Ahernfinalthesisbook

The Space Between: Transition as a Spatial and Social Experience

The Boston Architectural College Master of Architecture May 20, 2016

Anna Ahern Student

Karen Nelson Director of Distance M.Arch Thesis

Chala Hadimi Thesis Instructor AHERN 1

Table of Contents Introduction

4-9

Abstract and Thesis Statement Site Criteria and Program Methodology

Research

10-29

Movement Shadows Layers

Site and Design

30-47

Site amenities, circulation, layers and shadows Floor Plans Public , Pedestrian paths

Bibliography

49

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INTRODUCTION

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Abstract and Thesis Statement Homelessness is being without a reliable home. Although homelessness affects many people all across the country for many different reasons it disproportionately affects women and young children. In the United States 84% of homeless families are headed by single women. Over the course of a single year on average there are 1.6 million homeless children and these numbers are an under representation of the actual figures due to the difficulty in acquiring accurate data. As many as 1 in 4 women are homeless because they have been victims to violent physical or mental abuse. Single mothers, when given the permanent housing, reliable daycare, supportive educational and counseling services they need can create the stability in their own lives and can transition from being a disconnected outcast population to a connected self reliant members of society.

Through the concept of transition I propose an architecture that supports a program designed to be that foundation for transition towards positive change and growth. By researching movement, layers and shadows I developed a methodology of design which I define as transition.

I designed the transitions using either movement, shadows or layers of a combination of both. As in the loft resident units I created a layer in the exterior wall of the children’s room to be accessible for reading or sitting. The transition to the space is both movement up into the alcove as well as a layer of wall. The shadows and light effect the quality of the space because of the patterns of the exterior screen wall and the opening into the child’s room.

A grand example of transition is in the daycare where the climbing structure cuts up through to the second level. This vertical connection allows parents and children to have a connection to one another during the day if only visually.

This also allows light to filter in through the opening in the climbing structure in both the daycare and the classroom level. A more subtle transition is shown in the gentle ramping on the third floor, the transition space separates the kitchen space from the circulation but also allows a more universal accessibility of spaces.

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INTRODUCTION

Commercial

Residential

Retail

Site

Diameter - 1/4 mile

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Site criteria

Program

The area surrounding the residences is very important to meet the needs of the residents. The goal is not only to provide shelter and reliable housing, but to provide an exterior network that allows for smooth transition into the greater surrounding community through jobs, schools, and civic engagement. The surrounding site needs to be pedestrian accessible, safe and provide public amenities that promote this transition.

The area I chose in Bethesda is an urban core that provides access to job opportunities, groceries, schools, healthcare, pharmacies, entertainment, accessible public transportation all within walking distance. This is a dense urban area with many residential, commercial and retail buildings. The Metro Subway system access is located directly under the site which offers access to Washington D.C. and surrounding Metro areas.

The main program is to provide reliable residences for the women and their children. The supportive services such as counseling and job training require classrooms for instruction. For studying and research there is a reading and technology room. If these services are to be effective then the children need a daycare center that provides care and education so that the mother can use the day for her own education. The program also supports the living needs of the residents, with a laundry, kitchen and dining area. Each of the residential units have two bedrooms, bathroom and living space.

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INTRODUCTION

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Methodology By researching movement, layers and shadows I developed a methodology of design. Transition is not only change, but also connection. By defining a methodology I can assess different aspects of my design, research and analysis After doing extensive research on the topics of movement, shadows and layers I focused on what each of these studies could tell me about site, design and program. Transition is the culmination of this methodology.

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RESEARCH

Analysis of the changes in each frame.

Interpretation of movement using light and depth

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Study of a Nude descending the stairs -Muybridge

Movement

Plaster model with cut out niches and shadows

Model with a longer angle of light to create deeper shadows in between

Muybridge was a photographer and artist in the mid 18th century. He developed the use of multiple cameras to capture the motions of animals and people.

Muybridge analyzed movement as intervals of time that make up a series of still images. In a series of ten images the viewer can reconstruct the idea of the movement.

Muybridge through both intent and technique shows motion as a multitude of static bodies. Whether there are 12 frames or 100 frames because of the photograph the body looks to be floating in the air midst a jump or poised still ready to take the next stair step. It is only when each of these intervals are placed together that the idea and understanding of motion comes through.

Muybridge’s depiction and attitude towards motion led me to question the premise that motion is in the static intervals made up with stills. I concluded that there is movement in the space between, that the transition from one form to the next is just as important as the still image. I wanted to understand more about the idea of motion of bodies by investigating the space between. The transition, or change from one to the next form became the true inspiration for the rest of my research.

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RESEARCH

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Line drawings showing the relationship between the body and the stairs.

Movement In contrast to Muybridge, in ‘Nude Descending the Stairs’ Duchamp depicts movement as a continuity of overlapping and shifting forms that blur into one.

This seems to indicate a lack of time as a discerning element. Muybridge’s technique and intent was to understand motion in terms of time, where time provides a static framework of intervals. At a given interval the body can be seen as still although in any given moment the body is not ever still with either the momentum of the movement, gravity or the internal muscles are keeping the body in motion.

DuChamp’s work shows the overlap of the motion within the body and the activity itself of moving down stairs. He is also emphasizing the form of the whole movement the body makes in relation to the stairs.

Nude Descending the Stairs II

Model of movement showing connection.

Where Muybridge is focused on the body, Duchamp’s depiction reveals the body and the stair formed a spatial relationship.

The form of the body relies on the form of the stair to transition from the top to the bottom. The changes in the shape of the body in movement are in response to the shape of the stair. I used a model to show that movement is partially fluid and partially static to account for both studies within one representation.

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RESEARCH

Black acrylic applied to plywood AHERN 14

Split Second - Tony Cragg

Movement

White acrylic on vinyl with light shown through

Section drawing showing the overlapping and depth of layers.

A bronze sculpture ‘Split Second’ by Tony Cragg depicts a flow that has no discernible body in motion, or beginning or end. This compares well with both DuChamp and Muybridge. Muybridge’s work depends on time, while DuChamp meant to show that the body was capable of continuous motion by blurring the boundaries of the body and connecting it the prior movement. In this example of movement, Cragg distills movement.

I try to study the same attitude towards movement as the sculpture, a continuous uninterrupted motion.

I applied black acrylic paint on plywood and used a cut piece of cardboard to scrape the paint off using gestural movements. Movement of the scraper across the wet paint creates texture by moving paint from the plywood. Some of the paint is scraped off and some was pushed to the side which creates depth in the acrylic. I applied white acrylic to a piece of translucent vinyl, and scraped off the paint in the same manner as before. The light came through the vinyl and the paint seemed to darken because the light could not penetrate. I drew sections to analyze the relationship between the solid and void created by the impression of the scraper.

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RESEARCH Blurring occurs where there is motion. The pattern in the negative supports that.

Moments where the impression is deepest causing the negative drawing to show white.

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Movement A

B

C

In order to further this study of movement I chose to ‘capture’ motion in plaster and use wax to study the void created. I moved my hand through the plaster which created an impression of the moving hand. Then I allowed wax to cool in the void. I then cut sections to see how the interaction between the two mediums. These sections show a direct relationship between the plaster and the wax. I concluded that the impression of the movement into the material shows a depth between layers of material.

D A

B

A

B C D

C

D

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RESEARCH

Shadow model

Helene Binet photograph

Shadow model

Helene Binet photograph AHERN 18

Shadow model

Shadows

Shadow model

Shadow model Shadow drawing

Shadow model

In The Passage of Silence and Light, Helene Binet presents the addition to the Berlin Museum by Daniel Libeskind. The photographs are of unfinished concrete walls and openings without glass during the construction process. The two I present here are deep studies of the temporality of shadow and light absorbed in the unfinished concrete. The images play with the depths and gradients that shadow can reveal about the spatial configuration, very similar to the ideas of movement that DuChamp portrays. In Binet’s work the relationship between all of the elements in the photographs are essential to the image. Just as the relationships that DuChamp presents between each blurred position of the body and the spatial element of the stairs.

My research lead me to creating three dimensional models. The goal was to investigate shadows using layers of paper with different configurations. In some instances the light came through the paper and the shadows were gentle and gray.

Other models show that the light bounced from the surface creating a brighter area where the edge of the shadow would then be darkest.

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RESEARCH

Layers with openings and cuts to study the effects of light .

Portals of deep shadow with contrasting bright light

Model of rectangles and squares in direct light.

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Modeling dark interior shadows.

Shadows My research lead me to creating three dimensional models. The goal was to investigate shadows using layers of paper with different configurations. In some instances the light came through the paper and the shadows were gentle and gray.

Other models show that the light bounced from the surface creating a brighter area where the edge of the shadow would then be darkest.

Patterns create layered effect of light and dark.

Shadows help show depth and form of walls and openings

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RESEARCH

B - Section cuts taken from overlay of study A - Ink and wax study

C - Line drawing showing interpretation of depth and form.

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D - Three section cuts showing solid /void

Layers The series is followed from A - F. I created a line drawing and took section cuts from the study A. I chose to create distinct solid and void where the ink had hit the page and where the wax had protected it. I started to see how transition from one material to the next created the shifts that were also relevant in 3 dimensions.

E & F - Overlay of the solid void drawings inspired a plaster model AHERN 23

RESEARCH

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Layers Layers make up the exposed roof structure.

Window layer transmits light Screening on the exterior

Solid walls to allow for privacy and light Stairs let light through the suspended risers

Window nooks for deeper shadow

Vertical screening on the ramp in kitchen

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RESEARCH

Kids playing in pod

Transition spaces between pod and classroom make a connection between spaces that offers lighting, access and seating.

Entrance into classroom

Pod

Pod

Classroom

Classroom

Pod

Classroom

A

First Floor Plan AHERN 26

3 ft

Precedent Study

Section cut through a pod.

3 ft

The METI school is designed by Anna Heringer and Eike Roswag in Rudrapur, Bangladesh as a community built project using materials that are inexpensive and locally sourced. There are essential qualities about the form and structure that are great examples of transition. Also there is a connection between the building and the community as it is community built the project acts as a catalyst for transition within the community. This creates connections within the community and pride in the school.

The three main transition areas are the portals to the pods in the earth walls, the large platform like stair to the second floor and the colonnade on the second floor created by the structural bamboo. My favorite are the pods in the thick rammed earth walls. These pods allow children to find space where they can be alone to read, or find small groups to socialize. The entry spaces are perfect for sitting. The instructors can use the openings as points to survey the classroom and the pods in the walls. Light filters in through these pods reflecting off the earth color creates warm diffuse light in the classroom space.

Entry into the pods in the rammed earth walls.

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RESEARCH

Perspective view of the fabric lined ceiling in the double space classroom on the second floor facing North.

Platform stair made of rammed earth allows for passage to the second floor as well as seating and informal groups.

Bamboo structure that is open and allows for movement in between the corridor and classroom

Second Floor AHERN 28

3 ft

Precedent Study The airy structure on the second floor allows for large group instruction. The plan is open with a bamboo colonnade that also lines the path between the classroom and approaching from the stairs. The screening system allows for natural light and cross ventilation to cool the space in the climate of Bangladesh.

North elevation 3 ft

The layering of materials is simple and effective. Where the structure of the rammed earth first floor meets the screen wall of the second a ledge is formed. This provides a casual seat while also providing a barrier between the screens and the corridor. The roof covers the stairway for students and teachers to be sheltered as they move to the second floor.

Kids running and playing down the corridor space on the second floor.

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SITE AND DESIGN Residential

Retail Commercial Daycare Public Public

Site

Residential

Retail

Retail AHERN 30

Site The area offers many opportunities and serves many needs. There are daycares, schools, restaurants, groceries, libraries, public centers, fitness centers, pharmacy and churches. The area is dense housing and commercial, and business.

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SITE AND DESIGN

Bus Route

Metro Subway line Section cut

PLAZA ENTRY

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SITE

Site The overall site offers multiple modes of transportation that would be very beneficial to residents. The Metro Subway is a direct link into Washington D.C. which offers services, national public attraction and entertainment, state of the art health care, and other opportunities. The bus lines both local and city routes offer access to many areas of Maryland, and Virginia. The possible circulation and travel made easy to and from the site opens up possibilities for education, jobs, and networking that is extremely valuable.

Plaza Entry

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SITE AND DESIGN

SITE

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Site Section through pedestrian plazas showing layers of the site which are for public access and use.

Section through Metro Plaza showing layers of pedestrian access.

Pedestrian friendly sidewalks offered around the site provide a safe way to travel. There are layers of pathways that keep pedestrians away from the street including an over the street bridge. Less than quarter mile from the site there is a series of three plazas that connect other residential buildings. Each of these plazas offer public places for gathering and connect to each other with pedestrian walkways over the street. The main plaza is above the subway station and bus terminal.

Below street level access to the Metro Subway sytem. This hub provides access to Metro and local bus lines.

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SITE AND DESIGN

SITE

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Site Shadows on the site vary due to not only time, but also height of buildings. The site has a mixture of building heights that allow for different shifts in degree of shadow.

July Sunrise

Dec Sunrise

July Noon

July Sunset

Dec Noon

Dec Sunset

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SITE AND DESIGN

C E

D B

F J

H

A

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A - ramp down from the sidewalk into the playground.

B - Entry to daycare C - Storage area for children belongings D - Infant play room E - Bathroom and changing tables.

F - Dining and gathering G - Toys and games storage and toddler space H - Reading, and quiet area J - Play structure

Scale 1/32” = 1’

Perspective of entry space to daycare

Daycare Floor Plan

Perspective section of play area and interior climbing space

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SITE AND DESIGN

Level 3 - Kitchen and Dining

Level 2 - Classrooms

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Level 1- Daycare

Floor Plans The first three floor plans have supportive services, daycare, classrooms, and kitchen, dining and laundry. The entrance to the daycare is through the outdoor playground area. The entrance to the classrooms is at street level.

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SITE AND DESIGN

Perspective of the laundry and corridor to dining

Accessible residence unit

Scale 1/32” = 1’

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Level 3 -Dining and Kitchen

Accessible Residential Unit The accessible living unit is on the third floor. The unit is accessible through a walkway that ramps up towards the entrance to the unit. Within the unit the spaces are accessible, with no stairs.

There is a door in the back of the unit which accesses the laundry space for the residents. This makes the access to the kitchen dining and laundry easier for a family accommodating mobility issues.

Perspective of walkway

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SITE AND DESIGN

Level 6 - Loft Bedroom

Level 5 - Loft bedroom

Level 4 - Bedrooms AHERN 44

Bedroom Floor Plans The Bedrooms run along the East and West facades. The top floors are set apart from the street to allow a more private experience but maintain connection to the spaces below.

Section facing South

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SITE AND DESIGN

Scale 1/32” = 1’

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Level 5- Residence entry

Section Perspective showing West residences

Residences

Scale 1/32” = 1’

Shadows in entry room of residence

Section of East facing residence AHERN 47

For Chala ~ who believed in me every step of the way.

Thank you to my family ~ my amazing husband Charles my rockstars Bernadette and Elizabeth and (the little kicker)

Bibliography Alex Andreou. 2015. “Defensive Architecture: Keeping Poverty Unseen and Deflecting Our Guilt.” The Guardian. Accessed March 26. http://www.theguardian.com/society/2015/feb/18/defensive-architecture-keeps-poverty-unseen-and-makes-us-more-hostile.

Binet, Hélène, and Raoul Bunschoten. 1997. A Passage through Silence and Light. London: Black Dog Pub. Downing, Frances. 2000. Remembrance and the Design of Place. Texas A&M University Press.

Farrell, Yvonne, and Shelley Mcnamara. 2015. “Anna Heringer, Eike Roswag, Handmade School, Rudrapur (Bangladesh) 20052006.” GIZMO. Accessed February 22. http://www.gizmoweb.org/2011/06/anna-heringer-eike-roswag-handmade-school-rudrapurbangladesh-2005-2006/.

Frayer, Lauren, and Ari Shapiro. 2015. “Not a Group House, Not a Commune: Europe Experiments With Co-Housing.” NPR. org. Accessed February 17. http://www.npr.org/blogs/parallels/2015/02/16/385528919/not-a-group-house-not-a-commune-europeexperiments-with-co-housing.

Hall, Edward Twitchell. 1992. The Hidden Dimension. Anchor Books.

Hugo, Victor. 1864. Les Misérables.

Kimmelman, Michael. 2015. “Prison Architecture and the Question of Ethics.” The New York Times, February 16. http://www. nytimes.com/2015/02/17/arts/design/prison-architecture-and-the-question-of-ethics.html.

MacRae, Fr Gordon J. 2013. “Les Miserables: The Bishop and the Redemption of Jean Valjean.” These Stone Walls. http:// thesestonewalls.com/gordon-macrae/les-miserables-the-bishop-and-the-redemption-of-jean-valjean/.

Rasmussen, Steen Eiler. 1962. Experiencing Architecture. Cambridge [Mass.: M.I.T. Press, Massachusetts Institute of Technology.

Roessner, Jane. 2000. A Decent Place to Live: From Columbia Point to Harbor Point - a Community History. Northeastern University Press.

Surowiecki, James. 2014. “Give the Homeless Homes.” The New Yorker, no. September 22, 2014 (September). http://www. newyorker.com/magazine/2014/09/22/home-free.

Tanizaki, Jun ichirō. 1977. In Praise of Shadows. Translated by Thomas J. Harper and Edward G. Seidensticker. Vintage.

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