ADP:003 Of Sheep

ADP:003 Of S h e e p Christopher Allen Weaver Gadiel Alejandro Marquez

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ADP:003 Of S h e e p

Christopher Allen Weaver Gadiel Alejandro Marquez Prof. Levent Kara & Mark Weston Summer 2015

An experiment both as a vertical studio, students from varying levels within the program, as well as a new digital curriculum, with the entire studio being focused on digitally produced graphics instead of the traditional skills of the hand preferred at SACD. While discovering new means of working through computer technologies, a respect remained for the value of drawing to rapidly express ideas for discussion as a team. The work presented in this book was the core project of the studio, which began with a trip in Seattle investigating a site on the threshold between Downtown and the suburbs.

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INDEX 10

CDS_001: Abduction

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CDS_002: Infiltration

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X1506261157

1.0. Cross-Section Studies

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CDS_001: Abduction // Seattle, WA

AD B Prof. Levent Kara and Mark Weston Summer 2015

“Hybridized android sheep haplessly pursue a tectonic flea across the surface of the moon. Their agile target continually evades capture, leaping along seeking to escape with it’s precious cargo, the seed of understanding, a nonknown truth the herd incessantly desires.”

-Winston Nile Rumfoord Early volumetric investigation for a mixed use development nestled alongside the Northwest edge of Downtown Seattle, just South of Lower Queen Anne. The project serves as an annex to the SAM Olympic Sculpture Park which is directly adjacent to the Southeast. The buildings are elevated off the ground to preserve the urban flow from the water through the park, and to maximize the area available to the annex. A forest-like matrix of columns pierce through and support intricately faceted forms that create an architectural canyon programmatically consisting of two residential tower, an offices, and as-of-yet unspecified cultural spaces as well as a non-denominational sacred space: the theatre of the absurd, a concept developed at random that aims to capture the absurdist experience of the world through futurist scientific speculations. The theatre removes people from their personal experience of the world and for the duration fo their visit projects them as a witness into the life of a complete stranger, allowing them to experience first hand the reality of their existence. The personal injection of this program helped to spark an intrinsic creative spirit that encouraged the conceptual development of the formal conditions. The work presented in this section forms the foundation for the final work displayed in the successive section.

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1.1. SW Elevation on Moon

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1.2 Early Perspectives Captured During Lunar Excursion

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2.0. Museum Lobby - Bug’s Eye View

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CDS_002: Infiltration // Seattle, WA

AD B Prof. Levent Kara and Mark Weston Summer 2015

From the foundation laid out in the previous section, the project was developed and refined through the rationalization of the structural system. Originally the columns were placed haphazardly in the midst of the creative fervor of the early design process. Transcending this and striving to create the necessary rigor, the columns were assigned to a grid of points at their origin and termination. The matrix maintains its energy through redirecting the vector of each column, giving angular movement to the forces as they travel from one point of the grid to another. During this process, columns were deleted in order to open up the plenum space between the landscape and the masses above; which in turn caused the remaining columns to thicken, compensating for the loads carried by their discarded counterparts. As the circulation cores rose up and granted access to the towering forms, a means of anchoring the structure was created; allowing for columns to reflect off of these data, projecting lines to the cantilevering extremities of each building.

Tying everything together, the entire structure within the floor plates of each building combines with the encasing skin sysetm to form a structural girder that ties back to the columns and cores giving rigidity to the elevated spaces. As the nature of the upper buildings became more realized, the ground plane began to evolve as well. The act of lifting up all of the buildings created a vacuum which inhaled the nature of the neighboring Sculpture Park, allowing for a seamless continuation of the slicing and slanting patterns present within the adjacent landscape. This created a peeling and folding landscape that inherits much from Parent and Virilio’s theories of The Oblique Function, which seeks to activate visceral experiences with tilted surfaces.

Throwing the body into conflict with gravity, the oblique causes

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2.1. Site Plan

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one to either exert force while climbing or accept force while descending the slope. Beneath the annex to the Sculpture Park, the landscape peels back to reveal programmatic assets within, providing retail and commercial space, as well as several bars and restaurants all helping to encourage urban activity. Furthermore, nestled amidst these programs are the access points granting entrance to the cores that transport people from the surface to the worlds above. The Southeasternmost of the upper buildings are residential towers due to their adjacency to the park and accessibility to the running paths and bike trails that roam along the waterfront. Centrally located facing the water is the Museum of Liminality. Dedicated to the exploration of the intangible space within a line, this museum would showcase an evolving display of investigations in mathematics, architectural drawing, contemporary art, and experimental music that all grapple with this theme. Northeast of the museum is a Class A Office tower, with sculpted interior public spaces that provide an intriguing respite from traditional working atmospheres.

The two buildings located to the Northwest link together to form an Arts and Music School that harvests the spirit of the museum and provides a cutting edge facility for the cultivation of creativity. Remaining solitary at the extremity of the site, is the reflection space. Reached through an extensive pilgrimage, it provides a unique vantage point for looking back at the project as a whole. •••

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2.2. Parking Plan (bottom) and Ground Floor Plan (top)

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2.3. Detail of Entrance to Arts and Music School CP_002: Ground Floor Plan (1/32 inch scale)

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2.4. Detail of Spa and Entrance to Residential Towers CP_002: Ground Floor Plan (1/32 inch scale)

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2.5. O.S.P. Annex Landscape Plan (bottom) and Typical Level Plan (top)

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2.6. Detail of School Library and Studio/Jury Spaces CP_004: Typical Floor Plan (1/32 inch scale)

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2.6. Detail of Musuem Lobby/Administrative and Office Tower CP_004: Typical Floor Plan (1/32 inch scale)

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2.6. Detail of Residential Towers CP_004: Typical Floor Plan (1/32 inch scale)

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2.7. LS_001: Longitudinal Section

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2.8. Detail of LS_001: Longitudinal Section (1/32 inch scale)

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2.9. CS_001: South Cross-Section of Residential Towers

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2.10. CS_002: Mid-Site Cross-Section of Museum and Office Tower

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2.11. RR_001: Birds-Eye View

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2.12. RR_002: Site Progression From Sculpture Park

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2.13. RR_003: Sneaking Up On The Herd

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2.14. RR_004: Peeling and Folding

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2.15. RR_005: Oblique Function Within the Canyon

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2.16. RR_006: Museum Bridge

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2.17. VR_001: Museum Lobby

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