The Compendium (Undergraduate Portfolio) by Yvonne Hidle

 “undergraduate architecture work by m. yvonne hidle”

 Symphony: Boston, Massachusetts Term: Fall 2011 Professor: Jason Alread Type: Individual Project * CSI Competiton, Finalist

 Student Housing: Ames, Iowa Term: Spring 2011 Professors: Pete Goche, Ulrike Passe, Jamie Horwitz Type: Team Project with Tomas M. Aguilar *Independent Study and Honors Project

 Museum: Columbus, Indiana Term: Fall 2010 Professor: Gregory Palermo Type: Individual Project *Exhibited at the Figgi Art Museum

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Term: Fall 2011 Professor: Jason Alread CSI Competition Finalist

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 “” (VAM) or “Journey to Music” is an

avant-garde symphony center for the Boston Symphony Orchestra. Located in the Italian neighborhood of North End next to the city harbor, the building was designed to take advantage of the different views of the area while exploring the idea of procession… 

In essence, VAM seeks to create an experience within the void space that lies between point A and point B… the space between the main lobby and the symphony hall… The goal was to make the “journey” to the main hall not a direct and banal route through a set of vestibule doors; but rather an interesting and engaging experience that provides nooks for people watching, dining, and lounging while still allowing the familiar direct entrance if need be.



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evaporative cooling

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The plaza was designed to adapt according to the seasons and weather. Shady spots with water fountains and chairs are available for those hot summer days.

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shaded seating

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Whereas the elevated platform, sheltered from the northern winds and basking in the southern sun, is the perfect place for a pleasant winter lunch.

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Other features include tables, large steps, trees, and patches of grass for lounging. The pre-existing boardwalk remains intact and can still be used.

summer water stage

north wind blocked by building

shaded seating

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The viewing deck allows visitors to go onto the roof of the building and get an elevated view of the surrounding area (particularly the harbor waters). Sheltered from the northern winds and oriented south for warm, southern exposure, the viewing deck is an ideal spot for a winter lunch.

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southern exposure on elevated platform

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 The “bridge-column” that supports the main symphony hall doubles as a space for ticketing booths, an elevator, and vertical service shafts. The surrounding plaza, on the other hand, varies by the seasons, providing places for people to sit in the shade during the summer and bask in the sun during the winter.

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  0’ 4’ 8’

16’

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 With low ceilings and panoramic views of the harbor waters, the entrance lobby is the first interior space visitors experience. After checking in their coats, symphony-goers can have a drink at the bar, lounge by the windows, get a symphony schedule from the information desk, or go shopping at the music store before departing toward the experimental hall or main hall.

 The Grand Stair forms the main circulation core known as “Caffe Sulle Scale” (Café on the Stairs). The cafe serves both the main symphony hall and the experimental hall. As people wait for a performance they can sip on a coffee or just watch people walk, elevate, or escalate up to the main hall or back down from it. These little platform spaces can also create a beautiful space to host impromptu jazz sessions.

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WATER STAG E

Because of the site’s location on the harbor I felt it was important to take advantage of the unique connection to the water. With the flexible experimental hall facing the water’s edge, I decided to integrate the idea of a water stage into VAM’s design.

seats 1,3

During the warmer days and nights of the year, VAM’s water stage can host large performances for thousands of people. The experimental hall walls facing the water can be folded back entirely and the space itself can be converted to a seating area capable of accommodating 1,300 people. In addition, boats can “park” on the opposite side of the water stage, allowing visitors to view the performance from a different perspective.

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Inspired by the Wiley Theatre, VAM’s flexible experimental hall was designed so that it could house anywhere from 1 to 3 performances at the same time. Modular chairs, stages, and insulated partition walls allow those performing at VAM to change the hall to suit their needs.

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The experimental hall can house one large performance with over a thousand seats, or it could house a small jazz concert with no more than 100 guests sitting at tables and chairs.

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 

 After the visitor ascends up the main circulation core known as “Caffe Sulle Scale” (Café on the Stairs), they enter into the main symphony hall. It is here, elevated 75 feet into the air, that symphony-goers can experience a visual as well as a musical performance where the picturesque view of downtown Boston is morphed and changed along with the music.



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 Symphony halls can be creatively designed, sure, but if you’re sitting on a crazy balcony and have no view of the stage – what fun is that? All seats in the main hall were designed so that everyone can see the stage. With appropriate rises and staggered seating most people can enjoy an unobstructed view of the musicians performing. When designing a symphony hall, acoustics was obviously an extremely important factor. Made entirely of wood, the main hall was designed with sound in mind. Smooth wood panels bounce sound from the stage to the audience whereas wood slats backed with sound absorbing foam help to absorb sound coming from the audience. Curved wooden panels on the ceiling also help move sounds to the back of the hall while hiding lights and other mechanical equipment. …And that big glass wall? If need be it can be entirely closed off with insulated panels, allowing for a more traditional feel and acoustic environment.

28” Rise

14” Rise

7” Rise

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 

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Flying a world class symphony orchestra hall seventy-five feet above a plaza with a hundred foot cantilever is no small structural feat. The following diagrams attempt to illustrate how the major portions of the structure would be assembled on site and how the sub compenents of the structure are attached to the major components.

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

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By wrapping the building with one foot by one foot pixels, the entire facade becomes a screen capable of communicating its inner status to the people on the streets of Boston. The screen plays on the daynight shift by using the screen to provide shade for the interior of the building from the sun during the day, and using the lit interior to let light out into the night, modulated by the “pixel” screen.

Closed Shutter Open Shutter 2 Inches

 Strings 1 Strings 2 Percussion Woodwind Bass

        

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    Team Project with Tomas Aguilar Term: Spring 2011 Advisors: Pete Goche,Ulrike Passe and Jamie Horwitz Independent Study & Honors Project

Stange Road

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Stange Road

 is a two-person independent study that Frederickson Court

Wanda Daley Drive

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sought to design a multi-generational student housing complex for Iowa State University. The original idea behind the Alcove was to design a complex that would cater to a variety of students, not just the majority, creating a more mixed community where people from different walks of life could interact (seniors, married students, freshman, different ethnic minorities, etc.). Upon reading “How Buildings Learn” by Stewart Brand, we decided to try and design a building that would outlast us. A building that would be capable of not only withstanding the elements and time, but also be able to easily adapt and change as the university needed. We decided that the Alcove, for now, would be student housing, but accommodations would be made in the design that would allow the building to be effortlessly renovated into a library, office, or even classrooms in the future.

Stange Road

Pammel Drive

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University Boulevard

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   

   



 

    



  

  





  





 

  



    





 

 



 

 











 







 









 

 



 



 









Standard Built-in modular and adjustable shelving Wall attachment detail Accessible

Flip-up table underneath Murphy bed

Wood top that matches flooring

Magnetic Handle Embedded metal

1’9” x 1’9“ x 10” deep



 

 

 For the first floor the building’s liveload capacity is 250 pounds/square foot and 3,000 pounds concentrated load. For the second, third, and fourth floors the liveload capacity is 150 pounds/square foot and 2,000 pounds concentrated load. The structure was designed to support these loads. = 10 People Potential Uses for Building

Occupants Per 1000 Square Feet

Assembly: Standing Space

200

Assembly: Concentrated

143

Assembly: Unconcentrated Stages/Platforms

Education: Classroom

 

Mercantile: Grade Floor

Day Care

Education: Shop/Vocational Dormitory Exercise/Gym Locker Rooms Library: Reading Rooms

Mercantile, Other Floors

Library: Stacks Business

Residential Kitchen: Commercial

Accessory Storage

Warehouse

    



 





The building is designed to have 41 occupants per 1000 square feet. This allows for the building to be completely repurposed to any of the following uses highlighted in orange. Uses that exceed 41 occupants per 1000 square feet can still be accomodated in the building but cannot take up the entire floor (this only applies to the second, third, and fourth floors). The first floor is capable of handling all of the following potential uses. Live Load: Pounds/Square Foot Potential Uses for Building 250 Warehouse: Heavy Storage (2000# point load) Manufacturing: Heavy (3000# point load)

150 Library Stack Rooms Manufacturing: Light (2000# point load) 125 Stages Wholesale Retail (1000# point load) Warehouse: Light Storage

100 School: First Floor Corridor (1000# point load) Assembly Dining/Restaurant Gym Office (2000# point load) File and Computer Rooms Residential: Public Spaces 40 Residential: Private Areas School: Classrooms (1000# point load)



 0’ 2’ 4’

8’ 16’

32’

 

Green roof on areas not covered by solar collectors.

64’ FEET

Evacuated solar tubes

  Each occupant is responsible for the energy consumption of their unit. However, a monthly utility bill simply does not provide enough information for us to reduce our energy consumption. As such, each apartment unit is equipped with flow monitors that provide instant feedback and historical usage analysis for hot water, cold water, electricity, and central heat. These tools enable occupants to modify their behavior and make sure that they are actually saving energy by modifying their habits. These measurements could also provide valuable information for research in a wide variety of fields.

Photovoltaic panel

 Ground source heat pumps and evacuated solar tubes provide supplemental space heating during the winter by providing a hot refrigerant to the air handling units in each apartment. During the summer the heat pumps provide chilled water to the air handling units instead.

North

Residential Residential Residential

Community/Retail

0’

4’ 8’

16’

32’

64 FEET

Service Basement



 

North

Apartment Section: Winter Heating Diagram

Apartment Section: Summer Cooling Diagram

Solar Hot Water Panels

 For the first floor the building’s liveload capacity is 250 pounds/square foot and 3,000 pounds concentrated load. For the second, third, and fourth floors the liveload capacity is 150 pounds/square foot and 2,000 pounds concentrated load. The structure was designed to support these loads.

Glycol Heat Transfer Liquid

User

Cold Water Hot Water Tank

Hot Water Heat Pump Closed Loop Geothermal

 Inputs

Transmission Medium

Efficiency Strategies

  Outputs

Insolation Evacuated Solar Tubes

Insulation

Space Heating



Hot Water Geothermal Coupled Heat Pumps

Hot Water Cold Water

Photovoltaic Insulation Solar Shading Wind Ventilation

Purchased Wind Power

Fans

Bio-Fuel Furance

Lights Cooking

Electricity Coal Power Plant



Space Cooling

A well-insulated roof, walls, and windows combined with solar shading by louvers and overhangs reduce heat gain during the hot months of the summer. In general the larger areas of glazing are oriented toward the east and the south in order to minimize unwanted western solar gain during the summer and increase the amount of solar gain from the eastern and southern directions during the winter.

Other Appliances









 

 The first layer of the building skin consists of a wooden louver system. This skin acts as a shading device and changes its appearance based on the solar orientation of the building (I.E. west is more closed than north).

Wood Decking

Insulation Structure











  Term: Fall 2010 Professor: Gregory Palermo Exhibited at the Figgi Art Museum



MAD Why does the “back of the house” have to be concealed? Why does there have to be the great dividing line between the “public” and what some consider to be the “private.” This is the premise of my project, my underlying question and conceptual basis. My scheme is a series of worlds that revolve around one central heart beat… It is about experience... it is about that initial moment… it is about turning the guts of a system inside-out – to take what was once concealed behind closed doors and to expose it. I do not see the “back of the house” as a private affair; I see it as a play on a theatrical stage, one that is ever changing, one that is there to educate and to enlighten.



 In this place, the viewer has the opportunity to watch as an artifact is unloaded from the truck, documented and then stored. It is also in this place, that one can watch as a diesel engine or grandfather clock is dissected, repaired, and then reassembled. This is an educational experience, a unique experience, and dare I say a much needed experience. Because a museum should not just be a censored, set-up display, but an educational, enlightening, and entertaining one.







Washington Street

8th

11th Street

e re

St t 8th Street

Brown Street

Lindsey Street

3rd Street

e tat

Interstate 46

s Indiana Downtown Columbu

e Int

a st

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





 1

 The working conservation labs are the first exhibit a visitor sees upon entering the museum. Centrally located, this light filled space puts conservation workers and museum artifacts on display. Visible from various points throughout the museum, the conservation labs are a living and breathing exhibit. The museum lobby was designed with the intent that visitors would have a visual connection to all the exhibits, this eases way finding and allows people to peek into all the exhibit spaces.



This exhibit has ceiling heights ranging from 12 to 36 feet in order to accommodate objects of all sizes and types, including hanging displays (such as an exploded axiomatic of a diesel engine) and parts of a train. Visitors can enter the exhibit through either the standard elevator/stair combination or a ramp that wraps around the perimeter of the exhibit space.

 



 2



 Storage is an important aspect of any museum and I wanted to be sure that MADii had enough of it; not just for now, but also for later. MADii was designed to have a little over 8,000 square feet of storage for both flatwork and objects. An additional 8,000 square feet of excavated space could converted into storage and used if the museum expanded or added additional artifacts to their collection.

 Implementing a suitable loading dock was difficult. An inclined loading dock leading into storage was infeasible and went against the core idea of having people watch as artifacts were unloaded. Eventually, a two alley scheme was developed – one for cars and one for service trucks. MADii has two loading docks in their own dedicated service lane. The artifact loading dock is completely sheltered allowing workers to move pieces out of the truck and into the museum without worrying about damage due to outside conditions. An additional, smaller and unsheltered loading dock is available for small trucks to unload food and other goods into the shop and café.









 This exhibit displays models and drawings of buildings in Columbus Indiana produced by well renowned architects such as Eero Saarinen. Models are displayed near the glass windows allowing visitors in the lobby below to look up and get a sneak peak of this exhibit. Chairs and tables are also made available to allow visitors to take out blue prints, drawings, and other flatwork to look over them as they please.



Visitors of the museum browsing through the art and architecture exhibits can access a catwalk that gives them a bird’s eye view of the industrial innovation exhibit below.











The conservation labs can be viewed from a ramp lowered down into the space. This observation bridge allows visitors to get a more “inside” view of the labs and unloading/crating areas without having to worry about the security and sanitary rules regarding these spaces.



Zoo



440,502

Science/Technology Museum

244,589

Arboretum/Botanic Garden

106,235

Children’s/Youth Museum

78,500

Natural History/Anthropology

62,803

Art Museum

59,822

Nature Center

52,850

General Museum

43,500

Specialized Museum

20,000

Historic House/Site

16,000

History Museum



10,750

10,000 people

 According to the American Association of Museum’s “2006 Museum Financial Information Survey”, the most popular museums of our day, in terms of average annual attendance, are zoos and science/technology museums, whereas the least popular are historic houses and history museums. What makes science museums so much more popular than art and history museums? If the proposed museum for Columbus Indiana would be a hybrid between art and history, what could be done to increase visitor attendance and improve the museum’s chance for survival? Who actually visits museums? An additional survey conducted by Reach Advisors asked 40,000 museum going households an assortment of questions ranging from who they are to their likes and dislikes about certain museum types. The survey found that most individuals who visit art and history museums are over the age of 50.

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But Columbus Indiana does not have a very large population over 50, in fact the city’s population of approximately 39,000 people consists primarily of individuals between the ages of 25 and 54. The fact that most individuals who visit art and history museums are over the age of 50 does not bode well for an art history museum hybrid establishing itself in Columbus Indiana. How do we make an art and history museum more attractive to a younger audience? What exactly are younger people looking for in a museum? Perhaps we should take some characteristics of one of the most popular museums around – science and technology museums. Art Museums 65% of respondents over age 50

History Museums 65% of respondents over age 50

Science Museums 28% of respondents over age 50

Children’s Museums 11% of respondents over age 50









 Science and technology museums thrive primarily because they’re hands-on and relevant to everyday life. People enjoy science and technology exhibits because they’re interesting, easily understood, and by the end of the day people actually feel like they’ve learned something. How can we take some of these characteristics and implement them into an art and history museum without making the exhibits false or compromising the integrity of such a museum?

25%

Support Services Conservation labs, loading areas, research etc.

25%

Displays/Exhibits Conditioned space for public viewing of artifacts

Most museums today consist of two parts: the public and pre-planned exhibits or “front of house”, and the hidden internal workings or “back of house”. While “the back of house” is typically the same size or larger than the “front of house”, it is rarely seen by those outside the institution. The typical museum is organized using a 25-25-25-25 scheme according to the book Museum Basics by Timothy Ambrose and Crispin Paine.

What if the “back of house”, the part of the museum that consists of conservation labs, research, tagging, and other support services was transparent. What if visitors could watch as an antique diesel engine was unloaded from the truck, documented, moved into the conservation lab, disassembled, cleaned, and reassembled before being moved down into storage or an exhibit? What if docents explained the process at the same time – informing visitors about both the museum’s artifact processing as well as the artifact’s history? Now wouldn’t that be interesting?

25%

Collection/Storage Conditioned storage for artifacts

25%

Reception/Visitor Spaces Cafe, shops, bathrooms, public hallways etc.

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       