in souTh bosTon and in The CiTy

of bosTon.

Thesis Studio - Abstract 3

Thesis prep i(fall 2009)

ProsPectus

Thesis Prep I - Prospectus 4

overview sTaTemenT

This Thesis will explore The noTion of muTual inTeraCTiviTy beTween inhabiTanTs’ and The builT environmenT. Through The use of emerging TeChnologies, maTerials and programmaTiC

relaTionships, This Thesis will disCuss how mulTi-purpose spaCes Can adapT To The inhabiTanTs’ needs ThroughouT various Time spans. The inTeraCTion beTween inhabiTanT and building CreaTes

a ConsTanTly Changing dialogue ThaT allows for spaCes To be experienCed differenTly depending on use. The manipulaTion and ConTrol of lighT, spaCes, noise and views CreaTes a building

ThaT is in ConsTanT flux ThaT CaTers To The inhabiTanTs’ needs. The idea of an arTisT design sTudio Came from The noTion of engagemenT, inTeraCTion and adapTabiliTy. many arTisT design

sTudio require spaCes ThaT need To respond To The oCCupanTs’ needs ThroughouT various Times of The day. The varieTy of sTudio spaCes, galleries and exhibiTion spaCes require differenT

arraignmenTs depending on use. The ConsTanT Transfer of ideas, people and objeCTs wiThin an arTisT design sTudio CreaTes a need for inTeraCTion beTween building and oCCupanT.

The visual and physiCal ConneCTion To The surrounding ConTexT aids in CreaTing a dynamiC relaTionship beTween human and building. The publiC engagemenT To The builT environmenT

is an imporTanT aspeCT ThaT CreaTes spaCes ThaT are more Than jusT sTaTiC objeCTs in The landsCape. The siTe for This Thesis is loCaTed in souTh bosTon, jusT souTh of The bosTon ConvenTion

CenTer. The loCaTion of The siTe is on The Corner of The souTh bosTon bypass and wesT seCond sTreeT. This area is loCaTed aT a TransiTion poinT beTween residenTial neighborhoods and

CommerCial and indusTrial parks. The siTe CreaTes a link beTween living environmenTs and working environmenTs and plays an aCTive role in engaging The Two zones. jusT aCross The souTh

bosTon bypass is The arTisT for humaniTy building, whiCh eduCaTes inner CiTy Children in The various disCiplines of arT. direCTly aCross The sTreeT from The proposed siTe is an abandoned

building ThaT is being renovaTed inTo residenTial uniTs, wiTh TwenTy-one speCifiCally designed as arTisT sTudios. This Thesis will look aT ways To inTeraCT and engage wiTh The immediaTe ConTexT

as well as aT a muCh larger urban sCale.

ThroughouT The Thesis proCess, The idea of inTeraCTiviTy beTween The builT environmenT and humans will be explored. wiTh The inTegraTion of emerging TeChnologies, maTerials

and programmaTiC relaTionships, This Thesis will explore how buildings are Capable of responding To oCCupanTs’ needs Through various Time spans.


researCh problem

This Thesis will examine The idea of mulTi-purpose buildings and address ways To provide inTeraCTion and adapTabiliTy depending on oCCupanTs’ needs. The CapaCiTy for These

spaCes To Transform and Change ThroughouT various Time spans allows for an experienTial relaTionship beTween human and building. This Thesis will explore new inTeraCTive media, emerging

smarT TeChnologies, maTerials and programmaTiC relaTionships. how Can arChiTeCTs and designers use emerging TeChnologies To enriCh The relaTionship beTween mulTi-purpose spaCes and

inhabiTanTs ThroughouT various Time spans?

objeCTives

• To inCorporaTe emerging digiTal TeChnologies and maTerials To allow building and oCCupanT To inTeraCT wiTh eaCh oTher.

• To CreaTe spaCes ThaT are Capable of adapTing To The oCCupanTs needs ThroughouT The Course of The day.

definiTions

inTeraCTive arChiTeCTure - emerging arChiTeCTural TeChnologies ThaT allow an oCCupanT To aCTively engage and parTiCipaTe wiTh The builT environmenT.

mulTi-purpose spaCe - spaCes ThaT allow for a varieTy of aCTiviTies To Take plaCe, for example, by re-arranging parTiTions or furniTure. an example of This would be a sChool gym, whiCh

allows The oCCupanT To modify The spaCe during The Course of The day for sporTing evenTs, danCes or presenTaTions.

mixed-use building - buildings ThaT Combine differenT programs, suCh as CommerCial plus residenTial. The way ThaT These programmaTiC elemenTs are designed TogeTher is imporTanT in

CreaTing a ConsisTenT pieCe of arChiTeCTure.

muTual inTeraCTion - The way inhabiTanTs inTeraCT wiTh The builT environmenT as well as The way The builT environmenT responds To The inhabiTanT.


researCh essay

an emerging Trend in design, arChiTeCTure and arT is The noTion of muTual inTeraCTiviTy beTween oCCupanT and building. This relaTionship

CreaTes a new and inTriguing dialogue beTween buildings and how humans oCCupy Them. humans and buildings have inTeraCTed ThroughouT hisTory,

buT TeChnologiCal advanCes over The pasT TwenTy years, has inCreased ConneCTiviTy beTween people, ideas and plaCes. The emergenCe of smarT

maTerials and new media TeChnologies CreaTe ways for The builT environmenT To Change and inTeraCT direCTly wiTh The user. Through The use of

moTion, sound or TouCh, buildings Themselves are beComing muCh more inTeraCTive. The way ThaT oCCupanTs inTeraCT wiTh The builT environmenT

has sTarTed To influenCe The way arChiTeCTs and designers Think abouT spaCe, noT only on a building sCale, buT also aT a larger urban sCale.

The idea of mulTi-purpose spaCes has also Caused designers and arChiTeCTs To reThink The way programmaTiC elemenTs are organized in

order To respond To a wide range of aCTiviTies. This undersTanding of programmaTiC relaTionships allows for The building and inhabiTanT To adapT

To various needs ThroughouT The day.

InteractIvIty In archItecturehisToriCal preCedenTs

ThroughouT hisTory, There has been some noTion of human inTeraCTiviTy wiTh buildings. an early example of This is The window. This

CurrenTly Common elemenT developed over Time To allow for The ConTrol of lighT and ComforT in a spaCe. The window in iTs early sTages was

basiCally an opening in The wall, whiCh allowed The oCCupanT To regulaTe The amounT of fresh air inTo a spaCe as well as naTural lighT. The

romans were The firsT To inCorporaTe glass in windows, whiCh helped regulaTe The TemperaTure of The spaCe. The developmenT of The operable

window is one of The mosT primiTive examples of inTeraCTive TeChnologies.

anoTher example of building inTeraCTiviTy is The porTable dwelling, suCh as The asian yurT. This Type of porTable sTruCTure was

ConCeived speCifiCally for The ClimaTe, maTerials available and human neCessiTy. The yurT is a porTable sTruCTure ThaT Could be easily moved

depending on needs. “The form of suCh buildings is Closely relaTed To The requiremenTs of The users beCause The people who inhabiT Them have a

direCT link wiTh Those who build Them…”1 Thus The inhabiTanTs were able To manipulaTe and inTeraCT wiTh The sTruCTure depending on Their needs.

“in eiTher Case The building ConsummaTely fulfills The needs of iTs user.”2

forms of primiTive inTeraCTiviTy involve eiTher moving The building, or The elemenTs wiThin iT.

Thesis Prep I - Prospectus

1 - Robert Kronenburg, Spirit of the Machine:

Technology as an Inspiration in Architectural

Design (Great Britain: Wiley-Academy,

2001), 93

2 - Robert Kronenburg, Spirit of the Machine:

Technology as an Inspiration in Architectural

Design (Great Britain: Wiley-Academy,

2001), 93

7

early developmenT

inTeraCTive arChiTeCTure began To emerge in The early 1960s, wiTh The invenTion of CompuTers, CyberneTiCs and The sTudy of sysTems.

in 1969, andrew rabeneCk proposed “The use of CyberneTiC TeChnologies To produCe an adapTive arChiTeCTure ThaT would inCrease The useful

life span of a building Through adapTaTion.”3 designers, CyberneTiTions and arChiTeCTs began experimenTing wiTh various Types of CompuTaTional

sysTems, human ConTrolled inTeraCTions and building inTeraCTive TeChniques. CedriC priCe, john frazer and gordon pask beCame very influenTial

in The developmenT of inTeraCTive sysTems. “…influenCed an arChiTeCTure of proCess ThaT was indeTerminaTe, flexible and responsive To The

Changing needs of users and Their Times.”4

ThroughouT The Course of hisTory, The soCial, eConomiC and poliTiCal spheres have ConsTanTly been reworked and reshaped. wiTh The

developmenT of new TeChnologies, These spheres are onCe again Changing. The advanCemenTs of CompuTers and TeChnology Through The 1980’s,

allows arChiTeCTs and designers began To look aT arChiTeCTural spaCe and inTeraCTive mediums as inTerrelaTed. The digiTal age allows for an

unpreCedenTed ConneCTion beTween humans and infrasTruCTure. This ConneCTiviTy influenCes design and funCTion of The builT world. “The driving

forCe behind The renewed inTeresT in adapTable arChiTeCTure is The TeChnologiCal influenCed and Changing paTTerns of human inTeraCTion wiTh The

builT environmenT. Today’s inTensifiCaTion of soCial and urban Change, Coupled wiTh ConCern for issues of susTainabiliTy, amplifies The demand for

inTeraCTive arChiTeCTural soluTions.”5

advanCemenTs Today

developmenTs in inTeraCTive arChiTeCTure have seen an explosion over The pasT TwenTy years. a number of arChiTeCTs and designers are

developing various ways of CreaTing inTeraCTive spaCes. some of These meThods inClude insTallaTion arT, inTeraCTive building faCades, and smarT

homes. inTeraCTive arChiTeCTure affeCTs The soCial and CulTural realm of a speCifiC demographiC, The meThods in whiCh humans engage wiTh The

builT environmenT, as well as Taking on various programmaTiC forms. by sTudying how These Three elemenTs relaTe To eaCh oTher, arChiTeCTs and

designers Can look aT The way These inTeraCTions influenCe soCieTy and The urban realm.

The soCial and CulTural aspeCTs abouT a siTe have sTrong impliCaTions in designing inTeraCTive arChiTeCTure. working wiTh The speCifiC

needs of The CommuniTy, designers are Capable of developing sysTems ThaT supporT These desires. luCy bullivanT looks To formulaTe ideas ThaT


3 - Michael Fox and Miles Kemp, Interactive

Architecture (New York: Princeton

Architectural Press, 2009), 15







8

Can ConneCT TeChnology, building and inhabiTanT in a way ThaT forCes arChiTeCTs and designers To reThink The idea of spaCe and form. in This way,

bullivanT addresses meThods in whiCh arChiTeCTure Can influenCe The soCial realm aT a varieTy of sCales. bullivanT looks aT Two projeCTs ThaT

influenCe The CommuniTy buT in differenT meThods. one is enTiTled “lighT sounds,” whiCh redefines The sTreeTsCape in london for shoppers and

pedesTrians by ConsTanTly Changing Colors and sounds as pedesTrians pass Through The spaCe. The oTher projeCT is enTiTled “liTmus,” whiCh in

ConTrasT addresses The fasT paCed TraffiC of The highway by Changing Colors and TexT depending on loCal TraffiC, eleCTriCiTy usage, Tides and

lighT levels. These ideas bring a new undersTanding To soCial and CulTural inTeraCTions. “The power of many of The responsive environmenTs…

is preCisely ThaT They are noT purely reaCTive or enTirely predeTermined. boTh They and Their users learn from experienCe and redefine Their

sense of plaCe.”6

Through The ever-Changing soCial and CulTural realm, as well as inTeraCTiviTy wiTh The builT environmenT, There is a need To design

buildings ThaT respond To soCieTies shifTing lifesTyles. Changing lifesTyle paTTerns affeCT The way people go To sChool, shop and work. a

Considerable number of people now are able To work from Their home offiCe, effeCTively minimizing The amounT of inTeraCTion wiTh The CommuniTy.

This idea of soCial and CulTural ConneCTion is ever Changing. arChiTeCTs and designers are looking aT ways of CreaTing flexible and adapTable

buildings ThaT help To define The soCial and CulTural realms. “people who are CuT off from The workplaCe environmenT need To disCover new

sourCes for aChieving personal saTisfaCTion and for making meaningful soCial ConTaCTs. suCh opporTuniTies for remoTe soCial inTeraCTions are

Therefore noT only neCessary for pragmaTiC reasons buT also serve an imporTanT humanisTiC role in our soCial fabriC.”7

inTeraCTive arChiTeCTure Can also direCTly engage The publiC. buildings are more Than jusT sTaTiC elemenTs in The landsCape, buT

raTher a pieCe of The urban fabriC ThaT musT adapT and inTeraCT aT The human sCale. The engagemenT and parTiCipaTion of The publiC CreaTes a

kineTiC pieCe of arChiTeCTure. howeler yoon arChiTeCTure is a firm ThaT sTrongly believes designers and arChiTeCTs noT only CreaTe buildings

for The inhabiTanTs, buT ThaT The oCCupanTs aCTively engage The builT environmenT. for The hoTel and spa design, They CreaTe a sysTem of Thermal

envelopes, whiCh develops spaTial arrangemenTs dealing wiTh publiC versus privaTe spaCes and weT and dry zones. The wrapping sysTem noT only

CreaTes a progression beTween volumes, buT responds To The movemenT of human aCTiviTy.

in The proposal for The rose kennedy greenway Called “infra green,” howeler yoon designed a series of roTaTing Tri-panel ground

planes ThaT are Covered in asphalT, hardsCape or Turf. The ground Can liTerally Change depending The aCTiviTy Taking plaCe aT The Time. Their

design proposal brings TogeTher arChiTeCTure, infrasTruCTure, TeChnology, landsCape and The CulTure To engage and inTeraCT wiTh The publiC.

in The projeCT “whiTe noise, whiTe lighT,” howeler yoon explores how The user Can parTiCipaTe in defining publiC spaCe. a field of 400


6 - Lucy Bullivant, Responsive Environments:

Architecture, Art and Design (South

Kensington, London: V & A Publications,

2006), 17




Figure 1.2 – Light Sounds, Source: D-squared

Figure 1.3 – Infra Green, Source: Howeler

Yoon Architecture

9

fiber opTiC poles emiTs lighT and sound ThaT inCreases in inTensiTy as The parTiCipanTs approaCh Them. The fliCkering lighTs help CreaTe a spaTial

awareness To The presenCe of oTher parTiCipanTs. The noise from The insTillaTion helps To CanCel ouT The surrounding baCkground noise of The

CiTy. howeler yoon wanTed To CreaTe an insTallaTion ThaT provided an inviTing, playful experienCe for The visiTors. The field of lighTs Transforms

playful aCTiviTy inTo spaCe, lighT and sound.

by undersTanding The relaTionship beTween inhabiTanT, The publiC and The urban fabriC, designers and arChiTeCTs are able To CreaTe

spaCes ThaT engage The user. This is imporTanT in urban seTTings as The line beTween The publiC and inhabiTanT in blurred. looking noT only aT The

physiCal elemenTs of a building suCh as walls, floors and windows, buT also aT new mobile TeChnologies in Today’s soCieTy, helps CreaTe a dialogue

beTween The physiCal and digiTal world. wiTh The CorrelaTion beTween The physiCal and digiTal realms, There musT also be CollaboraTion beTween

disCiplines: arChiTeCTs, designers, arTisTs, sofTware engineers, sCienTisTs and inhabiTanTs musT all work TogeTher. “raTher Than being wholly

CompuTer generaTed, like virTual realiTy projeCTs, responsive environmenTs are a bridge beTween The physiCal and The virTual.”8

The appliCaTion of inTeraCTive arChiTeCTure Can also Take various programmaTiC forms. programmaTiC elemenTs are explained as working

environmenTs, living environmenTs, publiC environmenTs and enTerTainmenT environmenTs. These various programmaTiC Types have differenT needs

in Terms of inTeraCTiviTy. adapTable spaCes are ConsTanTly Changing depending on The users speCifiC needs.

inTeraCTive arChiTeCTure shows greaT promise in The work plaCe. many workplaCes have high aCTiviTy aT The beginning and end of The

workday, while during The middle of The day, many people are ouT of The building aT meeTings or visiTing ClienTs. ConferenCe rooms are TypiCally

only used for a shorT perCenTage of The day and usually have very limiTed flexibiliTy in wheTher four or sixTeen people use Them. how Can The

appliCaTion of inTeraCTive arChiTeCTure help reThink These issues? lighTing, privaCy, Cooling and aCousTiCs are all elemenTs ThaT affeCT any

building. adapTable spaCes have The abiliTy To help ConTrol and manipulaTe These forCes.

a projeCT by vinCenT james ThaT addresses issues dealing wiTh inhabiTanTs’ needs is The dayTon house. The ConneCTion beTween inTerior

and exTerior spaCes are used in adapTing The house To The various needs of The user as well as seasonal Changes. various operaTing meChanisms

Combine wiTh The layered wall sysTem To make iT responsive To speCifiC funCTional needs of The house and The arT ColleCTion.9 This is niCe example

of how spaCes Can adapT and Transform depending on The needs of The user on a muCh smaller sCale.

inTeraCTive arChiTeCTure Can also influenCe enTerTainmenT and publiC environmenTs. These program Types affeCT a broad range of

buildings suCh as muniCipal, CommerCial, insTiTuTional and residenTial. The appliCaTion of inTeraCTive media To The publiC realm, in The form of

faCades, sCulpTures and founTains, has CreaTed a greaTer ConneCTion beTween pedesTrians, inhabiTanTs and building. museums, for example, have


8 - Lucy Bullivant, Responsive Environments:

Architecture, Art and Design (South

Kensington, London: V & A Publications,

2006), 9

9 - Vincent James and Associate Architects

- www.vjaa.com

Figure 1.4 – White Noise White Light, Source:

Howeler Yoon Architecture

Figure 1.5 – Smart Glass-Glass that

transforms from transparent to translucent

with the touch of a switch, Source: Smart

Glass International

Figure 1.8 – Dayton House, Source: Vincent

James Associate Architects

10

sTarTed To embraCe The noTion of inTeraCTiviTy as a way of eduCaTing Their audienCe by displaying and presenTing The arTifaCTs. “inTeraCTiviTy

Combined wiTh spaTial adapTabiliTy Can serve well The Temporal naTure of Changing displays and The ways in whiCh visiTors inTeraCT wiTh Them.”10

inTeraCTive arChiTeCTure foCuses on how people use and ConneCT To The buildings They live in, work in or play in.

MIxed use BuIldIngs

hisToriCal preCedenTs

There has been a need for Towns and CiTies To have mixed-use buildings. mixed-use buildings allow for CommuniTies To exChange ideas,

as well as permiT inTeraCTion amongsT CiTizens. looking aT The hisTory of mulTi-use buildings, how They have Changed Today and Their relaTionship

To The urban ConTexT, arChiTeCTs and designers Can address issues suCh as how pedesTrians engage The spaCe, soCial inTeraCTions and buildings

physiCal ConneCTion To The exisTing ConTexT.11 The need for buildings To merge varying programmaTiC elemenTs inTo one CoherenT pieCe of

arChiTeCTure is imporTanT for The overall funCTion of a spaCe. “…To examine whaT is There and To see how we Can aChieve a beTTer environmenT

Through The inTegraTion of The mulTi-use building in The urban fabriC.”12

The use and ConsTruCTion of mixed-use buildings have been around for CenTuries. The roman baThs and The greek agora are boTh

examples of early mixed-use sTruCTures. They employ a neTwork of soCial, poliTiCal and eConomiCal inTeraCTions. mixed-use buildings were

presenT in medieval CiTies as They allowed The CiTizen and Their job To be in Close proximiTy. as CiTies expanded, There began To be an inCrease in

mulTiple houses or aparTmenTs builT on Top of one anoTher wiTh The ground floor open for shops and sTores.

ThroughouT The 19Th CenTury, arChiTeCTs sTarTed quesTioning This idea of mixed-use sTruCTure wiThin The urban ConTexT. buildings

should noT be viewed as a fixed program buT be allowed To be adapTable and generous. “The quesTion is noT To build flexible buildings buT To

esTablish environmenTs in whiCh buildings appropriaTe To Their funCTion may oCCur, and To enCourage an inTeraCTion beTween These buildings and

Their environmenTs.”13 a mixed-use building program is sTill presenT in many Types of aparTmenT buildings Today.

The idea of mixed-use buildings has been ConsTanTly Changing and manipulaTed in CiTies for CenTuries. wiTh The advanCemenT of

TeChnology and The noTion of inTeraCTive arChiTeCTure, arChiTeCTs and designers are able To redefine mulTi-use spaCes.


10 - Michael Fox and Miles Kemp,

Interactive Architecture (New York: Princeton


11 - Eberhard H. Zeidler, Multi-Use

Architecture in the Urban Context (New York:

Van Nostrand Reinhold, 1985)



Van Nostrand Reinhold, 1985), 9



Van Nostrand Reinhold, 1985), 17

11

MultI PurPose PrograMs

modern inTerpreTaTions

The way in whiCh inhabiTanTs oCCupy mulTi-purpose spaCes affeCT how These spaCes are designed. There are many buildings Today ThaT

are only oCCupied during The workday from around 8a.m.-6p.m., effeCTively only using The building for half The day, and allowing The building liTTle

room for flexibiliTy. arChiTeCTs and designers have sTarTed designing buildings ThaT allow for a varieTy of aCTiviTies To Take plaCe ThroughouT

The enTire day. These spaCes are oCCupied differenTly depending on The Time of day due To use groups, solar orienTaTion and programmaTiC needs.

how Can mulTi-purpose spaCes adapT and inTeraCT wiTh The oCCupanT ThroughouT The Course of The day To CreaTe a disCourse beTween oCCupanT

and building? The answer does noT only lie in The realm of TeChnologiCal inTeraCTive sysTems, buT also in The way arChiTeCTs and designers deal

wiTh lighT, maTerials and environmenT responses.

an example of a builT form ThaT uTilizes boTh mixed-use program and mulTi-purpose spaCes is The insTiTuTe of ConTemporary arT (iCa)

in bosTon. The iCa houses a gifT shop, a Café, an audiTorium, offiCes, and an exhibiTion spaCe; This is an example of a mixed-use building. The

exhibiTion spaCe is seen more as a mulTi-purpose spaCe ThaT Can be rearranged depending on The evenT or aCTiviTy Taken plaCe. The CombinaTion of

mulTi-purpose and mixed-use has a direCT CorrelaTion To The way oCCupanTs inTeraCT wiTh The building.

anoTher example of a mulTi-purpose building ThaT foCuses on The way programmaTiC elemenTs relaTe To eaCh oTher is The Charles

hosTler sTudenT CenTer loCaTed in beiruT, lebanon by vinCenT james assoCiaTes arChiTeCTs. The sTudenT CenTer ConsisTs of faCiliTies for

swimming, baskeTball, volleyball, as well as an audiTorium, amphiTheaTer and Café. The building form redisTribuTes air, aCTiviTy and shade To form

a ConTinuous field of habiTable spaCe and a varieTy of miCroClimaTes.14 The ClimaTe of beiruT allows for The inhabiTanTs To oCCupy The lower levels

during The day, whiCh provides shade, and The open-air roofTops aT nighT. This verTiCal relaTionship allows for a more Three dimensional sysTem

of CirCulaTion, gaThering spaCes and program.


14 - Vincent James and Associate Architects

- www.vjaa.com

Figure 1.6 – Institute of Contemporary Art,

Source: Diller and Scofidio

Figure 1.7 – Charles Hostler Student Center,

Source: Vincent James Associate Architects

12

ConClusion

Though inTeraCTive arChiTeCTure and mulTi-purpose buildings have in a sense been around for CenTuries, The advanCemenT of TeChnology

allows for new ways To reThink The relaTionship beTween oCCupanT and The builT environmenT.

CriTeria for evaluaTion

• was The inTegraTion of inTeraCTive media a fully Comprehensive sTudy, or did iT feel as if iT was applied To The building?

• is There a Clear undersTanding of proCess ThaT is ConCise and ConsisTenT ThaT helps reinforCe The main Themes?

• does The arChiTeCTure suCCessfully inTeraCT wiTh The publiC and The inhabiTanT?

ideas for fuTure resulTs

This Thesis is one ThaT is siTed in an urban ConTexT, bosTon. a major quesTion ThaT one would pose would be, Can This Type of muTually

inTeraCTive arChiTeCTure be inCorporaTed inTo a rural ConTexT? The idea of buildings inTeraCTing wiTh iTs oCCupanTs ThroughouT The Course of

The day may noT be as benefiCial in an area wiTh liTTle ConsTanT aCTiviTy. anoTher quesTion ThaT may be asked is wheTher This Type of building Can

be inTegraTed inTo oTher CounTries urban ConTexT? Cairo? Tokyo? london? many CounTries are ahead of The uniTed sTaTes in TeChnologiCal

advanCemenTs and This form of inTeraCTive media may already be a Common design elemenT in fuTure ConsTruCTion. These are possible quesTion

ThaT i pose as a fifTh year arChiTeCTure sTudenT, ThaT i also feel should be addressed ThroughouT The arChiTeCTure CommuniTy.


Thesis Prep II - Site

Thesis prep ii(fall 2009)

site

14

Artist for Humanity Building

Site

Proposed Residential Building

Thesis Prep II - Site 15

The site for this thesis is located

in South Boston on the corner of

West 2nd Street and B Street. The

northern side of the site is facing the

South Boston Bypass and railroad

lines. Two smaller roads that lead

into the surrounding residential

neighborhoods corn the southern

edge. The site is situated on a

transition zone between larger

scale industrial and commercial

buildings and smaller scale houses

and apartments.

siTe

souTh bosTo

n bypa

ss

wesT 2nd sTreeT

wesT 1sT sTreeT

wesT 3rd sTreeT bolTon sTreeT

b sTreeT


South Boston

16

Artist for Humanity Building

RCN Building

Financial District

Another important site consideration is the transition from small neighborhood

scale streets to larger city scale highways. This transition is usually consistent with the

idea of moving from the neighborhood scale to the larger commercial scale. Allowing the

building to respond to external forces may dictate programmatic choices. Sound levels,

light pollution and access are all essential characteristics of site selection. The variation in

highway velocity versus street movement may also help determine interior relationships.

This notion of a transition zone between various building typologies is an

important site feature that relates back to the overall theme of interactivity between the

human and building. This area of transformation has the capability of connecting the

public, the occupant and the built environment. The connection to the urban fabric not only

engages the public, but can also help revitalize the community.

Figure Ground: Transition Zone


South Boston

17

building Typologies - CommerCial



building Typologies - residenTial

19

building Typologies - mixed-use



building Typologies - indusTrial

21

On the southern side of the site is an abandoned building that is currently

being renovated to contain 75 residential units. 54 of the units are basic resi-

dential units, while 21 are designed to be artist studios. The close proximity

to residential units will create a new interaction between living and working.

There will become a direct link between the Artist for Humanity Building, the

proposed residential building and my own thesis proposal that will aid in revi-

talizing the site.

proposed residenTial building

siTe

arTisT for humaniTy building

proposed residenTial building

Site Relationships

Proposed residential building adjacent to site.


The sites’ close proximity to the existing Artist for Humanity building located just across the South Boston Bypass

creates a direct link to youth artists within the community. The Artist for Humanity building’s site location was chosen as a

way to empower the urban youth and bring identity to a developing neighborhood in South Boston. The goal of Artist for

Humanity is to bridge the gap between economical, racial and social barriers as a means to bring together underprivileged

children in the community through the field of art. The building houses studios for young teens in the disciplines of screen-

printing, photography, sculpture, painting, and urban media. The lower level, containing the gallery space, performs as a

place to display work that may also be rented out for larger gatherings.

Large Gallery/Exhibition Space

Woodworking Studio

Images: Courtesy of AIA COTE Top Ten Green Projects 2007

main gallery CourTyard

meChaniCal

sCulpTure woodworking

painTing

silk sCreen phoTo offiCe

Longitudinal Section varying room heighTsinTerior/exTerior spaCe

Artist for Humanity


The large overhead door allows for

the gallery space to spill outdoors,

creating a link between community,

street and building.

Gallery space open to exterior courtyard.

View from West 2nd Street

Ground floor plan: Relationship to exterior courtyard

CourTyard

main gallery

Images: Courtesy of AIA COTE Top Ten Green Projects 2007


Artist for Humanity

24

Thesis Studio - Site


site

25


Existing Building Material Study

Aluminum Paneling

Brick

Copper Paneling

26


Residential vs. Industrial Typologies

27


Site Views

28


Existing Railroad Track Analysis

29


Artist Space Initiative

Artists help make boston a more livable city - a city of people and neighborhoods, a center of cultural life, and a vital economic center. They function as small businesses by providing jobs and services for Boston residents. Since the late 1960s, artists have helped transform marginal neighborhoods into dynamic communities. Frequently, festivals, galleries, small performance spaces and small retail spring up in these same areas though the work of resident artists, generating a vibrant street life that acts as a deterrent to crime, dramatically enhancing the quality of neighborhoods for both the people who live there and people who visit.

According to the Boston Zoning Code, artists in live/work units are the only occupational group permitted to live in industrially zoned ares of the city. For commercial and non-profit developers with an interest in developing space for artists, the BRA recently developed design guidelines to articulate minimum requirements to meet artists’ needs (i.e., live/work units must be at least 1,000 square feet.)

Images: Courtesy of Boston Redevelopment Authority

30

Artists for Humanity The Signal Building Artist Residence

ArtBlock Artist Community

Wilkes Passage Lofts

Fort Point Place

Present - Fort Point Arts CommunityPast- 1900 Wool Warehouse

Present - Midway StudiosPast - 1897 Factory Buildings

The Distillery

Boston Center for the Arts

1900 - American Railway Express Building

1902 - New England Confectionary Company Factory

Gillette

Shawmut Crane and Rigging

Site

Artist and Industrial Facilities around South Boston Industrial Facilities Artist Facilities Industrial transformed into Artist

Thesis Studio - Site 31

Press Release

Boston Targets $84 Million For Transportation Improvements

City submits application for federal stimulus grant for Port of Boston project; Project includes 4 sites that would immediately create 620 construction jobs.

Track Improvements for the South Boston Marine Industrial Park Rail Road - $14 Million

The Track 61 Project was initiated to restore freight rail lines at the BMIP and to extend the freight track to service additional areas of the BIMP. The BIMP is the only port to freight rail connection remaining in Boston. These improvements would provide the BIMP and region with a unique advantage in the market place as a result of the air, ship/barge, rail and highway connections that would be available to businesses. The project includes the rehabilitation of 2,860 linear feet of railroad track, the construction of 5,910 linear feet of new track, and associated roadway improvements and drainage modifications.



32

siTeTraCk 61


TraCk 61 improvemenTs

exisTing TraCk 61 To souTh bosTon

old Colony mainline

dorChesTer branCh, worCesTer line, and norTheasT Corridor

figure 6eConomiC evaluaTionTraCk 61 aCCess

nTs


33

The Signal Building - Proposed Residential Building

Ground Floor Plan

1st Floor Plan

2nd Floor Plan

3rd Floor Plan


Images: Courtesy of www.154westsecond.com

34

Thesis Prep II - Program


ProgrAm

35

Interactive architecture along with multi-purpose spaces can take a wide range of forms. These conceptual ideas can influence anything from office buildings, residential

complexes, commercial buildings to institutional uses. The idea of program in this thesis is one that has the ability to interact and adapt with its inhabitants, not only through

occupants needs but also through various time spans. Looking at the program in this manner allows there to be a stronger connection between the occupant, the public and building.

The interaction between these various elements must influence the way spaces and rooms are designed to respond with each other. The idea of an artist design studio has a strong

correlation to these underlying themes.

Art design studios are very active and kinetic environments. The constant transfer of ideas, materials and people throughout the studio requires a space that can adapt

depending on the various needs. Artists and designers must be able to interact with their surroundings to best suit their demands. The three major elements of an artist design studio

(the studios, galleries and group rooms) are in constant flux depending on the requirements for that time period.

There are a variety of studio types that may be present in this type of building. Painting, drawing, sculpture, glass making, ceramics and textiles are all possible disciplines

within art. Each discipline has similar and unique characteristics associated with them. This can lead to ways in which these spaces can change or overlap one another. The gallery

space is an important aspect of any art studio. These spaces allow artist to display their works as well as engage the public. Various galleries may have different requirements

depending on size, allowable light or sound levels. These variables support the idea of interactivity between artist and flexible space. Having the ability to respond to these elements

gives the occupants a greater level of interaction with the built environment. Many spaces within an artist design studio call for small or large gatherings spaces, whether for

meetings, or for large public art displays. Many times these spaces are only used for those specific needs, but with the idea of building interactivity, these spaces have the ability to

respond to the building as well as the inhabitants’ needs.

• Artist Studios

- Drawings 4000 s.f.

- Painting 3000 s.f

- Sculpture 3000 s.f

- Glass Making 5000 s.f

• Exhibition Spaces

- Small (Flexible) 500-1000 s.f/each

- Large (Flexible) 1000-3000 s.f/each

- Public/Lobby 500-6000 s.f

• Community Spaces 1000-3000 s.f

• Offices 150-300 s.f/each

• Café 1500 s.f

• Crit Rooms

- Small Groups 500-1500 s.f/each

- Large Groups 1500-4000 s.f/each

• Services Total: 2000 - 3000 s.f

Thesis Prep II - Program 36

Thesis Prep II - Program

programmaTiC diagram

37

Thesis Studio - Program


ProgrAm

38

Gallery

Light: DiffusedSIze: Large - Very Large

Extra: Access to outdoors

Gallery

Light: DiffusedSIze: Small

Extra: Controlled Lighting

Small Painting

Light: NorthSIze: Medium

Extra:

Presentation Room

Light: No LightSIze: Small


Media/Computer Art

Light: IndirectSIze: Medium

Extra: Room for Prosessors

Sculpture

Light: NaturalSIze: Large - Very Large

Extra: Access to outdoors, Equipment

Large Painting

Light: NorthSIze: Large

Extra: Access to outdoors and paintable walls

Wood Working

Light: NaturalSIze: Very Large

Extra: Access to outdoors, Machinery

Gallery



Lecture Hall/Auditorium

Light: DiffuseSIze: Large


Cafe

Light: NaturalSIze: Small

Extra: Access to Outdoors, Kitchen

Gallery


Extra: Controlled Lighting, Access to

outdoors

Pottery/Ceramics

Light: NaturalSIze: Medium

Extra: Equipment

Offices

Light: NaturalSIze: Very Small

Extra:

Artist for Humanity

Proposed Artist Residence


iniTial programmaTiC relaTionship sTudy 1

39

Gallery



Gallery



Small Painting

Light: NorthSIze: Medium

Extra:

Sculpture

Light: NaturalSIze: Large - Very Large

Extra: Access to outdoors, Equip-ment

Large Painting

Light: NorthSIze: Large

Extra: Access to outdoors and paintable walls

Wood Working

Light: NaturalSIze: Very Large

Extra: Access to outdoors, Machinery

Gallery



Cafe

Light: NaturalSIze: Small

Extra: Access to Outdoors, Kitchen

Gallery


Extra: Controlled Lighting, Access to

outdoors

Offices


Extra:

Media/Computer Art

Light: IndirectSIze: Medium

Extra: Room for Prosessors

Presentation Room

Light: No LightSIze: Small


Lecture Hall/Auditorium

Light: DiffuseSIze: Large


Offices


Extra:

Artist for Humanity

Proposed Artist Residence

Pottery/Ceramics

Light: NaturalSIze: Medium

Extra: Equipment


iniTial programmaTiC relaTionship sTudy 2

40

Program Massing Studies

Thesis Studio - Program 41

Final Program List

Sculpture Facilities• Assembly/Display Areas (2)• Sculpture Mock-up area (1)• Material Storage

Offices/Studios• Artist Studios (3)• Administration Suites (4)• Conference Room (1)

Public Amenities• Lobby• Reception• Bookstore• Cafe• Lounge (2)

Support Spaces• Lavatories• Storage• Mechanical/Electrical• Freight Elevators

Thesis Studio - Program 42

Thesis Prep II - Precedents


Precedents

43


The Charles Hostler Student Center

in Beirut by Vincent James Associates

Architects is an important example of how

programmatic elements can respond to

occupants’ needs throughout the course

of the day. The student center consists of

facilities for swimming, basketball, volleyball,

as well as an auditorium, amphitheater and

café. The building form redistributes air,

activity and shade to form a continuous

field of habitable space and a variety of

microclimates.

Charles hosTler sTudenT CenTerarChiTeCT: vinCenT james assoCiaTe arChiTeCTs

Site Plan: Relationship of buildings to open spaces. Site lines directing views towards water.Images: Courtesy of www.architectureweek.com

44

The climate of Beirut allows for the inhabitants to occupy the lower levels during the day, which provides shade, and the

open-air rooftops at night. This vertical relationship allows for a more three dimensional system of circulation, gathering

spaces and program. The use of materials, light and transparency creates an interaction between the user and the building.

Charles hosTler sTudenT CenTerarChiTeCT: vinCenT james assoCiaTe arChiTeCTs

Vertical circulation exposed to exterior spaces. Images: Courtesy of www.vjaa.com

Connection of interior and exterior spaces.

Thesis Prep II - Precedents 45


sChool of arT and arT hisTory aT iowa universiTyarChiTeCT: sTeven holl

This building is important as it has a similar program to my own thesis. The building program includes studios for sculpture, painting, print making, offices galleries and a library.

The building was designed to be adaptive and flexible in order to accommodate many activities dealing with teaching and practice. Flexible spaces connect the studio to the outdoors,

creating a link between interior and exterior spaces. The relationship to the exterior and the way the users move through the space create an interaction to building and environment.

Relationship of building to existing natural surroundings. Images: Courtesy of www.stevenholl.com

46

sChool of arT and arT hisTory aT iowa universiTyarChiTeCT: sTeven holl

The main passages throughout the building are meant to create meeting places as well as reveal the work in progress.

The use of materials and the control of light create an overlap for experiential relationships.

Images: Courtesy of www.stevenholl.com Interior staircase Interior staircase

Natural Light Workspace Storage

Thesis Prep II - Precedents 47


loop ChairsarChiTeCT: howeler yoon arChiTeCTure

The loops chairs are made out of a single band of polypropylene plastic. Howeler and Yoon studied the fabrication

process, materiality and form to develop a chair that could be used in a variety of ways. The chair can accommodate

a single occupant or multiple occupants, encouraging the user to renegotiate the boundaries of a typical chair.

The chair is capable of slightly deflecting from the weight and subtle contours of a human body. Loop chairs not

only cause the users to interact with it and each other, but is constantly transforming due to the users presence.

Images: Courtesy of www.hyarchitecture.com

48

Thesis Studio - Precedents


Precedents

49

Milwaukee Art Museum• Santiago Calatrava

Charles Hostler Student Center• Vincent James Associates

Party Wall• N Architects

Kiefer Technic Showroom “Dynamic Facade”• Giselbrecht + Partner ZT GmbH

Interactive Fan Wall• Daan Roosegaarde

Target Breezeway• Electroland

I n s t i l l a t i o n F a c a d e K i n e t i c S i t e

S h a d i n g

I n t e r a c t i v e

V i e w s

S p a t i a l

S e n s o r y

Fabios Restaurant• BEHF Architekten

Nordic Embassies• Berger+Parkkinen

Moving House• dRMM

Lavin-Bernick Center• Vincent James Associate

RV - Room Bump Out

The Blur Building• Diller and Scofidio

Thesis Studio - Precedents 50

G a l l e r i e s S t u d i o s D i r t y C l e a n

D i f f u s e d L i g h t

N a t u r a l L i g h t

T r a n s f o r m a b l e S u r f a c e s

I n d u s t r i a l A e s t h e t i c

S u r f a c e s

Thesis Studio - Precedents 51

Thesis Studio - Preliminary Conceptual Sketches


PreliminAry concePtuAl sketches

52

Preliminary Facade Sketches

Thesis Studio - Preliminary Conceptual Sketches 53


Concept Sketches

54


Site Lines - Sketches and Model Site Forces - Sketches and Model

55


Sketches diagraming Connection between Artist for Humanity Building and new Residential Building.

56



Conceptual Sections - Sketches and Models

58

Program Study Model - Studying Layering, Transparency and Spatial Relationships

Site Shadow Study Model - Analyzing shadow movement across the site at various times of the day.


Thesis Studio - Site Animation Studies


site AnimAtion studies

60


Semi-Truck Turning Radius

61


Transformable Room Study

Walking Movement Study

Semi-Truck Turning Movement Study

62


design PhAse 1

Thesis Studio - Design Phase 1 63

Thesis Studio - Design Phase 1

Conceptual Image -Demonstrating idea of projecting art into the city.

64


Conceptual Image -Demonstrating idea of projecting art onto the Boston Skyline

65


Conceptual Facade Study -Interactive facade tracking movement of site forces (i.e. Pedestrians, Traffic, Solar conditions).

66




Conceptual Sketches -Studying various programmatic relationships and adjacencies.

69


Preliminary Building Plan -Exterior skins consists of a series of canvas panels that allow artist to paint on and then display on the facade of the building towards Boston and the neighborhood of South Boston.

70


Preliminary Building Sections -Showing artists studios in relationship to central exhibition space.

Artist Studios Central Exhibition Space Connection Zone

Artist Studios Central Exhibition Space Connection Zone

71


Preliminary Building Facade Design 1 -Showing canvas Panels that can be positioned and rotated in a variety of ways to display artists’ art to the public.

72


Preliminary Building Facade Design 2 -Showing portions of the building that can protrude in or out of the building dependent on the need for light, views or space. These spaces allow for the art to be exposed to the public throughout the day.

73



design PhAse 2

74


Preliminary Building Plan 1 -Further development from Design Phase 1. Attempts to resolve programmatic relationships with the integration of egress, freight elevators and gallery spaces. Transformation from the initial program of multiple kinds of artist studios, to specifically large-scale, industrial sculptures.

75


Preliminary Building Plan 1a -Further development of building plan 1. A closer, more in depth analysis at multiple scales, in relation to site density and sculpture size.

76


Building Section Diagrams -Studies showing possible programmatic transformations depending on occupants’ needs throughout the course of the day.

77


Preliminary Building Section

78


Preliminary Building Plan 2 -Further Development on Preliminary Building plan 1a, focusing on creating spaces that can transform in size, allowing various size sculptures to be manufactured.

79


Conceptual Building Massing -Studying how various scale sculptures can be displayed on the exterior of the building.

80



design PhAse 3

81


Conceptual Sketches -Looking at building form and ways to maintain views from the Proposed Residential Building. By locating the stairs, offices and services within three cores, allows the in between spaces to become open and transparent, maintaining views towards the skyline of Boston.

82


Conceptual Building Sections

83


Preliminary Building Plan -Located specific zones where galleries could be sited dependant on views, scale and usage.

84

StudioGalleryPublic


StudioGalleryPublic

StudioGalleryPublic StudioGalleryPublic

Concept Program Diagrams -Diagrams focus on possible arrangement of major programs within the building. The overlaps became transitional zones between various types of program, helping to reinforce the form of the primary building cores.

85

2nd Floor Plan16’ 32’0’

Assembly/Gallery “Nodes”



Fabrication/Artist Studios


A

A

B

B

C

C


1st Iteration - 2nd Floor Plan

86

3rd Floor Plan16’ 32’0’








1st Iteration - 3rd Floor Plan

87

4th Floor Plan16’ 32’0’






1st Iteration - 4th Floor Plan

88

Longitudinal Section C-C

Longitudinal Section B-B

16’ 32’0’

16’ 32’0’

Cross Section A-A16’ 32’0’


1st Iteration - Building Sections

89


1st Iteration - Exhibit/Production Zones StudyThis diagram studies the way that the various exhibit/production zones located throughout the building are connected to one another. While these spaces are being utilize for the manufacturing of sculptures, they can be closed off; once an exhibit is in progress, the spaces can once again become connected via transformable stair cases.

90


1st Iteration - Exhibit/Production Zones

91

2nd Floor

3rd Floor

4th Floor


1st Iteration - Transformable Stair Analysis

92


FinAl design

Thesis Studio - Final Design 93

Thesis Studio - Final Design 94

Thesis Studio - Final Design

Design Sketches

95

f l y l o f Tf l y l o f T

s T a g es T a g e

supporT

prosCenium

lounge

g r e e n

r o o m b a C k s T a g e

lobby

C o n T r o l C o n T r o lC o n T r o l


Concept Section

Theater Concept Section

96


Concept Building Model

97


Theatrical Precedents Industrial Precedents Large-Scale Industrial Sculptures Precedents Richard Serra Design Process

98


Final Design - Ground Floor Plan

99


Final Design - 2nd Floor Plan

100


Final Design - 3rd Floor Plan

101


Final Design - 4th Floor Plan

Final Design - 5th Floor Plan

102


Final Design - Building Sections

103


Final Design - Building Sections

104


View from the Corner of West 2nd Street and B Street

View from the South Boston Bypass

105


X-Bracing

Floor Slabs

Support Program

Interior Wood Paneling

Exterior Metal Fabric

Assembly Cub Floor Slabs

Moveable Walkways and Monumentall Stairs

Truss System

Structural Glass Fins

Assembly Cube Exterior Glazing Physical model detailing exterior metal fabric and structural x-bracing system.

106


Material Selection

Scaffolding Connectors Metal Fabric Translucent Scrim Plywood Paneling

107


Scaffolding Analysis

Monumental Stair Assembly Construction Scaffolding Assembly Truss Assembly Movable Walkway Assembly

108


Roof Assembly Development - The roof system consists of trusses, structural glass fins, exterior glazing and two gantry cranes. This portion of the building is meant to represent a typical fly-loft present in theater buildings.

109


Exhibit/Production Cube Sketches - This portion of the building is where the manufacturing and production of sculptures takes place during the day by artists, fabricators and steel workers. During the evening, the space is transformed into an exhibit space, allowing visitors to experience the construction of sculptures at many stages of production. This zone consists of a series of moveable walkways that allow the workers to construct the sculptures, as well as act as circulation through the building for the public during exhibits.

110


Exhibit/Production Cube - Arranged for a media art projection scenario.

111


Exhibit/Production Cube - Arranged for a installation artist scenario.

112


WednesdayJune 2nd, 2010

Disassembly

WednesdayMay 26th, 2010

Final Production Phase


Production Phase


Assembly

Tuesday May 4th, 2010

Coordination Phase

MondayMay 3rd, 2010

Empty Space

113


FridayJune 4th, 2010

Final Display

114


Final Model

115


Final Model

116


Final Model

117


TheaTriCal arT: re-defining proCess

Graduation Exhibit Poster

118

Thesis Studio - Conclusion


conclusion

119

Thesis Studio - Conclusion

ConClusion - afTer CompleTing The spring 2010 semesTer and developing This Thesis, i was able To look baCk aT my iniTial Thesis prep i and ii doCumenTs and re-visiT goals ThaT i had seT up for

myself. alThough my iniTial ideas of CreaTing an “inTeraCTive arChiTeCTure” Changed slighTly over The Course of designing a building, some of my iniTial researCh and inTeresTs sTayed wiTh

me ThroughouT The semesTer. These preliminary goals were:

objeCTives

• To inCorporaTe emerging digiTal TeChnologies and maTerials To allow building and oCCupanT To inTeraCT wiTh eaCh oTher.

• To CreaTe spaCes ThaT are Capable of adapTing To The oCCupanTs needs ThroughouT The Course of The day.

CriTeria for evaluaTion

• was The inTegraTion of inTeraCTive media a fully Comprehensive sTudy, or did iT feel as if iT was applied To The building?

• is There a Clear undersTanding of proCess ThaT is ConCise and ConsisTenT ThaT helps reinforCe The main Themes?

• does The arChiTeCTure suCCessfully inTeraCT wiTh The publiC and The inhabiTanT?

Through ConsTanT and Thorough developmenTs and iTeraTions ThroughouT The semesTer, The inTegraTion of inTeraCTive media did noT supplemenT The direCTion my design was

heading. i was okay wiTh These Changes, as my overall design ideas were progressing wiTh eaCh review. i beCame very inTeresTed in CreaTing a spaCe ThaT engaged The publiC and The skyline

of bosTon aT mulTiple sCales. allowing The building To aCT as a maChine for displaying and produCing arT in a TheaTriCal, arTisTiC way beCame The foCus of my Thesis.

an imporTanT CriTiCism ThaT i reCeived aT my final review had a loT To do wiTh how my building inTeraCTs wiTh The CiTy of bosTon aT a more urban level. my building Could have been

able To disTribuTe sCulpTures on Trains and boaTs ThroughouT The CiTy, CreaTing anoTher level of inTeraCTion beTween whaT my building produCes and The CiTy of bosTon. i did noT spend a

loT of Time during The semesTer resolving issues regarding siTe and urban CondiTions. as my design beCame imporTanT in The disTribuTion of sCulpTures ThroughouT The CiTy, as well as The

CounTry, Thinking more abouT possible impliCaTions on The urban level would have furTher sTrengThened my argumenT.

anoTher aspeCT ThaT i Could have looked inTo in more depTh is The idea ThaT The building does noT need To be speCifiC To sCulpTure produCTion, buT manufaCTuring in general. The

building Can Then beCome a plaCe of manufaCTuring for The CiTy ThaT disperses iTs produCTs ThroughouT The CommuniTy, buT Can Then beCome a faCiliTy where arTisT Come from around The

CiTy and ConsTruCT Their pieCes of work. by noT limiTing The program To speCifiCally sCulpTure produCTion, i am Capable of CreaTing a mosT susTainable building in The CommuniTy.

as i have ConCluded my Thesis proposal, i feel sTrongly abouT The progress and developmenTs made from my iniTial Thesis prospeCTus. i have CreaTed a spaCe ThaT inTeraCTs wiTh

The oCCupanTs, pedesTrians and siTe aT a varieTy of sCales. CreaTing a spaCe ThaT was Capable of produCing large sCulpTures and exposing The proCess of manufaCTuring, in a TheaTriCal

aesTheTiC, beCame The foCus of my Thesis, whiCh emerged from my early Thesis researCh.

120

Thesis Studio -Conclusion 121

bibliography

122

• bullivanT, luCy. 4d soCial: inTeraCTive design environmenTs 77, no. 4 (july/augusT 2007)

• bullivanT, luCy. responsive environmenTs: arChiTeCTure, arT and design. souTh kensingTon, london: v & a publiCaTions, 2006.

• fox, miChael, and miles kemp. inTeraCTive arChiTeCTure. new york: prinCeTon arChiTeCTural press, 2009

• kronenburg, roberT. spiriT of The maChine: TeChnology as an inspiraTion in arChiTeCTural design. greaT briTain: wiley-aCademy, 2001

• yoon, meejin j., and eriC howeler. expanded praCTiCe: howeler yoon arChiTeCTure/my sTudio. new york: prinCeTon arChiTeCTural press, 2009.

• zeidler, eberhard h. mulTi-use arChiTeCTure in The urban ConTexT. new york: van nosTrand reinhold, 1985

Bibliography 123

Documents

Thesis Project Book