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This book is a collection my analysis, sketches, models, diagrams, reviews, precedent studies and design work from my bachelor degree project (Fall 2010-Spring 2011). I attribute much of my critical work to the guidance, criticism and challenging of ideas from the studio instructor, David Eccleston.
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RETAINING WALL W/ STATE QUOTES
STATE MAP W/REGIONAL QUOTES &HISTORICAL REFERENCES
SAND FOR PLAY
ASPHALT (SERVICE LANE)
INDIGENOUS PLANTINGS
BLOCK WALLS W/ STATEHISTORICAL INFORMATION
LARGE BOULDERS &RIP-RAP
RAISED STATE MOTO
RAISED CONCRETE EDGING
STAGE ROOF
AUDITORIUM SEATING
INDIGENOUS PLANTINGS
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Leigh Spear & Jared QuartelGrand Hotel & Th eater Gooiland
Hilversum, Netherlands
Precedent Analysis
Back of House, Transition & Sequence
Grand Hotel & Theater GooilandHilversum, NetherlandsJan Duiker, 1934-36
Th e Gooiland Hotel and Th eater in Hilversum, the Netherlands was designed by Jan Duiker in 1934 and fi nished construction in 1936, aft er Jan Duikers death. Th e complex is located in the center of the city and comprised of a luxury hotel and theatre auditorium. Th e site is an l-shape at the corner of two major roadways off ering a large view to the north of Hilversums principal church. Th e building is a steel frame structure with tampering steel columns. Th e uniqueness of the de-sign comes from the structural design. Since the building is supported solely by the steel frame, the walls and spaces were designed in a way that allowed playful elevation changes and a varying degree of space separation through vertical cir-culation.
As for the experience, customers can approach the front main lobby of the the-ater by way of the south stairs or from the north by circumnavigating the hotel lobby and cafe. Prior to the performance, the patrons fi ll the main lobby and second fl oor lobby adjacent to the eastern theater entrance. Th ese large spaces become the fi rst of many social opportunities that the architect planned for dur-ing any given performance. Upon entry the auditorium is fi lled with articulated artifi cial light and red cloth theater chairs. Following performances, patrons may exit to the street through side doors to the south or into the hotel lobby through similar doors to the north. Weather permitt ing, patrons may exit through the eastern doors aft er retrieving their outer garments from the matching cloakrooms in the lower and upper theater lobbies. For patrons in the upper balcony seats, they enter and exit the theater by the stairwell at the northwest corner of the up-per lobby. Hotel guests on this level have the option of taking a side door to the north, which connects the upper level hotel rooms with the balcony level of the theater.
For those patrons who opt to exit to the north into the hotel foyer, patrons may be able to interact with the stage performers, take photos and receive autographs. Additionally, the patrons can then enjoy dinner or have a drink in the open cafe and lounge immediately adjacent to the foyer.
Performers and stage hands enjoy a similar fl exible experience in that they access the stage area through a set of dual stairs that take workers from the lowest level up to the side stages on the north and/or south sides of the theater. Performers have the privacy of the lowest level with two locker rooms, green room, rehears-al area and lower level lounge that enables performers to choose between the ground level foyer full of patrons or enjoy socializing with the worker and fellow performers. Alternate exits are located on all four sides of the lowest level, allow-ing workers to exit immediately from the stage area or proceed to the lower level and exit through the south or east exits.
Overall the design intent was to create a fl exible and open structure with large expansive rooms. Th ese are facilitated by the structural system along with well placed programmatic elements that allow for long open spans. With the intend-ed fl exibility, each social space fl ows into the next with consistent vertical circu-lation at all levels. Th is intent also becomes an intriguing element of the buildings architecture. From the exterior, the building appears to gesture to the square and prominent church to the east, and with further examination it becomes clear that the entrances to the hotel and theater are strategically placed to relate to the contextual elements of the site. Th e theater projects into the surrounding area, off ering a more secluded and intimate entrance into the theater, while the hotel entrance facing the busy square provides a light fi lled and prominent curved fa-cade to enter through providing a much diff erent experience--more to encour-age entry than the southern theater entrance which we can assume is used by knowing and frequent theater patrons.
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Leigh Spear & Jared QuartelGrand Hotel & Th eater Gooiland
Hilversum, Netherlands
Precedent Analysis
Back of House, Transition & Sequence
Programmatic Diagrams
Lower Level Floor Plan
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Leigh Spear & Jared QuartelGrand Hotel & Th eater Gooiland
Hilversum, Netherlands
Precedent Analysis
Back of House, Transition & Sequence
Ground Level Floor Plan Ground Level Floor Plan Ground Level Floor Plan Ground Level Floor Plan
Upper Level Floor Plan Upper Level Floor Plan Upper Level Floor Plan Upper Level Floor Plan
Lower Level Floor Plan
Section
Lower Level Floor Plan
Section
Lower Level Floor Plan
Section
Lower Level Floor Plan
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#
PUBLIC VS. PRIVATECIRCULATION
CAPTURE ENERGYDUALITY OF FRONT & BACK
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PUBLIC VIEWS
STRATEGIC ENTRY
CAPTURE ENERGYFRONT & BACK
ENER
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ENER
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PUBLIC VS. PRIVATECIRCULATION
PUBLIC ENTRY
PUBLIC PATHWAY
PUBLIC SPACE
PRIVATE SPACE
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"""
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