Transformations:An Arts Center for Narrows Virginia.

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A design thesis submitted to the Graduate Faculty of VirginiaPolytechnic Institute and State University in partial fulfillmentof the degree of Master of Architecture.

December 1, 1999Blacksburg, Virginia

TransformationsAn Arts Center for Narrows, Virginia.

byPaul Gehringer

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William Galloway - Thesis Chairman

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Michael O�Brien

________________________________________________________________________Mario Cortes

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abstractWhat is the role of mecha-nisms and change in architec-ture? How does a buildingrelate to the people in andaround it? How might archi-tecture interact with people,not as an object, but as aparticipant in a dialogue?

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Burruss entrance - Virginia Tech

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table of contentsintroduction

precedents

origins of the project

the project

the site

plans and sections

relation to the street

element of time

people as dynamic element

functional qualities

spatial qualities

details

order

conclusion

bibliography/Credits

acknowledgments

vita

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Watercolor section study

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�There is an inherent suggestion ofaction in images of architecture,

the moment of active encounter,or a promise of use and pur-

pose.... A building is encountered;it is approached, confronted,related to one�s body, moved

through, utilized as a condition forother things.�

Juhani PallasmaaEyes of the Skin

introductionArchitecture is not static.Buildings are alive withmechanisms that facilitatesuch things as the openingand closing of doors andwindows. Modern buildingshave an array of mechanicalsystems that turn on fans andopen or close vents to regu-late the environment. Beyondthese mechanisms, buildingschange as a result of theeffects of the passing of time.Weathering and use leavetraces on a building�s surfacethat give an observer a senseof the building�s history.So what causes buildings tochange? Mechanisms arejust some of the tools thatfacilitate change; the reasonbuildings change is people.Rooms are not partitionedbecause a function requiresless space, but becausesomeone desires a smallerarea in which to perform anactivity. Buildings do not needfresh air or a specific level oflight- people do and as aresult windows are opened.When viewed from theoutside, these changesanimate a building andhumanize it.

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precedentsMechanisms in HistoryMechanisms are not new toarchitecture. Gothic cathe-drals required the use ofhinges for their many doors.More than just a functionaldetail, these doors developedsymbolic purposes. On theentrance, a door scaled to thesize of a person would be setinto one of the large doorsscaled to the size of thechurch. The door on thenorthwest transept side,meanwhile would be reservedfor the use of the Bishop.

In medieval Japan, an elabo-rate system of sliding parti-tions was developed. Thesepanels - called shoji if they aretranslucent, fusuma if they areopaque - are paper coveredpanels set into parallel tracksin the floor. These partitionsallowed for the openness andflexibility that are hallmarks ofJapanese residential con-struction.

1. Chartes Cathedral - South Transept

2. Katsura Villa

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Movement in ElevationIn the 20th century, the use ofmechanisms as an expressiveelement has been explored byarchitects in different ways.Steven Holl�s StoreFront for Artand Architecture magnified thecondition of an urban store-front, which presents a differentfacade depending on whetheror not the building is open tothe public. In a similar manner,Peter Worndl�s �Gucklhupf� is aplywood box which can beunfolded in a number of waysto present different vantagepoints from which to view thelandscape. Both of theseprojects use mechanismsthat enable the elevation to beradically altered.

GucklhupfHans Peter Worndl

StoreFront for Art and Architecture - New YorkSteven Holl & Vito Accondi

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precedents

Movement in PlanOther architects have usedmechanisms as a response tothe functional requirements ofa building. In Gerrit Rietveld�sSchroeder House, numeroushinged and sliding panelsallow the building to bedivided into discrete rooms orcompletely opened up. Morerecently, Sverre Fehn�s Housein Norrkoping utilized slidingdoors as a way of dividing ahouse into either one or ninerooms, depending on thenumber of people living thereat the time.

�The sliding walls regulatethe light and secure the

silence of night. Thehouse is a reference in

relation to each day. Thedoor mechanism is a

challenge to make theplace coexist with one�stemperament. For the

lazy man the houseremains the same and

his walk is a passageengraved forever.�

Sverre Fehn

House in NorrkopingSverre Fehn

14. Schroeder HouseGerrit Rietveld

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precedents

origins of the projectThis project began with thestudy of a wall. A chipboardmodel was constructedcontaining 12 openings whichcould be open and closed.While the openings differedgreatly from each other, theyoperated under a commonrule: the movement of eachhad to contribute somethingto the wall besides a changeof position. Some created anew element, such as anawning or vestibule, whileothers changed the profile ofthe wall. Most of the ele-ments were �shadow-casters�that changed the wall throughan unexpected transforma-tion.

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the projectThe project is a small artscenter containing artists�studios, classroom space, anda gallery, to be located nearthe entrance to Narrows, VA.The site includes an existingbrick building which is to berenovated and is closelybounded by two roads that runalong opposite sides of thebuilding.The intent of this project is tocreate a building which bothengages the people who useit and makes their presenceevident on the exterior. Theresulting landmark wouldpresent an image of the lifethat exists in the town.

axonometric of existing site conditions

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axonometric of building from southwest

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View to downtown from northwest

View to downtown from southeast

the site

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N

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Key:1. Wolf Creek2. New River3. Route 4604. Virginia Western Railroad

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site plan

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mechanical room

sculpture garden

gallery

4� 8� 16� 32�

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studio

scale

plans

first floor

studio

classroom

existing building

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second floor

plan details

Gallery (first floor)

4� 8� 16�

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Gallery interior

Second floor Studios

Classroom (second floor)

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sections

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first floor plan-open/closed

closed open

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second floor plan-open/closed

closed open

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How do buildings relate to thestreet? The openings in afacade reveal the life occurringinside, either through thepattern of open /closed, or lit /unlit at night. These changespinpoint activity and accentu-ate the presence of otherpeople.The adjustment of thesecontrols over the course of aday cause the elevations tochange. In this way, they alsoserve as a temporary record ofthe passing of time.

The northwest elevation in thisproject contains a variety ofdoors and windows thatexaggerate the differencebetween open and closed.The result is that the openingof a window has an effect onthe whole facade, not just theroom.

relation to the street

New Engineering Building - Virginia Tech

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Elevation study

�Seen from the outside, it isthe openings in a wall that

strike the strongest rhythmsacross its face, and that

narrate the life within, eitherdirectly, through the activities

they reveal... or by inference,through the pattern or shapeof windows that suggest thenature of spaces behind....�

Donlyn LyndonChambers for a Memory Palace

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4� 8� 16� 32�

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Northwest Elevation

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Doors and windows closed

Doors and windows half open

Doors and windows open

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4� 8� 16� 32�

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Unlike the varied northwestelevation, the southeast

elevation is marked by unifor-mity. This is the location ofthe corridor which runs thelength of the building. The

nature of these openings - ashutter that slides parallel to

the wall - serves to minimizethe differences in position

rather than emphasize them.

Southeast Elevation

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On the southeast side of thebuilding, as a contrast to thevariable elevations of the stu-dios, the pace of change slowsdown. Instead of time beingmeasured in hours of a day, itswitches to seasons of a year -or years. Here a place is madefor plants to grow and rain orsnow to lie. Vines grow andwither along the sloped wallwhile rain is channeled into thegaps between the pavers. Inthe winter, snow blankets thesculptures and dormant plants.

passage of time

Horticulture Garden - Virginia Tech

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Sculpture garden

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Inside, the corridor uses staticelements to take advantage ofthe movement of people. Asvisitors move through the artscenter, their experience of thebuilding changes. Deepvertical mullions along thestudio windows to the corridoralternately obscure and revealviews into these rooms. Onthe second floor, a gapbetween the corridor and therooms provides glimpses intothe activity on the first floor.Starting in the dark volume ofthe existing brick building,visitors move along a pathwhich is occasionally lit bylight-monitors on the roof.This path is punctuated bybrightly lit sections at eitherend of the new addition.

people as the dynamic element

Mission San Jose - San Antonio

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Studio walk-by

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Plan at Southwest entrance

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View inside lobby

Southwest elevation

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Plan at Northeast entrance

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Northeast elevation

View from stairs2

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The studios are divided bypartitions which can bemanipulated in various waysto open up and connect them.Unlike an accordion partitionwhich only has two positions -open and closed - these wallsslide and rotate to produce avariety of configurations.These walls consist of 2 largepanels, each of which containa door. The panels can pivot90 degrees to define a smallerroom within the larger one, orone panel may be pivoted 180degrees to produce a partitionhalf as long. The panels alsoslide along a track to allow thespace to be completelyopened up. Around the sinksare L-shaped doors whichmay be closed to hide the dirtybrushes and other studiodebris from visitors. Thesedoors may also be left opento help shape the layout of thefloor. Through these doors,the building enters a dialoguewith the inhabitant by sug-gesting possibilities for use.

functional qualities

Studio study model

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possible partition-wall configurations-aerial views

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A window may convey infor-mation to passersby, but itsreal importance lies in what itdoes for the inhabitants of aroom. Windows can beadjusted to control theamount of sunlight or fresh air,but they can also be used toalter the character of a space.A room that receives all itslight from a window locatedalong the ceiling is brighterand has a different feel thanone that receives it from asingle window located at eye-level. When there are severalwindows open, the room iswashed in light and appearslarger because trees and hillsbegin to form the boundariesbeyond the immediate walls.If all of these windows wereclosed off except one, thedarkness and occasionalshafts of light would directone�s attention inward to theroom itself and the resultingcharacter would be one ofintimacy, or perhaps loneli-ness.

spatial qualities

Barn interior - Bally, Pennsylvania

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Studio interior

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Studio light-study

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Pushout doorThis door extends theboundary of the studiobeyond that of thebuilding itself. Due to theproximity to the roadway,it also acts as a privacyscreen to the traffic. Itoperates in a mannersimilar to a drawer withtelescoping rails.

details

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door frame interior doors exterior doors

door exterior door interior

Section

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detailsBalcony doorThis door provides thesecond floor studios withan outdoor area bycreating a balcony justlarge enough for oneperson. The doors areopened by pushing onthe pivoting handrailswhich are attached to asteel grate. This graterides on rollers in achannel cast into theunderside of the concretefloor slab where it candisappear out of sightwhen the balcony is notin use.

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slab with channels

floor and handrails

doors

Section

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orderWhen dealing with elementsthat vary in position, it isimportant to construct aframework that orders them.The importance of this struc-ture lies in the way it relatesthe various pieces to eachother and to the whole, whileproviding a static backdropagainst which the elementscan react. In a system wheremany possibilities exist, it setsthe limits to what can occur.

The order in this projectcomes partially from limitingthe number of variables andtheir location. The elementsthat vary include a partitionwall, two types of windows,and two balcony doors. Theseare inserted into a grid-edframe which was partly derivedfrom using standardized doorand window sizes andheights. The static elements,such as column spacing, wereordered according to cluespicked up from the existing

building on the site.

Barn interior - Virginia Tech

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the parts1. doors and windows2. frame3. structure4. existing building

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conclusionAlthough many things change,there are still some constants.In architecture, I believe one ofthose constants is the impor-tance of the individual andtheir connection to the worldaround them. Monuments,which are built to commemo-rate events and ideas, are stillerected for the benefit of theviewer as much as they are forthose they honor. It is thisscale of the individual thatshould not be overlooked. It isnot enough that buildingshave a pleasing form or thatthey offer protection from theelements - these are minimalrequirements. Architecturehas the capacity to stir theimagination and as architects,we must use the tools at ourdisposal to accomplish this.Some of the tools are ab-stract, such as order or time,while others are as tangible asthe constructive materials orthe choice of a hinge.

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bibliography

View from first floor balcony

Benedikt, Michael. For an Architecture ofReality. New York: Lumen Books, 1987

Engel, Heino. Measure and Construction of theJapanese House. Rutland, VT: Charles E.Tuttle Company, 1985

Fjeld, Per Olaf. Sverre Fehn: The Thought ofConstruction. New York: Rizzoli Interna-tional, 1983

Holl, Steven. Intertwining. New York: PrincetonArchitectural Press, 1996.

Hertzberger, Herman. �The Public Realm� A +U April 1991: 12-44

Isozaki, Arata. Katsura Villa, Space and Form.Trans. John D. Lamb. New York: RizzoliInternational, 1987

Lyndon, Donlyn, and Moore, Charles W.Chambers for a Memory Palace. Cam-bridge, MA: The MIT Press, 1997.

McCarter, Robert, ed. Pamphlet ArchitectureNo. 12, Building Machines. New York:Princeton Architectural Press, 1987

Mulder, Bertus, and Jan de Rook, Gerrit.Rietveld Schroder Huis 1925-1975. Utrecht:A.W. Bruna & Zoon, 1975

Norberg-Schulz, Christian. Sverre Fehn: OperaCompleta. Milan: Electa, 1997

Pallasmaa, Juhani. The Eyes of the Skin:Architecture and the Senses. London:Academy Editions., 1996.

Worndl, Hans Peter. �GucklHupf� A + U May1998: 46-59.

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notes/creditsImages

Unless otherwise noted, photos and work are by the author.

p. 2 1 Chartes Cathedral http://info.pitt.edu/~medart/image/france/france-a-to-c/chartres/m0284cha.jpg 2 Katsura Villa YasuhiroIshimoto Katsura Villa, Space and Form p.100

p. 3 3,4 StoreFront for Art and Architecture Steven Holl Intertwiningp.110 5-13 GucklHupf Hans Peter Worndl a + u May 1998 p.49,52-55

p. 4 14 Schroder House Bertus Mulder Rietveld Schroder Huis1925-1975 p.42 15,16 House in Norrkoping Christian Norberg-Schultz Sverre Fehn: Opera Completa p.108, 109

Quotes

p. 1 Pallasmaa, Juhani. The Eyes of the Skin: Architecture and theSenses. p.44

p. 4 Fjeld, Per Olaf. Sverre Fehn: The Thought of Construction.p.67

p. 22 Lyndon, Donlyn. Chambers for a Memory Palace. p. 103-4

Northwest elevationstudies

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acknowledgments

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I would like to thank my class-mates here at Tech for theirfriendship and help during themaking of this thesis. I wouldespecially like to thank Abby, Bill,Catherine, Jeff, Julie, Sarah,Shane, Toygar, Phil and Brad.

Thank you to my family for all oftheir support.

Thank you to the staff of theArchitecture Library for makingme feel like a part of their family.

Finally, thank you to my commit-tee for all of their insight andassistance.

and to Rob - wherever you are....

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vita

Paul J. Gehringer

Education:Master of ArchitectureVirginia Polytechnic Institute andState University1999

Bachelor of Arts in ArchitectureLehigh University1991

Experience:DraftsmanThe Architectural StudioAllentown, PA1991-1996

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