Thesis Prep

THE SPACE BETWEEN: INVESTIGATING TRANSITION AS A SPACE FOR PERSONAL DEVELOPMENT Anna Ahern | Candidate for M. Arch

Chala Hadimi | Thesis Advisor

MIke Wolfson | Director of Distance M. Arch Thesis

TABLE OF CONTENTS Thesis Statement

04

Terms of Criticism

05

Program 07 Criteria 09

Site Analysis

11

Post Office on Wisconsin Ave.

13

Pedestrian Access

15

Climate Conditions

17

Urban Geography

19

Sketch Problems

21

Movement 23 Muybridge

25

Duchamp

27

Tony Cragg

29

Isolation 31 The Outcast

32

Confinement

33

Prisoners in the Round

35

Freedom of Solitude - essay

37

Process 39 Materials and Methods

41

Axon ink sketch

43

Precedent 45 METI school

47

Section

51

Graphic Bibliography

55

Annotated Bibliography

57

THESIS STATEMENT Architecture defines a relationship between the space and the person. This relationship depends on many characteristics of the space. Transition space makes connections between spaces, it also is part of the experience of the user.

Transition is both a spatial /architectural concept and personal experience.

These two states are part of the same idea, spatial narrative of transition relates to a personal experience of change. Transition space is both a threshold that separates and a portal that interconnects.

Spatial Transition is present in the precedent study called the METI school designed

by Anna Herringer. In this school the three distinct spaces transtion into one another by carefully designed threshold and portals. The structure of the wall is rammed earth which adds the experience of occupying the transition space.

The choreography of movement between departure spaces and arrival spaces is determined by the connection developed between.

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TERMS OF CRITICISM • Transition can be explained by a relationship of spaces to one another through a connective element that can be described as a portal or threshold.

• Movement, Isolation, Process are integral concepts that support the idea of transition.

• Transition as a spatial concept is arrived at through design that considers the context of the site.

• Transition as a personal experience process of changing behaviors to achieve a future goal.

PROGRAM

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Who

• Women with children from 0-5 age children.

• At risk or currently homeless with out access to resources • Women who are pregnant and fleeing abusive or dangerous living situation.

What

• A residential campus with career training program that utilizes a storefront fitness center to be a functioning aspect of the community run by the residents who are applying on the job skills.

• This would allow the community to transition and connect with residents.

• Residents would be able to confidently step into a life that is their own by building independence.

When Now!

• The program would be in place for women who need shelter, parenting skills, jobskills, counseling. The participants permanently reside in provided housing while working toward the completion of the program. In this time the women would secure their own jobs, their own homes, and meet requirements.

Why

• Architecture that serves the Public like libraries, museums, and government buildings are sought after by architects for their cultural significance. Low income housing is just as much a service as these examples. By giving homes that are a lasting service to the community.

Many architecture firms have humanitarian mission statements. The ever inspiring Architecture for Humanity, implemented architecture with the same urgency that Doctors Without Borders respond.

In the wake of natural disaster, they believe that architects are part of the solution. MASS design group and Kere Architecture have worked in Rwanda and Sierra Leone respectively seeing to the design of hospitals, schools and libraries relying on local materials and labor. Rural Studio in Newbern, AL reaching its 20 year anniversary has a twofold mission. Students are given firsthand design instruction with a design build approach which reaches many of the area’s rural poor.

They have taught the profession that the rural

poor in the south can have improved lives with great design. Laurie Baker designed not just with brick and constrained by low budget but with the notion that architecture is always in transition.

Housing is starkly segregated by income. This trend is on the rise in many American cities. There is a stigma associated with the homeless and low income housing. The attitude can be dismissive “It’s just low income... or it’ll be interesting to see what we do with such a low budget...”

PROGRAM The graphic is showing some of the emotions that come with being a mother. Most of these emotions could be a common part of every mothers experience no matter the socio economic status. Lifting up mothers, allowing them to find and develop skills will give them the opportunity to independently care for themselves and their children.

person sleeping in underground tunnel

Criteria

• Essential elements that would support the program are • basic care, day care, healthcare, grocery, transportation • pedestrian access to needs • parks, recreation, schools • jobs

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SITE ANALYSIS

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on

e

ius d a le r i m

Gray area represents Bethesda’s single family housing which surrounds a dense urban core.

SITE ANALYSIS Post Office on Wisconsin Ave.

homeless services

Elementary schools

grocery/pharmacy

daycare

healthcare

Elementary schools

Metro library

• The program requires access to services.

• The gray circle shows a half mile diameter.

• Within this circle it should also be noted that there are numerous parks, pools, recreation.

• The YMCA is a short bus ride.

• There are many more of similar services that dot the area.

daycare

grocery/pharmacy

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SITE ANALYSIS Pedestrian Access pathway to grocery store

courtyard

Fountain in plaza

underground subway kiss and ride

Apartment building

• The site context is very pedestrian friendly.

• The subway is directly beneath the site and the only elevator is on the corner.

• The area has major office buildings that provide outdoor plaza space which is utilized at the lunch hour but it is changing as more people live in the area.

• Walking to multiple services and goods allows people to have independence.

• The orange pathway above goes from the over street walkway above the grocery to a daycare to the subway station. The path is completely pedestrian.

• During the winter the path is cleared daily and well maintained.

Post office across street

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W

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SITE ANALYSIS half mile circle

Lines showing the sunrise/sunset during the winter and summer months where the sun is at its greatest angles.

Climate Conditions

• Climate in Montgomery county changes with the seasons.

• Snow fall, thunderstorms, humid summer heat.

• The winter is cold dry and many kinds of frozen precipitation can fall.

• The summer is hot humid and thunderstorms affect the area.

Northwest wind usually in winter under 20 mph. No more than 20% of the year.

Shadows of the tallest buildings in the immediate vicinity that are projected during summer sunrise.

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Map of Montgomery County Maryland and Washington D.C.

SITE ANALYSIS

Indicate increase by one mile

Urban Geography

District of Columbia Metro Subway Red Line

• Within one stop on the Red line Metro from the site you cross the D.C. border.

• The urban core of downtown Bethesda is the location of over 40,000 jobs.

• Recent economic growth has seen three high rise multi family apartment complexes built in the last two years.

• Destination for 9-5 office employees with restaurants, bars, entertainment • Near to the Metro(subway).

Paved Trails and bike routes.

Site Elevation looking North

Site Elevation looking South

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SKETCH PROBLEMS The next sections describe sketch problems that lead me to Transition spaces. As I studied the different ideas I realized I am most interested in the between state which I call transition space. This between is the active shift, where change happens. I studied movement of a body in space, isolation, and process. Each of these gave me more insight into understanding transition.

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MOVEMENT

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• Muybridge used photography to define motion as a set of static points like defining a circle as infinite tangent lines.

• In this analysis the major parts of the body were traced to see the relationship of points moving down the stairs.

• I learned that the time is part of the equation and in order to see all of the movements an infinite number of camera shots can be taken because between any two images is another.

MOVEMENT • In this study model I used layers to capture motion • Instead of stopping motion in its parts this model tries to show motion in depth by capturing shadows in the square opening.

• The layering and the distance between the cutouts described the movement of light by the shape and angle of shadows.

Muybridge

• Eadward Muybridge was a photographer born in 1830 who studied how to capture movement on film.

• He worked on early stages of motion picture projection.

• Early advances in photography are credited to him.

• In the image below he captures a nude descending the stairs.

• In this study model the layers of card are closer together • This makes the shadows darker and appear with less variation.

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model of movement using foam and wire to show static bodies tied together with time

same model as above showing a Duchamp style depiction of movement as collapsed together with no distinct static shape.

MOVEMENT Duchamp

Lines represent hips, head, stairs, and layers of motion and descent.

• Marcel DuChamp was born in 1887 and was influential in Dada, Surrealism and Cubism.

• The painting depicts a nude in motion downstairs.

• DuChamp shows the body over a measure of time.

• The body fills the entire space and does not forget any movement from beginning to end.

Nude Descending the Stairs No. 2

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Section cuts through the model show the layering of solid and void.

MOVEMENT Tony Cragg

• Like Muybridge a Duchamp, Cragg captures movement.

• Using sculpture and abstract the flow of material is trapped in a solid medium.

• Seeing it almost as layers of reflected light and solid I made a model to interpolate the idea of movement.

another iteration using white acrylic paint on plastic Magnified portion to show detail

Split Second

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ISOLATION

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The Outcast

Victor Hugo introduces his famous protagonist Jean Valjean as a nameless traveler approaching the gates to the town. He is weary and hungry and upon entering the tavern he visibly relaxes and waits for a hot meal. Before he can truly

relax, however, the innkeeper is made aware of the travelerâ&#x20AC;&#x2122;s identity and turns him out. At the end of the chapter, after being rejected numerous times, Valjean is nearing the edge of town feeling dejected and humiliated. Fear of him from the townspeople built a separation, almost a wall in order to keep him out. For his part the desperation and the humiliation of the townspeople gave him a mirror of how others saw him Later Valjean s laying down in a doorway where a woman encounters to him. e responds viciously lashing out at her. but she presses her point suggesting that he seek out the Bishop who lives on the outskirts of town. He may have a place for him to stay.

Although Jean Valjean is never actually alone he feels more and more isolated. while Jean Valjean needs a place where he can re-build his life but . Society needs a space, a buffer that allows it to rehabilitate the outcast. Hugo introduces the Bishop as the connection between Jean Valjean and the town. Society respects the Bishop and he vouches for Jean Valjean. The bishop initiates a change in Jean Valjean by accepting him. Society sees the respected Bishop in his act and are able

to allow jean Valjean his humanity. Transition from prisoner to member of society while society can understand and not fear or ignore.

Jean Valjean is rejected and ostracized. He feels

more isolated in this little town than he did in prison. What he needs is a transitional space, a buffer that will allow him and society to reconnect.

The Bishop in the story of Les Miserable creates a space a buffer for this social transition. With the initial act of kindness and acceptance the Bishop has initiated a transition within Jean Valjean.

ISOLATION Confinement

• Isolation has the spatial connotation of confinement, which is possible.

• Confinement implies the space around has become tight and restrictive.

• The prisoner is sometimes placed in another level of punishment called solitary confinement where isolation is alone and confined.

• isolation is part of my understanding of Transition because ideally movement from one state such as isolation to groups and back is part of how transition spaces are most effective.

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study of shadows, light and dark tones

trace over painting to find relationship of the moving bodies confined to the circle.

ISOLATION Prisoners in the Round

• Van Gogh admitted himself to St. Paul asylum in order to learn healthy habits.

• He was allowed two cells so he could paint.

• Many of his paintings at this time were of the landscape out his window.

• He also chose to copy works of his favorite artists.

The painting by Gustave Dore

Drawing of the bodies of men in motion and the shadows cast on the floor.

The paintings depict shadows and isolation, confinement.

The painting has multiple layers of light and dark

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I never felt trapped. I had the freedom not of space but of solitude. The room was a narrow closet no more than five feet wide. The cold plaster wall on my back which was a relief in the heat of a West Texas summer. Sitting on old brown shag which had a fair amount of ugly and comfort all in one. In front were clothes hanging on low closet rod. The door to the closet was directly to my right and it was always open yet it felt like an edge.

Knees up or cross legged I always had something in my lap that currently fascinated me. It may be a found object from a recent walk in the alley or sometimes a book for its landscape qualities, I could dream a story across its surface of pages like a backdrop on stage. I had figurines of animals all the size of marbles and they were my players. Deep into my imagination I used up hours in the afternoons in the summers or weekends.

I had never planned to go and hang out in this place of mine, I gravitated

there. The house was ranch style, one story four bedrooms. This is how I describe it now, but in my memory I think about it as distinct zones where predictable activities took place almost without difference but simultaneously with constant change.

At some point my bustling family of 6 would disperse. This was my opportunity. The space was just enough for me. Cozy and close, but free for contemplative play. The door was always open. It was tucked in the far part of the house through layers of rooms, I knew I would be alone.

Transition between spaces made the experience of isolation so valuable.

Between the closet I used to dream in and the rest of the spaces in the house I had the choice to be alone.

ISOLATION Freedom of Solitude - essay

• Isolation is one way of defining space for small groups or individuals • The relationship of the space to the individual is more important than the scale of space to the individual.

• Isolation spaces can be connected and properly transition to other spaces which enhances the experience of isolated spaces.

• Quality of space which includes texture and light help determine the effect on the user.

sketch of me

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PROCESS

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Drawing study of process

PROCESS Materials and Methods

• Using ink, white crayons and white paper, rolling parallel rule I created the image on the left.

• A line of ink was drawn with a brush along a rolling parallel rule.

• When the rule rolled it dragged ink with it.

• white crayon lines were drawn along the edge of the ragged ink line.

• The crayon separated the next line of ink from the paper and from the last ink line.

section a

section b

section c

a b

c

section diagram

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Cut sections filled and overlaid to show depth and structure

PROCESS

Axon ink sketch

• Process relies on the previous point to inform the next.

• Over the form of the beginning has changed but can still be recognized as the beginning.

• Process is part of how i started thinking about transition.

• Transition is state of change, where the process is taking place.

axon study of ink drawing

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PRECEDENT

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Transition zones, interior and exterior.

First floor with three classrooms, each have separate alcoves.

A photo of one of the alcove with children playing and talking.

PRECEDENT The alcoves are designed to be for students and teachers in smaller groups. There is a distinct feeling that these spaces are separate from the larger classroom space, but they are close enough to allow for some visual and audible connection to the classroom space. The threshold between the spaces is occupiable, and defines the exit and entrance. This portal is both part of the alcove and the classroom.

View of the classroom space with clothes covering the door ways.

METI school

â&#x20AC;˘ The school is a design

by Anna Herringer and Eike Roswag in 2005 in Rudrapur. â&#x20AC;˘ Rammed earth technique of local materials by a local labor.

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PRECEDENT • This floor plan is of the Group sitting area.

• There are three distinct sizes of space for individual or small groups, class groups, and the whole school can meet on this second floor.

• The light structure allows for climate control when many people are crowded into the space.

• The use of colorful cloth brings to life the space and helps to shade.

Floor plan of the second level where there is an open space for large groups of students

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South elevation showing bamboo structure and windows into classroom

PRECEDENT Section

• Each classroom has a similar section with the alcoves unique to each classroom • The three classrooms open onto walkway in front of the school.

• The bamboo covered second level is not partitioned and allows for large groups.

Section through South corner classroom showing scale of young child sitting in the opening of the alcove.

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Process model collaged onto drawing, showing folding of exterior.

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CHARETTE • The start of design work has prompted a study in horizontal forms.

• After studying these first iterations I am starting to see how transition in form relies on fluid partitions.

• In future work I intend to show how the shifting of horizontal planes bring shadows into play with the design.

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GRAPHIC BIBLIOGRAPHY

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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-undeen-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) 2005-2006.” GIZMO. Accessed February 22. http://www.gizmoweb.org/2011/06/ anna-heringer-eike-roswag-handmade-school-rudrapur-bangladesh-2005-2006/.

Frayer, Lauren, and Ari Shapiro. 2015. “Not A Group House, Not A Commune: Europe Experiments With CoHousing.” NPR.org. Accessed February 17. http://www.npr.org/blogs/parallels/2015/02/16/385528919/ not-a-group-house-not-a-commune-europe-experiments-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, Junichirō. 2001. In Praise of Shadows. Vintage.Tanizaki, Junichirō. 1977. In Praise of Shadows. Translated by Thomas J. Harper and Edward G. Seidensticker. Vintage.

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ANNOTATED BIBLIOGRAPHY

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