paths o f c i rcu lat ionchr is topher os terhoudt

Appl icant : Master o f Archi tecture

co

nst

ruc

ted

cir

cu

lati

on

a s

tud

y o

f c

irc

ula

tio

n t

hro

ug

h c

on

stru

cte

d s

pa

ce

the

ho

ove

rp

art

of

a c

olla

bo

rati

ve p

roje

ct

kno

wn

as

“Th

e L

ivin

g W

all”

dis

solv

ing

cir

cu

lati

on

in

to a

da

pta

ble

sp

ac

e

vort

ex:

a s

oc

iety

of

roo

ms

dis

solv

ing

cir

cu

lati

on

in

to s

tru

ctu

reu

np

rog

ram

me

d s

pa

ce

pa

ths

of

cir

cu

lati

on

a s

tan

ce

on

arc

hit

ec

ture

ch r i s topher os terhoudtpor t fo l io l B .S . Arch. l 2009-2013

p. 4

p. 5-7

p. 8-15

2010 20112012present

p. 16-19

bo

tan

ica

l g

ard

en

s e

xpa

nsi

on

in c

olla

bo

rati

on

wit

h B

uff

alo

an

d E

rie

Co

un

ty B

ota

nic

al

Ga

rde

ns

isla

mic

ce

nte

rd

isso

lvin

g c

irc

ula

tio

n i

nto

str

uc

ture

pro

gra

mm

ed

sp

ac

e

dis

solv

ing

cir

cu

lati

on

in

to e

xhib

itio

n s

pa

ce

em

bra

cin

g a

co

ust

ica

l d

esi

gn

wit

h a

rch

ite

ctu

re

ap

art

me

nts

+ u

rba

n g

ard

en

ing

pro

mo

tin

g c

irc

ula

tio

n t

hro

ug

h m

ate

ria

lity

an

dm

od

ula

rizi

ng

th

e f

orm

uto

pia

n d

iffe

ren

ce

sd

esi

gn

ing

su

dd

en

ch

an

ge

s in

a s

pa

ce

ba

sed

on

a

bo

ok

10 jane cour t , s ta f ford, va 22554 l cwosterh@buf fa lo .edu l (540)604-8094

2011 2012 2012 2012

p. 20-23

p. 24-27p. 28-37

p. 38-40

Paths of circulation throughout a building, whether vertical or horizontal, are

created by establishing an unobstructed and maneuverable space to move from

one point to another. Most often, this is done by devoting a considerable amount

of a floor’s area strictly to circulation. These areas are usually surrounded by uniform

vertical walls, isolating them from the rest of the building as almost utilitarian spaces.

Hallways and stairwells serve as unprogrammable spaces that infest much of a

building’s floor plan, yet simply eliminating them altogether doesn’t seem to do

much justice for ordered circulation.

Contemporary designs in architecture should take into consideration the often

parasitic nature of hallways and stairwells. The formal design of a building mass can

respond by combining circulation with other elements, such as structure or

programmable space. Where circulation cannot be faded from view in plan and

section, or where it is an absolute necessity to be isolated by code, the paths should

be designed just as thoughtfully as the programmable spaces themselves. If a

designated path of circulation cutting through a space is justified, then it is

significant enough to be fully designed to strengthen, rather than be a hindrance to,

the overlying concept of the building itself.

pa

ths

of

cir

cu

lati

on

a s

tan

ce

on

arc

hit

ec

ture

co

nst

ruc

ted

cir

cu

lati

on

a s

tud

y o

f c

irc

ula

tio

n t

hro

ug

h c

on

stru

cte

d s

pa

ce

constructedcirculation

30 cardboard columns

1’ x 1’ x 8’ “T” shape

columns are spaced variably

throughout the space, close

together at the entrance to

the exhibition, constricting

movement, and then spread

out more and more as the

viewer walks through the

space.

ART

313_

Ph

oto

gra

ph

y: I

ma

ge

, Te

xt,

an

d S

ou

nd

Inst

ruc

tor_

He

ath

er

Bra

nd

co

nst

ruc

ted

cir

cu

lati

on

a s

tud

y o

f c

irc

ula

tio

n t

hro

ug

h c

on

stru

cte

d s

pa

ce

cons t r ic ted

f ree

ART

313_

Ph

oto

gra

ph

y: I

ma

ge

, Te

xt,

an

d S

ou

nd

Inst

ruc

tor_

He

ath

er

Bra

nd

A fee l ing of const r ict ion at the beginn ing resembles a ha l lway; the arch i tecture s t r ic t ly gu ides the v iewer and can be used for noth ing more than a decorat ive table wi th a f lowerpot .

Moving th rough the ins ta l lat ion, the co lumns become more spread out , a l lowing for a more f ree f lowing course of c i rcu lat ion. Th i s space a l so begins to have the potent ia l to be programmed for uses other than c i rcu lat ion.

7

THE HOOVERpart of a co l laborat ive pro ject

known as “The L iv ing Wal l”

semester 2 des ign s tud io

team leader andor ig ina l des ign proposa l byCHRISTOPHER OSTERHOUDT

support ing team membersPHIL GUSMANO

NICOLE NGUYENASHLEY RUBINO

RACHEL HEFT IKANE LEE

OWEN CORRENT I

facu l tyCHRISTOPHER ROMANO

SHADI NAZARIANNICHOLAS BRUSCIA

JAMES WILLEMS RANSOM (TA)

internet l ink<ht tp:// the l iv ingwal l .b logspot .com>

the

ho

ove

rd

isso

lvin

g c

irc

ula

tio

n i

nto

ad

ap

tab

le s

pa

ce

ARC

102_

De

sig

n S

tud

io 2

I

nst

ruc

tor_

Ja

me

s Ra

nso

m

THE L IVING WALLIns ta l la t ion Exh ib i t a t Gr i f f i s Sculpture Park

Cat taraugus County , New YorkSpr ing 2010 - Fa l l 2010

photo by chr i s topher os terhoudt

THE HOOVER

A bas ic and min imum dwel l ing un i t , der ived by two geometr ica l sh i f t s in a rectangular pr i sm (6’ ta l l x 6 ’ w ide x 8’ long) , wh ich accomodates s leeping areas for a min imum of th ree people, w i th a way to enter and c i rcu late.

The sh i f t s made to create “The Hoover” were cut and sh i f ted at angles that ref lected var ious ergonomic pos i t ions of the human body. These anglesa l lowed for comfor table ent ry , lounging, and s leeping pos i t ions . Every space was adaptable for use; no space was s t r ic t ly devoted to c i rcu lat ion.

Pre l iminary

F ina l

10

11

modular assembly ser ies

f ina l assembly of four e lements to form the f ina l

product12

15

vort

ex:

a s

oc

iety

of

roo

ms

dis

solv

ing

cir

cu

lati

on

in

to s

tru

ctu

reA

RC20

2_ D

esi

gn

Stu

dio

4

In

stru

cto

r_ S

erg

io L

op

ez-

Pin

eir

o

The following designs propose the use of the wall itself as a form of circulation. Rather than acting as a blank barrier between programmable and unprogrammable areas, the wall becomes an occupiable space that allows one to continuously circulate between floors. Having been rotated a uniform number of degrees, each 6 inch tall square serves as a step in a series of stairs that form the overall structure.

17

o

VORTEX; a society of rooms that uses rotated squares to not only form walls that enclose a space, but also serve as a way to circulate throughout the space. The four rooms are placed with respect to a single axis of rotation. The vertical axis serves as the point of rotation for every square, creating a sense of continuity and establishing a physical relationship between all the rooms. By sharing a common axis of rotation and being placed atop each other, the circulation formed by the squares of one room can build upon the squares of another room, thereby resulting in a longer path of circulation that guides the user to different spaces.

18

19

expl

oded

axo

nom

etric

pray

er h

all

mul

tifun

ctio

n ro

om

outd

oor c

ourty

ard

terra

ced

floor

ssq

uare

sla

bs ro

tate

, mim

icki

ng w

all r

otat

ion

axis of rotation

horiz

onta

l win

dow

slo

ad b

earin

g gl

ass

form

s oc

cupi

able

sur

face

s w

hile

als

o le

tting

ligh

t int

o th

e m

osqu

e

20

read

ing

room

ablu

tion/

shoe

room

s

isla

mic

ce

nte

rd

isso

lvin

g c

irc

ula

tio

n i

nto

str

uc

ture

ARC

202_

De

sig

n S

tud

io 4

I

nst

ruc

tor_

Se

rgio

Lo

pe

z-Pi

ne

iro

Just as in Vortex, a series of rotating squares creates the form for the Islamic Center, establishing a continuous path of circulation through-out the mosque without taking over any of the floor area. A single axis, represented by the elevator, serves as the point around which all the squares rotate.

23

s tandard order of c i rcu lat ion in a mosque:

1 park ing lot2 shoe rooms (gender separated)3 ablut ion (wash) rooms (gender separated)4 prayer ha l l

other spaces :

a mul t ipurpose roomb reading roomb cour tyard

proposa l fo r I s lamic center

1 park ing lot to bottom of s i te2 bottom of s i te up to reading room3 reading room down to ablut ion/shoe rooms4 ablut ion/shoe rooms up to mul t ipurpose room5 mul t ipurpose room up to prayer ha l l6 bottom of s i te and park ing lot up to cour tyarda handicapped access to ablut ion/shoe rooms

2

1

a

3

4

5

6

bo

tan

ica

l g

ard

en

s e

xpa

nsi

on

dis

solv

ing

cir

cu

lati

on

in

to e

xhib

itio

n s

pa

ce

em

bra

cin

g a

co

ust

ica

l d

esi

gn

wit

h a

rch

ite

ctu

re

work ing in col laborat ion wi th theBuf fa lo and Er ie County Botanical Gardens

to des ign an expans ion to the ex is t ing s t ructure for use as an Orangery and Demonst rat ion Gardens

ARC

302_

De

sig

n S

tud

io 6

I

nst

ruc

tor_

Cu

rt G

am

be

tta

Upon visiting the Botanical Gardens, the visitor should feel completely immersed in the environment being represented. Vegetation,

whether temporary or not, should be planted in the ground, with integrated paths of circulation that weave throughout the exhibits, like a path

winding through a forest. Information signs should be dispersed throughout the gardens, constantly keeping the visitor informed about and engaged

with the exhibits. Visitors are able to walk right up to the vegetation, able to touch it if safe.

There are no limitations to this sort of museum; no glass panes or walls separating exhibits; the

new proposal should be a single enclosure that encompasses a forest of unlimited information.

25

concave form re�ects and echoes sound wavesideal for loud spaces such as rainforests

convex form absorbs and evenly distributes sound wavesideal for classrooms and quieter spaces

speaker

direct sound path

indirect sound path

re�ected sound path

acou

stic

beh

avio

r

Developing an atmosphere that closely resembles the natural environment revolves around designing for more than just one or two senses. Sight and touch have already been addressed simply by the paths of circulation and integration of exhibits. Going one step further is the manipulation of sounds to mimick the environments being represented and further develop the placement of programs to make the experience more educational and visually striking.

One very important aspect of the proposal is the integration of classrooms with the plant exhibitions. A hands on experience is often the most effective way of teaching; therefore a secluded classroom off to the side of the gardens is unrealistic for this proposal. Establishing a classroom (with desks, signs, etc) in the heart of the gardens is in itself easy, the problem comes when trying to control the louder noises of the gardens with the quiet required for a learning environment. A single wall separating the classroom from the gardens solves the noise issue, but also visually separates the two. The solution comes about by establishing one massive undulating enclosure for both the gardens and the classrooms that changes in its curves based on formal requirements.

Sound waves behave in the very same way as light waves; when it hits a surface, it is reflected at the same angle it hits the surface. A concave form, such as a dome, causes sound waves to bounce back and forth multiple times before it reaches the listener. The difference between the direct sound wave reaching the listener and the indirect sound waves that bounce around before reaching the listener is known as an echo. Because of this bouncing around, concave forms are more appropriate for programs with generally loud noises.

On the other hand, when a sound wave hits a convex form, it hits it only once, bouncing in many directions but never hitting the same surface twice. The sound dissipates in energy quickly and echoes never occur. The result is a space that is comparitively quieter, and is appropriate for those programs where loud noises are unacceptable, such as classrooms or a library.

26

Strong (Loud)

Sound Wave Strength(Dissipation of energy due to air and reverebration)

Weak (Quiet)

waffle structure

27

TICKET DESK

COAT ROOM

GROW HOUSE

ORANGERY

CLASSROOMS

The majority of the proposed design is located below the existing main �oor,taking up the area that is currently mechanical space in the basement. Thisallows for a direct entrance from the parking lot through the existing servicetunnel to the north.

The Growing House and Orangery are largely separated from the proposedaddition by deep structure, yet paths of circulation connect all the spaces sothat one does not have to go outside to travel from one space to another.

Circulation between the proposed addition and the existing structure isestablished by a 20’ ramp sloping up from west to east, going over the mainentrance. From there it is connected to the main �oor of the northern mostexisting house.

5' 10' 15' 20' 25' 50' 100'

SEED LIBRARY

FIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLDFIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLDFIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLDFIXT_CODEFU_TOTALFU_WASTEFU_HOTFU_COLD

28below grade level

GROWING HOUSE

ORANGERY

CAFE

OFFICES

HANDS ON LEARNING

GIFT SHOP, COAT ROOM

DEMONSTRATION GARDENS

at grade level

ap

art

me

nts

+ u

rba

n g

ard

en

ing

pro

mo

tin

g c

irc

ula

tio

n t

hro

ug

h m

ate

ria

lity

an

dm

od

ula

rizi

ng

th

e f

orm

ARC

403_

Co

mp

reh

en

sive

De

sig

n S

tud

io

In

stru

cto

r_ B

rad

Wa

les

Urban Presence

1 2 3

654Publ ic Ent r ies

Urban Presence Ter raced Form

Ind iv idual “ tweak ing”Establ i shed af ter analys i s o f ver t ica l penet rat ions

s tandard in hous ingEstabl i sh cross

vent i lat ion+

addi t ional natura l l ight ing

Southern Exposure

32

ANALYS IS : Ver t ica l penet rat ions in a s tandard apartment bu i ld ing

-Egress Towers (2 min . )-E levator shaf t-F i re separat ion between un i t s-S t ructure (co lumns or shear wal l s )-A i r ducts ( supply + return)-Waste p ipes ( to i let s + k i tchen s ink)-Water p ipes ( s inks , tubs , to i le t s , spr ink le r s , f r idge)-E lect r ic cables-Exhaust vents (k i tchen + bathroom)-Chimney for bo i le r

St ructure Wet Wal l s

Cis ternsEgress

7 8

109

Serv ices

Ut i l i ta r ian aspects located between tubes

Al l g round based, load-bear ing tubes

Circulat ion

33

2 Hour F i re Rated Wal l s( requi red by code)

Egress S ta i r s

Areas of Refuge

*Note: 3 hour f i re rated const ruct ion prov ided by C. I .P . concrete s t ructure

Green Roof Terraces provide a space for tenants to grow their owncrops for individual food supply, as well as providing super-insulationto apartment units below

Vertical circulation and egress are provided by load bearing tubesthat extend below grade to the parking level

Mechanical room for freight elevator

2’ x 4’ concrete beams are anchored at theload bearing tubes, providing support for thehung tubes

All load bearing tubes extrude below grade,and those spaces below grade are used forservices, locating water chillers, boilers, ventilation,and gauge/valve rooms

Parking Level (below grade)

HUNG TUBES

Load bearing tubes that penetrate through units are serviced withall plumbing services for the units, allowing for 100% vertical pipingfrom the service spaces in the basement to the roof

“Cardok” vehicle elevator

LOAD BEARING TUBES

34

DETAIL WALL SECTION + ELEVATION STUDYUrban Gardening Initiative

Corner of Elmwood Ave + Bryant StreetChristopher Osterhoudt

Brad Wales (Professor)

1. ROOF 6” Engineered Soil with plantings (Thickness varies, dependent on planting) Filter Fabric 3” Reservoir Layer with Optional Aggregate 1” Moisture Retention Layer 1” Aeration Layer 1/4” Drainage Layer 1/4” Root Barrier 1/4” Protection Course 1/4” Waterproo�ng Membrane 2” Concrete Topping 4” Corrugated Metal Decking 8” Steel I-Beam 2” Rigid Board Insulation

2. INTERIOR FLOORS 2” Concrete Topping 1/2” Hydronic heating tubes 4” Corrugated Metal Decking 2“ Rigid Board Insulation 8” Steel I-Beam 2” Rigid Board Insulation 6” Dropped Ceiling system w/ sprinklers

3. EXTERIOR FLOORS (EXPOSED ON BOTTOM OF TUBES) 2” Precast Concrete Panels 4” Rigid Board Insulation 8” Cast in Place Concrete (Keyed into Exterior Walls)

4. INTERIOR PARTITIONS Frosted Channel Glass (10” wide x 4” deep x 1/2” thick)

5. EXTERIOR WALLS 8” Cast in Place Concrete (Outer Tube) 1” Air Barrier 2” Rigid Board Insulation 2” Vertical Wood Panels (Inner Tube)

6. REINFORCED SITE CAST CONCRETE BEAMS 24” x 48” (in section) Site Cast Concrete Beam Reinforced by #4 Stainless Steel Rebar (56x)

7. CONNECTION BRIDGE FLOOR AND ROOF 3 layers of 1/2” Frosted Glass Panels (25% Transparency)

8. CONNECTION BRIDGE CURTAIN WALL Triple Glazing

9. STOREFRONT (FARMER’S MARKET FACADE) Clear Channel Glass (10” wide x 4” deep x 1/2” thick)

10. RETAINING WALL 12” Cast in Place Concrete

The main s t ructure i s p rov ided by 2’ x 4’ concrete beams, which are poured in p lace as the ground based tubes are be ing poured. The “hung” tubes are then cast around these concrete beams, g iv ing the f ina l fo rm.

Al l cor r idors that connect un i t s and the spaces wi th in each un i t are located between the tubes , a l lowing a l l the space wi th in each tube to be used programmat ica l ly . Each cor r idor i s made of t rans lucent f loors and ce i l ings and t ransparent wal l s , a l lowing s ign i f icant natura l l ight ing to enter the un i t s wh i le s t i l l p rov id ing some pr ivacy.

"CarDok"Car Elevator

GROUND FLOOR PLANUrban Gardening Initiative

Corner of Elmwood Ave + Bryant StreetChristopher Osterhoudt

Brad Wales (Professor)

0 2 4 8 16 32’

Water Cistern

1/8" = 1'-0"1 Level 4 1/8" = 1'-0"2 Level 5

1/8" = 1'-0"3 Section 2

1/8" = 1'-0"1 Level 6 1/8" = 1'-0"2 Level 7

1/8" = 1'-0"3 Section 3

Ground F loor Th i rd F loor F i f th F loor

37

uto

pia

n d

iffe

ren

ce

sd

esi

gn

ing

su

dd

en

ch

an

ge

s in

a s

pa

ce

ba

sed

on

a b

oo

k

In a wor ld where everyth ing i s kept the same to es tabl i sh a utopian soc iety , where everyone sees in b lack and whi te to avoid d i f fe rences , a young boy suddenly begins to see the co lor red. He has no concept of co lor , however , and he s t ruggles to menta l ly grasp the sudden change in the way he interprets h i s wor ld .

ART

313_

Ph

oto

gra

ph

y: I

ma

ge

, Te

xt,

an

d S

ou

nd

Inst

ruc

tor_

He

ath

er

Bra

nd

In th i s ins ta l lat ion, 500 whi te bal l s a re s t rung on a un i form gr id , es tabl i sh ing a utopia s imi la r to that in “The Giver” . E ight orange bal l s a re s t rung randomly amidst th i s utopia, each of which are out of reach of the v iewer . In th i s sense, jus t as the l i t t le boy in the s tory cannot menta l ly grasp the co lor changes , the v iewer in th i s exh ib i t cannot phys ica l ly grasp the co lor change.

39