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ATLANTA PUBLIC LIBRARY CHICAGO CHILDREN’S HOSPITAL AUBURN FURNITURE PROJECT


ATLANTA PUBLIC LIBRARY CENTRAL BRANCH In the heart of downtown Atlanta, a few blocks from Centennial traffic intersection as well as neighboring buildings that top at Park and the Georgia Aquarium, the Marcel Breuer-designed 700 feet. public library attracts few visitors. What arose was a series of questions about attracting everyday We were charged with treating the site as if already leveled and office-goers as well as tourists, competing with taller buildings, creating a new library for the city of Atlanta. Our goal was that and the existing validity of a library in the future at all. it might assist in the revitalization of this former center of all downtown Atlanta, the particularly famous Margaret Mitchell The points at which the roof peaks at the front entrance wall Square. and the back of the building, seek to compete with neighboring buildings’ heights without actually reaching similar heights. It is The main site challenges include a sloped site and complicated in fact the same height as the Candler building.

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CASE STUDY STUTTGART LIBRARY, GERMANY

GALLERY HALL (CONTAINS

“HEART”

“INTERSTITIAL SPACE” BETWEEN PROMENADE AND EXTERIOR SHELL

“PROMENADE” INTERMITTENT SPACE CIRCUMSCRIBING GALLERY HALL

“FORUM” EVENT ROOM BY UNDERGROUND RAILWAY

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“HEART”


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PROGRESSION TO FINAL MODEL

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BASIC MASSING | ROOF CURVATURE AND ENVELOPE

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south

east

north

west


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FLOORS 1-4

DN UP

contain minor floor plates, mostly laptop seating and reading areas UPDN

UPDN

02

01

03

DN UP

the first floor contains a field of bookcases.

04 FLOORS 5-8

DN UP

contain major floor plates.

UPDN

UPDN

05

they contain the children’s library, conference rooms, auditorium & support rooms, and finally the main sets of offices.

DN UP

06

07

08 FLOORS 9-12 complete the volumes that fill the interior space. they contain viewing platforms and some smaller offices.

09

10

11

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ASSEMBLY EXPLODED COMPONENTS

CURTAIN WALL - PRIMARY FACADE

SOLID WALL - SECONDARY FACADE

the entire object is encased in glass that both reflects the sky from the ground, and allows a view inside to the pedestrian outside.

an internal envelope is sliced away where the once conceptual curves intercept, which gives birth to a mysterious solid-void balance.

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FLOOR PLATES & ROOF SURFACE

ROOF SURFACE

the introduction of floor plates slightly obscures the play with solid and void, while giving a sense of scale to the building not previously felt.

the complex curve of the roof allows for multiple views of the surrounding city. Also, the tallest point (seen here in back) has railings, but nothing keeps visitors from walking as high as they can. ATLANTA PUBLIC LIBRARY | 13


INTERIOR SPACES IMPORTANT VIEWS

VIEW FROM LIBRARY ENTRANCE

VIEW FROM THIRD FLOOR COMPUTER AREA

VIEW FROM THE ELEVENTH FLOOR

A short entry sequence quickly reveals the vaulting interior space (seen on page 5). The book stacks fill the expansive first floor, drawing visitors into a maze if they wish to get a better view of the hovering shapes above.

Minor Floorplates, with a range of smaller spaces located in the corners of the building, host either a laptop bar overlooking the interior and desks with desktop computers, or comfortable reading areas.

Major floorplates float in the center of the interior, They contain designed office space and open office space, as well as an auditorium, childrens reading and book stacks area, and a thin, viewing floor for visitors to look over and see it all from up top.

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VIEW OF THE MAIN INTERNAL MASS This internal view shows the Major floorplates that crate a comlex volume in the interior that seems to float above the regular, grid-like book stacks on the ground floor. It is wrapped in a partially structural grid that separates the spaces inside from sound contamination while also allowing views in as well as out. The auditorium space would have smart glass, allowing for privacy and a darkened space if needed.

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CHILDREN’S CARDIOVASCULAR HOSPITAL CHICAGO Near the train tracks in the historical Printer’s District of the Loop of Chicago, sits a small suburban-style bank, complete with drive through.

With the help of a healthcare Architect, the class received a realistic program. With the advice of an RN Nursing Professor, the adjacencies of spaces was accomplished.

It was this obvious violation of urban fabric that lead to its selection as the site for the traditional ALAGASCO competition Hospital project.

Finally, the bulk of the design was aimed at the Patient Floors and the Patient Care Unit, or patient rooms.

The site is approximately 250 feet long and 100 feet wide. This led to the program dictating a minimum of eight floors.

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A floor-by-floor terrace scheme provides sick children at most physical, at least visual connection with the outdoors and plants.


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CASE STUDY MASSACHUSETTS GENERAL HOSPITAL ADDITION, BOSTON

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BASIC MASSING SHIFTING ROOFS & TERRACES

looking from northwest

looking from west

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looking from southeast


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FLOOR PLANS GROUND FLOOR

WAITING AREA

ENTRANCE

The slowly sloping floor of the waiting area is enveloped by a recycled bioglass wall that is about 80% opaque,but still allows both light and sound to permeate the visual barrier.

A directory area, this entrance serves to steer visitors towards the waiting area, the dining area, or the elevators to see their loved ones.

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GROUND FLOOR

UP

UP

On the long street facade is the eating area, which surrounds the sloping waiting area. The curved stairs lead to a quieter, more private waiting area above.

VI

2

UP

EW

VIE

UP

W1

N

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FLOOR PLANS PATIENT CARE FLOOR(S)

PATIENT CARE UNIT FROM THE OUTSIDE View from the outside looking in. A series of uplights creates a night-light type of atmosphere. The parent’s murphy bed is on the left.

PATIENT CARE UNIT A variation on the patient rooms from the University of Minnesota medical center, the now squared rooms contain a stand-up shower, whose doors allow for more space, along with a Murphy bed for parents that stay. Finally, a small station outside for medical charting. CHICAGO CHILDREN’S HOSPITAL | 24


PATIENT CARE FLOOR

N CHICAGO CHILDREN’S HOSPITAL | 25

DN

UP

UP

DN

Shifting square volumes move the patient rooms as well as the service corridor in between to make room for the terraces. Each floor has a different configuration, since the arrangement loses a set of about 8 rooms each time you move upward.


TERRACES PROPERTIES AND PERSONALITIES

TERRACE 1, FACING WEST AND SOUTH

TERRACE 2, FACING EAST

A series of native plantings form a prairie-like atmosphere with a modern arcade creating a bit of shelter against the building. The roof is made of semi-transparent Photovoltaic panels, that will assist in the watering system for all of the other terraces.

Also a series of native plantings, the second terrace contains a winding path with a bench as well as a fountain. On the South facing wall, the climbing vines create a wall of vegetation.

accessible from the 1st patient floor, viewable from the 2nd patient floor

accessible from the 2nd patient floor, viewable from the 3rd patient floor

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TERRACE 3, FACING WEST

TERRACE 4, FACING EAST AND NORTH

The only terrace that does not contain plantings, the third terrace is a sheltered area with an undulating metal skin as a wall. Circular punctures in the skin allow a clear view to the exterior. Its juncture at two sloped roofs meeting points show how it is the ideal place to collect water and cycle it through a continuous waterfall.

The northernmost terrace, with the least direct sunlight, has the most exotic plantings. They are protected from the harshest of Chicago weather with a greenhouse-like roof.

accessible from the 3rd patient floor, viewable from the 4th patient floor

accessible from the 4th patient floor, viewable from the 5th patient floor

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AUBURN FURNITURE PROJECT: FLEXIBLE WOOD The main project of first semester of Second Year in Architecture school at Auburn is typically the “House Project.” Gearing up for the project, our class was presented with a series of studying projects. The first was a facade study and redesign in Opelika, the second was a Furniture design. The assignment was called “Mobilia Inhabitabile” since its main purpose was to design a ‘livable space.’ In this way, a home was equated to a piece of furniture.Our professors made this a group project since it lasted two weeks.

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Our site was selected between three trees South of our nearby Amphitheater. The design goals of our project were to create flexible wood pieces for maximum comfort, establish a view upward toward the treetops, and create an unusual piece that was selfexplanatory and needed no supervision. Overall, the plan was successful in achieving those goals and our surveys proved it. Group Members: Brad Greene & Ashley Williams


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DESIGN DEVELOPMENT SKETCHES, MODELS, SITE ANALYSIS

site documentation by: Casey Canouse

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sketch by: Brad Greene

sketch by: Casey Canouse

sketch by: Brad Greene

sketch by: Brad Greene

model by: Casey Canouse & Ashley Williams

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FINAL MODEL DIGITAL

HEAD

high flexibility half strength closest spacing

BODY

medium flexibility full strength wide spacing

FEET & WALKING medium flexibility full strength closest spacing

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SKYFRAME to frame the view and direct the gaze upward

STABILITY FRAMING kept the screen from racking, provided stability for entrance

EXPLODED MODEL DESIGN ELEMENTS

SCREEN field of 1” x 1” sticks that shielded views inward and obstructed the outward views; also allowed wind to enter

BED varying distribution and thickness for flexibility of wooden plane, designed for comfort of occupant

BASE light touch on the ground and allowed for flexing of the wooden bed AUBURN FURNITURE PROJECT | 33


TESTING & SURVEYING OVER FIFTY SATISFIED CUSTOMERS

50% thought manipulating “view” was the main concept 95% knew to lay down without any direction

of all of the senses affected, 48% said sight was most prominent while 22% said touch (comfort)

50% entered by crawling

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87% believed the material choice was successful in highlighting the piece while still blending in to surroundings

84% had confidence in the design’s sturdiness some even jumped up and down on the flexible bed just to make sure; it didn’t break

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FINAL MODEL PHYSICAL WOOD TYPE cedar METHOD cut with University Shop facilities, hand-stained, nail gun and handscrewed DIFFERENCES IN COLOR hand applied stain

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ARTWORK WATERCOLORS

REPRODUCTION TURKISH ARCHITECT SEDAT CETINTAS location: Bursa Hudavendigar Mosque . Minaret balcony. ITU Faculty of Architecture Archive.

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REPRODUCTION WATERCOLORIST MICHAEL REARDON Orvieto, Italy

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ARTWORK PHOTOGRAPHY Last day of Carnival Pienza, Tuscany, Italy (left) Piazza del Margherita Venice, Italy (middle) Purple Umbrella Ostia Antica, Italy (right)

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ARTWORK SKETCHES

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VILLA GIULIA These are a series of sketches done during a class trip to the Villa Giulia. The Villa was owned by a prominent Roman family and is located just North of the Piazza del Popolo.

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ARTWORK SKETCHES

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THE SPANISH STEPS These are a series of sketches done during a class trip to the Spanish Steps. This was a period during which most of my sketches were highlighting one specific aspect, usually with a singular color within an otherwise graphite-stick drawn sketch.

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The Hospital Project taught me that form and large gestures are more immediate to me than materiality and details. This lead to my thesis topic concerning details. This is the first project I ever used Revit with. It enabled me to better handle the sheer size and scope of the program.

The Library Project took me beyond my comfort zone. Large, complex curves have proven to be more graceful than the orthagonal designs that I clinged to. I have to thank my professors for pushing me far enough. Also, my skills with Revit greatly improved with the input of this project.

The Furniture Project was my best group project and allowed me to deal with typical group dynamics. Our project was the only one to survive past the due date. In fact, it stayed in the middle of the studio, where many tired students would take naps.

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Upon reflection, Architecture School has been quite a blessing. First year they taught us to throw ourselves into our projects. Second year I learned to accept criticism, and to not take it personally. Third year I learned to try new things, and that anyone, even I, can sketch beautifully. Fourth year I set goals for myself that I could have easily failed in reaching, and met them. Thesis year is proving to be the biggest challenge yet, which, if pattern holds true, could be my best project of all.


Auburn Universtiy School of Architecture 5th Year Portfolio: Casey Canouse