041: Eduardo Arroyo's pixelated landscape/ Sick days means all nighters.

Plaza de Desierto, in Barakaldo...



I found his orthogonal organization intriguing, unnatural even, in the good sense. It adds to landscape-- it's blatantly man made but still beautiful. He breaks away from the orthogonal flatness here and there with forced topographies, but gracefully I think.

On the subject on topography, parking lots:


NL Architects, Parkhouse-- scan from The Architecture of Parking

Sick days means all nighters, just to make up for the work days lost.

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038: Oh, hiatus, but "work" remains constant during the semester...

Oh, Wheeler Station. The image of a grand transfer station on this piece of land!

The Assignment

Assignment 4. Building Design Program (2.5 weeks)

DUE: Wednesday, February 27

Wheeler Station Building Design Program

In Problem 2 (Design and Program Analysis) you established the parameters on which the program requirements for the final design stage of the project are based. The following list of requirements is based on your analysis. In addition we have added several small program elements not addressed in the analysis.

A. Metro Program Elements
1. Elevated University Line Station (alignment, size, and height as described in analysis)
2. Local Bus Stops (10 total, this includes 6 existing plus 4 new)
3. Information and Security office: 2000 SF (Information and Reception Desk, Security office,
Employee Rest Room, First Aid Room, Administrative Office)
4. Bicycle Storage Facility: 2000 SF (Bicycle Storage Area, Individual Restrooms with showers (4)
5. Public Restrooms: Women’s and Men’s (Total of 6 fixtures per sex, single or multiple sites)

B. Intercity Bus Program: Provide six spaces to be leased to intercity bus companies as
described in the analysis problem. No indoor waiting required; tickets provided by vending machines.

C. Commercial Program: 25,000 SF Gross as per analysis. Please note that 50 parking spaces should
be allocated to serve commercial (no permanent parking in these spaces)

D. Parking Program: 500- 550 Spaces (Includes 50 spaces dedicated to commercial)

F. Storm Water Detention: Provide .5 Acre Feet of Storm Water detention on Site as indicated in the
analysis

G. Urban Event Space: In keeping with Metro’s plan to develop functional urban landscape elements
wherever possible, develop a major public exterior space capable of supporting a weekend produce
market, public meeting, or performance.

H. Miscellaneous Requirements: Provide a protected or pull off waiting space for
6 vehicles (Taxicabs and auto drop off)

Adjacency requirements:

-Direct, accessible pedestrian movement must be accommodated between major metro movement systems (Metro Lines, Local Bus Lines). This would include ramps, stairs, or escalators and elevator(s). All stairs and ramps should be sized for a population of 150 persons (44” + 2 x 22”=88”).
- Information office should be centrally located for ease of use and efficient surveillance.

Additional Requirements:

-All bus and train stops should be provided with overhead covering so that it is possible to move between all modes of transportation (and major program elements) without getting wet.
-Retail space should be located to take advantage of movement between major program elements.

Schedule:

Documentation for this exercise will be due Wednesday, February 27 at 1 PM.
-Site Model: 1”=100’ (Concept Type Model similar to Assignment No. 3)
-Site/ Floor Plan(s): TBD
-Site Sections: TBD
-Digital Model: Ground level views, Major Interior/ Exterior Space

Topographic Interpretation:

Before this assignment, however, we were to vaguely assemble the program under one unifying topic: I picked Topography. Although my project was very literal, I feel that there is logic behind a literal topography, in which that slopes can equate themselves to ramps, making a more fluid traffic flow.

Thinking, thinking....

...and my thoughts ended up looking like a magnetic field: all pedestrians orbiting around the intersection of both lines. Of course, this isn't at all realistic (pedestrians will be thinking about their destinations.) Really, the 'magnetism' is behind the circulatory connection between three different zones: parking (cars), light rail (waiting, retail) and buses (inter/intracity) with transfers in between.

Thinking along the lines of form: I'm more of a functionalist, or, circulatorist (let's make up terms shall we?) but I have been thinking of form.

1. Topography + lamination + carve (light)= what my concept model looks at the moment.


2. Interpreting velocity with form, like the speed of cars, of pedestrians, of waiting pedestrians, of Greyhound buses, of METRO buses, of the light rail. Vehicles of different types, functions, and allowed speed.


3. Interpreting 'magnetic lines' with form: follow the line.

The Architecture of Parking by Simon Henley

There are the lines! Lines!



And this....

The above picture is not just for "inspiration," but I found it appealing (not only because it's a Japanese architect) because my professor previously mentioned that parking could indeed be seen as a form of topography. This takes that literally, of course, and I couldn't help but like the idea.

So far, what my project is looking like is like a repeating curve, a curve that was stolen from the flow of parking garages.

Houston is indeed a car city. Commuter haven. (or Hell.)

Wheeler Station does not call for a gargantuan structure. Drive by the site and you hear it call for what it already looks like. A megastructure would just be like a distraction from the city's core.

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036: Green beams

Not related to my research at all, but I just love the idea of non-structural vegetation beams. As you can read in the short article (it was the issue of AR of "Emergent Architecture"), the architect meant it not to be practical, nor just aesthetic, but unnaturally filling up the void of urban space.

Fake nature. In this world, what do we appreciate more? The man-made landscape, or, the wilderness as terrific (_{old sense of the word}) and vast as it is...?

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023: Somethings in the way...

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That which is: how do I encase this with glass?

I want to make a sort of glass cave, a rectangular instead of triangular federation square:



Or maybe, just bring in the triangles from my previous project?

Who knows at this stage...

021: Excerpts & images from Colours...

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Progress has been slow, somewhat thoughtful. And now, I am getting ahead of myself, needing to research many things:

1. Open spaces, public spaces. How does an architect handle a roofless, open space yet still have proper shading + a overall "closed" look from the outside?


2. Lighting & colour-- What is appropriate for a movie theatre? What type of lighting is available to use and exploit? What surfaces reflect the most light?


3. Circulation and convenience-- in other words, does the circulation effect the placement of objects, or does the placement affect the circulation? How do people want to move in a movie theatre?


4. Lastly, what's in the code? What can't I design, what are the measured limits embedded in a theatre?

I will partially address #2 with images:

The first, addressed colour and light directly-- how do you attract the attention from the outside to the inside?



^ Kunsthal (museum), Rotterdam/Netherlands, 1992 >> OMA

Then, the idea of threshold, through colour-- colour-coding the differences of spaces:



^ Second Stage Theatre, NY, 1999 >> OMA



^ Centre for the Visual Arts, University of East Anglia, Norwich, UK >> Norman Foster

Lastly, there is art in covering the sun:



^ Third London Airport, Stansted, UK >> Norman Foster

Norman Foster describes this airport as through he is looking through a shoji screen!:

"...a radical reinvention of the terminal as a building type, which has since become the model for future airports world-wide. One consequence is the opportunity to harness the benefits of natural light- both spiritually and technically. There are an infinite number of greys to choose from- and infinite variations on each one according to changes of light- both natural and artificial."

These pictures are mainly for inspiration, for vague direction, for thinking in matter of lighting, colour for threshold, greys for shading.