Second Year

people friendly spaces

Isabel FeeARCH 2101

contentsI NEW YORK CITY, NY STOCK EXCHANGE STREETSCAPE SECURITY Precedent Study 2

II CHARLOTTE, NC INNER-CITY PARK Design Project 11

III OSLO, NORWAY OSLO OPERA HOUSE Precedent Study 18

IV CHARLESTON, SC ACBA STOREFRONT Design Project 24

FALL ‘13ARCH 2101

1 ARCH 2101 FALL ‘13 2

NEW YORK CITY STOCK EXCHANGE SECURITY BOLLARD STREETSCAPING Precedent I

After 9/11, Wall Street was in need of increased street security. However, rather than install permanent rails or unat-tractive bollards, they commissioned Rogers Marvel Architects to design a solution that would serve in the areas of both streetscaping and security.

The solution was a sculptural set of bol-lards, or vehicle barriers. The bollards’ chief function is to act as a net. They catch large objects, like cars, but allow people to pass through. The objects had to be designed to alert drivers that the area is blocked while at the same time intriguing pedestrians to approach and continue to populate the street.

The shape of the bollards is reminiscent of the surrounding skyscrapers and exudes a similar sense of permanence. They enhance the streetscape by being people-friendly objects at an interactive scale. Conversely, the lights that shine through bronze mesh warn automobiles to stop.

This sculptural barrier system works as a protective mesh, or net, stopping vehi-cles but encouraging pedestrians to pass through.

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Bollards are reminiscent of their urban backdrop, taking on the same rhythm of the New York skyline. Being at human scale, they provide an approachable procession across the street.

Bollards turn on mechnical turn tables, alternatingly permitting vehicular and pedestrian traffic to pass. No matter the position of the bollards, security remains constant. Bollards always stand between vehicles and buildings.

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For those on foot, boul-der-like bollards provide seats,

and, when in line with vertical bollards, a safe path.

Bollards act like stepping stones across the road when in position A.

Parallel rows of bollards open up a perspectival view that invites people to cross the street.

As people cross, car path-way is blocked.

For those cars, bollards’ sharp edges read before their fl at faces. Th ey provide a warning to be cautious.

Bollards block cars in position A.

While people cross, bol-lards block cars’ perspec-tival view of the street.

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While cars cross, pedestri-an pathway is blocked.

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a.

b.

c.

a. Sidewalks allow expand-ed movement, but turn-tables and bollards force street-crossing foot-traffic to compress.

b. Bollards act like a tunnel: They shelter human move-ment while simultaneously blocking automobiles.

c. Material change from sidewalk (concrete) to street (historic cobblestone) without bollards has a strong grain favoring cars.

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CHARLOTTE, NC TRYON & 3RD ST PARKING LOT-MADE-PARK Design Project I

Th e site for this project is a parking lot on the corner of South Tryon and 3rd Street. Currently, the space is not being used to its full potential for occupying a bustling part of center-city Charlotte.

In its current state, the site is providing some transition from corporate South Tryon to the residential, less busy Church Street. Movement occurs around the pe-rimeters of the site, especially from cars searching for parking and people walking to and from parking garages, but there is no reason to walk through the site.

My solution is to install a park which en-hances the site’s role as a transitional cor-ridor. Along the sides of the park there is a food truck station with a covered area and seating, but the park is mostly characterized by a series of dense paral-lel paths for bikes and people, separated by trees and thick greenery elevated in planters.

Th ese paths secluded from the city are places that I would’ve liked to have had when I worked downtown at the neigh-boring Bechtler Museum of Modern Art. Th ey are a space for walking around, stretching one’s legs, and a place to have phone conversation.

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The site is lined by two corri-dors: a covered sidewalk col-lonade along one side (above: left) and the historic Latta Arcade along the other (above: right). My model shows the role of the site as a passageway.

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Schematic Design

To develop a schematic design, I started with the current parking lot. I established a grain of move-ment and a node at which point movement pivots.

Th e horizontal grain lines become brick planters holding lush allée of shrubs and trees.

Brick planters are broken periodically to allow cross grain movement towards teh food trucks and covered seating. Th e most dominant break in the trees leads to the “node” established in schematic design. Th is part of the composition is marked by a large fountain.

SECTIONS

PLAN

Design SchemeScheme Development

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Structural Details and Moments 1/4” - 1’ ISABEL FEE



Materials

Materials for the park were limited to masonry and wood. Masonry had to be constructed from unbroken modules. Th is required some engineering for non-or-thogonal walls. Also, in areas where wood and masonry connect (as with the col-umns in the overhang coonstruction), an arrangement had to be invented under the premise that wood could only be cut to lengths of 16’, 8’, 4’ and 2’ to adhere to a modular system.



Structural Details and Moments 1/4” - 1’ ISABEL FEEStructural Details and Moments

1/4” - 1’ ISABEL FEE

PARK PLAN 1/16” - 1’

ISABEL FEE

SITE FUNCTION: TRANSITIONAL SPACE


ISABEL FEE



ISABEL FEE


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OSLO, NORWAY OSLO OPERA HOUSE Precedent II

When studying the Oslo Opera House designed by Norwegian architecture firm Snøhetta, I found the most distinct aspect of the project to be the way that a seemingly exclusive entity, such as the opera, could become a building for all to participate in.

I was inspired by the manner in which people both associated and unassociated with the opera had a reason to visit and congregate around and inside this build-ing. I htink that’s how all cultural spaces should be: community friendly.

I attributed the attraction of the building in large part to the role of the exterior. The platform that surrounds the building is large, provides seating, and access to the water.

The Oslo Opera House taught me a lot and influenced me greatly when de-signing my own waterfront building in Design Project II.

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ISABEL FEEOSLO OPERA HOUSE1/32” - 1’0”

ISABEL FEEOSLO OPERA HOUSE1/32” - 1’0”

ISABEL FEEOSLO OPERA HOUSE

VISITORS’ TIME SPENT ON SITE

SECTION

PLAN

All of the major public spaces are aligned in a row. Movemennt in the building could have been organized in a straight line.

However, the plan is designed so that destinations are reached in roundabout ways, the entire site becomes activated.

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Entrances to the interior lie around the sides of the building, and so visitors are forced to walk along the roof, at which point a multitude of views then causes visitors to pause, taking in views and snapping photos. And, aft er their initial experience, they are likely to come back to the building to spend time on the roof in teh future.

By allowing the public to participate in the opera house independently of the shows and performances, the architects at Snøhetta have increased the amount of activity that takes place on their site. Th is is a gift to the community as well as the opera house.

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CHARLESTON, SC ACMERICAN COLLEGE OF BUILDING ARTS SATELLITE BUILDING ALONG THE BATTERY Design Project II

The American College of Building Arts, located in Charleston South Carolina, is a school that teaches building trades in iron, wood, masonry and plastering.

Currently, the ACBA is housed in the historic Old Jail, which is in the process of being restored. It’s a great space for working, building and crafting, but pro-vides little in the way of public relations. Being holed up in a fortress-like build-ing, the public cannot see teh craftsmen or the work that’s done inside.

In the final project of Architecture 2101, our task was to design storefront for the ACBA along the water at the Battery. This space would go inside of a sea wall, next to teh Charleston Historic Preservation Society and the Charleston Yacht Club. Program elements include a lobby, coffee shop, gallery, and demonstration theatre, as well as conference rooms and offices.

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ELEVATIONS3/32”=1’0”

CHARLESTON ROAD MAP

SITE PLAN1/32”=1’0”

SITE GRAIN1/64”=1’0”

STRUCTURAL BAY SYSTEMPARTI

PUBLIC ENTRY THRESHHOLD

PRIVATE ENTRY THRESHHOLD

MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS

DIAGRAMS1/32”=1’0”

PLAN1/32”=1’0”

CHARLESTON ROAD MAP


CHARLESTON ROAD MAP






MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS


PLAN1/32”=1’0”


CHARLESTON ROAD MAP






MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS


PLAN1/32”=1’0”

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CHARLESTON ROAD MAP






MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS


PLAN1/32”=1’0”

When visiting Charleston and analyzing the site, what stood out to me most was that in a coastal town like Charleston, the water is the most important part of the city. Houses and roads lead out to the coast, in anticipation of the water. However, at our site specifi cally, when people are led to teh water but instead of reaching a desti-nation, they are caught by the sea wall and unable to sit or enjoy the water. Our site is lacking an inhabitable space. From site analysis onward, my goal was to make the site not only a satellite location for the school, but also a community space that sweeps across the water.

Th e parti (right) follows the shape of the natural sand bar and helps resolve the corner where the sea wall bends.

Th e main public spaces of the program (gallery space, theatre, coff ee shop and lobby) are along the water with views towards teh horizon. Th e terrace is an extension of these spaces; the interior and exterior are separated only by mullioned glass.

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PLAN

1/16”=1’0”

SECTIONS

1/8”=1’0”

MOMENT 1

AXON

1/4”=1’0”

MOMENT 2

AXON

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MOMENT 3

AXON

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MOMENT 1

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MOMENT 1

ELEVATION

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MOMENT 2

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MOMENT 3

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SECTIONS

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GALLERY BAY MOMENT

AXON

TERRACE COLUMN MOMENT

AXON

OFFICE-GALLERY

CONNECTION AXON

GALLERY BAY MOMENT

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GALLERY BAY MOMENT

ELEVATION


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OFFICE-GALLERY

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OFFICE-GALLERY

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MOMENT CONNECTIONS

1/4”=1’0”

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AXON

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MOMENT 2

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MOMENT 3

AXON

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MOMENT 2

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MOMENT 3

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ELEVATION

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GALLERY BAY MOMENT

AXON


AXON

OFFICE-GALLERY

CONNECTION AXON

GALLERY BAY MOMENT

PLAN

GALLERY BAY MOMENT

ELEVATION


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ELEVATION

OFFICE-GALLERY

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OFFICE-GALLERY

ELEVATION

MOMENT CONNECTIONS

1/4”=1’0”

PLAN

SECTIONS

SHALLOW RELIEF MODEL

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PLAN

1/16”=1’0”

SECTIONS

1/8”=1’0”

GALLERY BAY MOMENT

AXON


AXON

OFFICE-GALLERY

CONNECTION AXON

GALLERY BAY MOMENT

PLAN

GALLERY BAY MOMENT

ELEVATION


PLAN


ELEVATION

OFFICE-GALLERY

PLAN

OFFICE-GALLERY

ELEVATION

MOMENT CONNECTIONS

1/4”=1’0”


CHARLESTON ROAD MAP






MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS


PLAN1/32”=1’0”

Structural Bay System

Th is project was constructed of a combination of concrete, wood, and glass. Structure became a key determinant in the design of the building. Rooms had to be designed around bay dimensions and the rhythm of interior and exterior spaces is infl uenced by the need for vertical supports every 16’.Structural details remain visible and are part of the aesthetic of the building. Wood members are notched, overlapped and extended as I acknowledge the value in the rich craft work and construction the institution is dedicated to.

Wood-Glass Connection

Structural Bay Madel

Wood-Glass ConnectionElevation

Wood-Glass ConnectionPlan

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CHARLESTON ROAD MAP






MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS


PLAN1/32”=1’0”


CHARLESTON ROAD MAP






MATERIALS

VISUAL CONTINUUM

MATERIAL TAXONOMY

PRIVATE ACCESS

PUBLIC ACCESS


PLAN1/32”=1’0”

By allowing the public to cross the sea wall and get closer to the ocean, this space will draw many visitors. Whether on the terrace or in the coff ee shop or lobby, they are inhabiting the storefront and able to observe the art and culture of the school. As a community space along the water, this storefront benefi ts local ACBA students and staff , residents of Charleston and tourists alike.

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bibliography

P. 2-3 Wall Street photosRogers Marvel Architectshttp://www.rogersmarvel.com/projects/NYSE/

P.18-19 Oslo Opera House photosCopyright Bryan ShieldsFlux Photographyhttp://www.flickr.com/photos/100895540@N03/9973586086/in/set-72157635960724186http://www.flickr.com/photos/100895540@N03/9973581124/in/set-72157635960724186

All other photos and workIsabel Fee 2013

Documents

Second Year