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CONSTRUCTION DU SIEGE SOCIAL Company headquarters St. Malo, France Agency of Odile Decq & Benoit Cornette

Fall 2009 Design Competition CLIENT Groupe Roullier AREA 11,100 m2 (119,600 ft 2) STATUS Second Stage of Competition; feasibility study Design Team Odile Decq, Valeria Cetraro, Christian Engles, Tyler Selby

Personal involvement in the project focused on executing and representing the forms that were being created through drawings and study models. Modeling was performed in Rhino and included many design iterations which helped fellow designers on the team visualize the project as a whole as we worked on the different elements of the project in 2D. Other E tasks included creating day lighting studies and creating the final 3D model to be rendered by Labtop.

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view - rue de hochelaga

view - rue franklin roosevelt

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An invited design competition, the corporation of Groupe Roullier requested a design for a new headquarters to be located within their existing industrial park in St. Malo, France.

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Parking Access

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not going to be able to read...(too close to the folding) Maybe have arrow pointing to it but text further. Parking Garage

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Through the main entrances a perpendicular path for circulation connects the old headquarters, the production facilities and the spaces located in the new headquarters.

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The design consists of two formal elements, 1. Tower blocks containing office spaces 2. A free flowing landscape to enclose offices, a restaurant, conference rooms, an exhibition museum, research facilities and greenhouses.

Delivery Access

LOVE THIS! Wording with Diagrams!!

hospitality

hospitality

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too much talk about flow. I la he oc feel like saying "integrate h e eD Ru with the terrain" says enough

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Flowing into the site, the conference rooms, restaurant and museum integrate within the terrain. The spaces located within the landscape allow interaction between the interior company and the exterior public to transpire. Along the street a patterned glass facade forms a shared circulation space between the four office towers.

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FUTURE EXPANSION

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ENTRY

eXISTING hEADQUARTERS

Rue Franklin Roosevelt

Company Headquarters / Odbc / Tyler selby

elevation D - rue franklin roosevelt

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Section A - connection between office towers and Multi-Use spaces

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Company Headquarters / ODBC / Tyler selby Company Headquarters /


2

Collective Apartments

Pentania Housing development

The concept for the social housing blocks is to create visual variety using three different apartment types in different configurations within each six story building. Strict regulations and restrictions for social housing in France guided the development of three apartment modules that would be identical in plan but versatile to allow for many different floor plate configurations to be achieved without the structure or vertical ducts being adapted in any way.

Lille, France Agency of Odile Decq & Benoit Cornette

I was responsible for the exterior form of the houses.

INDIVIDUAL HOUSES

Personally assigned to develop and then standardize the three different floor plan modules, I begin laying out each apartment floor plan. I worked on developing the three plans to satisfy all the logistical, formal and code restrictions that were required. 1

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Evolving through a back and forth dialog with Odile Decq, design was a process of refinement equally influenced by what was said and what wasn’t said to determine focus and direction.

Dont like the black box background... did black text not read okay on clouded background??

Three apartment modules were to be developed, a single bedroom apartment, a two bedroom apartment, and a three bedroom apartment.

Fall 2009 Design Competition, Winner CLIENT Fonciere Logèment, Cirmad AREA 10,500 m2 (113,000 ft 2) STATUS Competition Winner, construction to begin Fall 2010 Design team Odile Decq, Gilles Ghery, Olivier Bacin,Tyler Selby

study model

A form was developed to allow each house to be recognized individually while also cooperating with neighboring houses, clustered, to create a cohesive form that contributed to the site plan. The final design allows each facade to be recognized individually while also forming a repeatable pattern, and a cohesive street front.

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3 Bedroom Apartment 2

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Housing Development / ODBC / Tyler selby

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Housing Development / ODBC / Tyler selby

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Collective Housing - Ground Floor LOCAL VELOS Cropped view of Entry Spaces 1:100

design review Odile Decq recognized this intervention as something that they had never seen or thought of for a trash collection room. It was a new solution to a passively accepted problem. Peter Bahlman remarked I had “become more French than the French.”

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Accessibility A slight alteration to the angle of the trash containers allowed ample space for both wheelchairs and trash cans to navigate in and out of the room with ease. RESIDENT ACCESS

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Solution Split the room to accommodate both needs of access, keeping residents at their ground floor level of +60cm, and the trash containers stay at street level. With a depressed trash container the resident’s only are required to lift objects 50cm off the floor to clear the lip to dispose of their waste.

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LOCAL GARBAGE DEPOSIT

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An established central courtyard floor plan and clustered arrangement of houses became a starting point for designing the final exterior form. 0,7

LOCAL ORDURES MÉNAGÈRES

The design for the individual houses focuses inwards to place a private courtyard in each home because shared walls between neighboring houses severely limit the ability to have exterior windows. 2,1

SAS

Personal Courtyards

Problem The central trash collection room required two points of entry with different floor heights. Trash collectors required access at the street level (0cm) and the residents accessed the space slightly higher (+60cm). Typically, this is solved by a set of steps to descend to street level before accessing the trash bins.

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Collective Housing +1 Level

I really like how you add this to every project...and I think firms will focus in on this text over the other text describing the project...because they want to know what YOU can do. Could this be in the same spot on the page in every project. Just an easy way to find this info as fast as possible.

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This project allowed me to gain experience in the complete design competition process. I worked in a tight group setting that with the design lead of Odile Decq and two other designers. The environment was structured so each of us could submit new ideas and solutions to any problem on the project.

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How come some text is aligned and other text is not? (Typical throughout)

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I was personally involved in the entire process beginning with concept development through to the delivery of competition boards to the client. While I had a hand in every part of the project, I was responsible for developing the floor plans of the collective apartments and the final resolution of the form for the individual houses.

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Contribution

The French language working environment allowed me to improve my communications skills and my ability to accurately interpret other’s design intentions and to represent my own work using a variety of methods that did not hinge on having a shared language to communicate.

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A housing competition for Lille, France, the project includes five social housing blocks, seventeen single family houses, underground parking and a shared green space in the center.

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View of Collective Apartments along the street

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City of light Urban centre Development Central Warsaw, Poland

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i like the black box background better on this page. Just seems to work better here... Spring 2010 Proposal for mayor of warsaw AREA 931,000 m2 (10,021,200 ft 2) STUDIO CRITIC Wojciech Lesnikowski Design Team Tyler Selby, Bob Defries, Michele Aldrich

Working at the urban scale of a soviet created mega block, design followed a typological and formal investigation for development of a new, hyper-use “city center” for the heart of central Warsaw. Large scale concepts are inspired by the historical idea of Grande Visions that utilize larger than life ideas such as Baron Haussmann and Napoleon III’s will to transform the streets of Paris into a series of grand boulevards. A single, unified vision informed the design programmatically and formally to create specific areas within the site that would be intensified with defined functions and density to create a highly active center. Each building’s unique identity communicates both semiotically and symbolically creating multi-directional dialogs between buildings on the site and the people of Warsaw. Warsaw City Centre / Tyler selby


Site and Individual Building Development

COOL! C A A

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1 Existing Site

2 Site Use Parameters

A Warsaw Centralna Rail Station; currently in a state of disrepair, in need of

A Continuous pedestrian passage with grand boulevard that extends

replacement B Palace of Culture; Built 1955, originally known as the Joseph Stalin Palace of Culture and Science

I really like what you have done here. It makes it easier to understand.

into city. B Vertical element to screen the pedestrian view from full exposure of the soviet tower.

C Previously Soviet parade grounds, currently used as car park

C Iconic statements provide beacon to city.

D Museum of Modern Art, currently under construction

D Corner “gateway”

E Public Park

E Low profile form to give symmetry and space for interior plaza space.

F Context, mix of high rise and old scale

F Residential tower in the park

3 Typological Interpretation

TRAIN STATION Connecting end Destinations.

RETAIL GALLERY

Moving to encounter Resistance.

4 Site Parameters become A Continious path for movement.

Interface for conecting grande with pedestrian scale

HOTEL

beautiful

Train Station + Retail Shopping Gallery

Representing rail and retail as single experience, bringing city to the edge of the train platform.

HYBRID CONTINUOUS LIFE LINE

building as medium for communication

ICON SUBLIME LIGHTHOUSE

Becoming guest, becoming more.

Gateway to the city

OFFICE TOWER

Screening element to shade city from full exposure of soviet tower

Solid porosity to open up ground level for pedestrian experience

Creating enclosure for the open plaza within the site

contrasting the retail gallery to rpovide all inclusive retail experience

Assemblage of Individual Pieces

DEPARTMENT STORE

(facade) Forming (amorphous) Mass

Fashion MUSEUM

Iconic node for concentration of connections

RESIDENTIAL TOWER

Becoming Singular

(indiv. residents buy into single identity of object as condo tower, single object as condo tower becomes individually identifiable with each)

PUBLIC PARK

5 Resulting in proposed Design Typlogies

A Train Gallery

B HOTEL

SCREEN / BACKGROUND

C OFFICE TOWER

AUTONOMASSING CONTAINER

D DEPARTMENT STORE

to create a space for the exhibition of fashion and design

provide a transparently crystyline tower for living in the city

incorporate without loss of existing quality

turning museum as gem into museum as inter-connector to surrounding buildings of related functions

CONNECTOR DUAL USE CORRIDOR HYBRID

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HYBRID UNNATURAL GROWTH

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Fashion MUSEUM

Tower in the park tower is the park park gains inclosed spaces under green landscape for expanded capibilities for warsaw’s long winters

Residential Towers + Public Park

Park Towers

Warsaw City Centre / Tyler selby


Economies of Difference rooftop wind turbine

. Tower Disappears

Rigid Environments

3.3m

5m

5m

Four identical towers equal saving time and money but it comes at the expense of visual character. Maximizing the economy of difference meant breaking down the tower to the last divisible unit, the office space module. Using the repetition of the office module, difference would be achieved throughout the towers.

mass Towers High-rise Office Space The generic quality allows the office towers to function as row of towers that together act as a screen to blend in with the urban context while also obscuring view of the soviet tower and becoming a backdrop for the other hotel and residential towers on the site. Individual office spaces remain personally identifiable from a distance while remaining anonymously part of the total composition for everyone else.

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Single Office Module

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The Facade

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Three different panels are used to reflect the interior form and combine to form different qualities of reflection and transparency. A clear glass panel is used starting at the base of the tower.

Floor Plate grid

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Dynamic Environments

. Interior assemblage of modules

open lobby increased daylight

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The mirrored finish reflects the sky to disappear into the clouds.

Tower Dissolves

central core

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Tower Dissolves

sky offices

Dynamic Environments

Tower Disappears

sky lounge

Rigid Environments

Floor Plate Configurations

The tower’s form dissolved to create an open ground plane for pedestrian movement.

Office Space Companies can expand organically based on need and availability of adjacent modules both vertically and horizontally. An office that primarily provides work for other offices within the tower could imagine a vertical thread of adjacent modules that act as a vein through the tower.

This is my least favorite render of the anonymass towers. It just feels unfinishedExterior compared to the other ones. If the intent is to say it creates Facade of panels an open ground plan for pedestrian movement then I would overexaggerate that more. Darken the people, put people riding bikes, add vegetation, etc. ?? Warsaw City Centre / Tyler selby


park towers High-rise residential condos

corner inn Hotel

TOWER

The interior atrium opens to put the city on display for hotel guests and displays activities taking place inside the hotel.

Urban Gateway Opening up the corner at the pedestrian level resulted in a hotel that is formed by a tower of two legs; one contains the hotel and the other one provides support. As an urban gateway and iconic marker, the hotel has several functions beyond providing a place to call home for the night. The hotel forms a node that connects both the city of Warsaw and visitors to the city.

Sharing the Green

PARK Tower is the Park

Working from the typology of residential tower and a large urban park, the design became a question of how the two typologies could accentuate the other instead of competing for land and visibility. A two way gradient was created that uses difference and repetition to integrate the park and tower into a single form that goes beyond merely placing a tower within a beautiful park.

How does this print? Can you read these words easily??

to Central Train Station and Retail Shopping Gallery

LED video surface covers the interior curve of the hotel’s facade

REAL ESTATE PRICES INCREASE + zł bands of stainless steel reflects the led video surface

CONDO

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APART

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Support leg that allows linear movement

DEVE LOPER FUND + zł

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1 Surface transformation

LIC PA

2 Distribution of Program

3 mutually added Value

1 The tower allows the park to have a strong vertical orienting device to attract people from all over the city extending the visual cues of the park beyond the directly adjacent buildings and streets.

to Department Store

to underground metro and parking

to Public Transportation street trams, busses, taxi

to City

2 As a result of overlapping the park’s surface with the high rise tower the design takes advantage of the mixed uses on the site to create opportunities for the two different typologies to add value to both of the site’s functions. 3 Lastly, the park benefits from the residential towers because each resident is directly invested in keeping their backyard enjoyable, safe and well relieving a burden that the city currently is completely responsible for.

Interior Atrium

remove? Let the render speak for itself? On that note...I would just try to keep text to a minimum where applicable. That way when you are interviewing you can say things about your project that might not be already typed out.

Platforms fill the hotel’s atrium space with an arrangement of floor plates that could be developed into the different types of spaces for gathering and social occasions within a hotel. The vertical event stack occurs every four floors. Each four floor section forms a colony with a single center gathering space with four floors of hotel rooms surrounding and overlooking the space.

The towers integrate with the park’s landscape, delivering vegetation to the resident’s balconies. Warsaw City Centre / Tyler selby


The project site, located between the Manhattan and Brooklyn bridges in Dumbo, would provide the setting to tell the story of development for the design of the Film Center as well as the adjacent park.

4

xyz + t Independent Film Center Dumbo, Brooklyn, New York

Spring 2009 Building Reuse AREA 5618 m2 (60,476 ft 2) STUDIO CRITICS Robert Riccardi, Dominique Davison

this feels like typical photoshop...and kind of "stuck on". Could it be grounded a little more? (maybe show more of the land)? Theater 1 On Screen Audience Cut out from the brick facade, a large window is positioned at the same location of the theater’s screen which exists behind the facade. Inside, visitors waiting for the feature film can watch the live action taking place in the street. People in the street take part in a live cinema that preludes the actual film. During the film the connection is severed, the screen, black out curtains and speakers slide in place to enclose the theater.

The study of film led to an investigation into the nature of time as an ordering system and foundation for creating an experience through a series of events. During initial conceptual research clarity was found through an analysis of the film Slumdog Millionaire (2009, Oscar Winner) Studying the film in relation to time, the three characters weave through a non linear series of events as the movie jumps between charactors and different events in each of their lives. This study allowed insight into my own studies of perception, time and space to find clarity to formulate an internal understanding of the different natures of time and events that exist both within and completely outside of time. Contrasting time as a linear series of events is the Moment, in which time stood still, creating a situation where the past, present and future were all collapsed into a single point. Behind the single point lies the experience, using a physical object giving life to a moment. For example the cinematic story requires the simple medium of film to be projected. These objects are often not representative of the incredible experience performed. Experience in the Film Center would be achieved by creating an infrastructure where opportunities for making, viewing and learning about film would occur.

INDEPENDENT FILM CENTER / Tyler selby


to Artists’ Living

rs a

Open Lobby

Lo bb y

Ticket Sales and Video Rental delivered by Vending Machines

nd

Up to Fl 2

W RR

Do

wn to Th e

ate

M RR

and Display Space

Mech Space Theater 2 160 Seats

Thea

ters

Up to Artists’ Living Concessions

Production Shop

Production and Soundstage

Agency Offices

Theater Lobby

Up to Fl 4

Up to

Shipping/ Receiving

Theater 1 389 Seats

Theater 1 389 Seats

Freight Elevator

Existing Warehouse

Existing Warehouse

Unused Bay

Existing Warehouse

Unused Bay

LEVEL 1 10’

Artist’s Private Exhibition/ Theater Space

25’

Unused Bay

LEVEL 2

How does this page print? Just missing the POP that all other pages seem to have. Maybe change color palate to something more bold?

50’

10’

25’

LEVEL 3

50’

10’

25’

50’

Artist’s Kitchen and Group Living Area

W RR M RR

tal Me ge en rid Op te B Gra

In House Artist’s Apartments

Film Library and Resource Center

Open Deck

Film Collection

Open Deck where roof has been removed

Theater 1 389 Seats

Computer Lab

Classroom

Meeting Room Staff Rooms Mail Room Offices

Director and Admin

Existing Warehouse Unused Bay

Existing Warehouse

Break Room

LEVEL 4 10’

Prepared Assembly

Existing Warehouse

Unused Bay

25’

50’

Unused Bay

Dont let text get too long horizontally. Maybe line it up with the plan above...

LEVEL 5 10’

25’

ROOF

50’

10’

Operating within the existing timber structure and masonry walls, floor levels are pushed and pulled vertically at points located in the structural matrix creating ramps that provide circulation and interaction between the floor levels. Floor levels connect vertically throughout different areas of the building; connecting spaces with similar or connected uses to provide building occupants convenience when these spaces are used in conjunction with or in a series of tasks.

Apt. 1 Conference Room

Apt. 3

Apt. 4

Apt. 5

50’

Apt. 6

Apt. 7

Classroom

Theater 2 (500 Seats)

Spaces in Motion Distinct experiences are possible from a mixture of circulation options that transgress through interdepartmental spaces. Each purposeful visit to the Film Center provides opportunity for the interaction with other functions of the building.

Apt. 2

25’

Existing Warehouse (Unused)

Film Center Plaza

Production Space

Production Workshop

Theater Lobby

Scale 1”=8’

Existing matrix of Timber structure

SECTION 1 10’

25’

50’

INDEPENDENT FILM CENTER / Tyler selby


View through the film center’s plaza

view from east river of park and film center

Day, Southern facade Film center Plaza

iron ball joint

connections to building to support rail and facade

Night, screen for outdoor theater Film center Park

overhead support supports facade also provides a track for movement

electromagnet to provide levitation for facade movement also uses attractive properties to lock pivot in place

1 Sloped Facade redirects the sun and warmth to the public plaza below.

main horizontal steel box beam

screen clamp

screen facade

wraps around structure so no frame is visible

2 Passive Chimney effect creates buffer of fresh air circulating air between facade and glazing

screen fastener

placed over the surface to keep the screen in place

Facade in undeployed, folded position in plaza 3 Sloped Angle of the facade provides protection from the sun during summer months. Layered relationship facilitates passive heating in the winter and passive cooling in the summer.

Passive Facade Section Diagram

West Elevation of Folded Facade

Facade Deployed into Park Sliding out, the curtain facade reveals itself: a screen for viewing film in the park. The panels, created as independent pieces, link at hinged spines to create a series of panels. Exceeding in flexibility, single points of contact glide along an overhead rail. The surface, a perforated screen interwoven with elastic material to ensure a taut surface in any folded position. Beyond the surface, the gap between exterior screens inter-connect with the surrounding environment. Steel members within the screen provide an infrastructure to hold the bolt-in-place speaker systems, PV panels and LED Video panels.

4x Screen Connection Detail

Facade in deployed position, unfolded in the park’s bay

transparent pv panel and/or led system inside structure vertical metal structure cross bracing steel structure secondary cross bracing steel ties

Guided through a single rail, the panels are divided into a train of structural element enabling mobility of screen facade to deploy into the park for films. top connection detail

Scale 1”=8’

INDEPENDENT FILM CENTER / Tyler selby


5

Buoyant Perceptions Maritime Museum Northerly Island, Chicago, Illinois

Fall 2008 MCA Steel Competition AREA 6223 m2 (66,990 ft 2) STUDIO CRITIC Richard Farnan

The Maritime Museum uses thresholds derived from maritime and museum culture. The thresholds allow for perceived breaks in space which encourage looking anew to create a total maritime museum experience that connects the maritime culture with each visitor’s culture.

air

above

Vertical Threshold of museum

exhibition space “inside”

water

Entry Lobby “outside”

below

Program as threshold

3 exhibition air space

Burnham Park Harbor

The threshold creates a crossing over into a space conceived as different but is placed within the bay to connect with maritime culture.

Entry Lobby

“inside” water

4

Maritime culture resides adjacently between land and water; water and air. In between, exists the vessel, which relies on laws of buoyancy to remain carefully balanced within both air and water.

2

Northerly IslanD

The exhibition space disconnects from reality to create an experience that’s focused on deriving knowledge from artifacts of the past. A threshold adjusts focus and perception as one enters the exhibition space. Visitors adjust to the museum’s space in an attempt to connect to a culture that may be foreign to that of the visitor. Although the exhibition spaces’s threshold creates a false disconnect when in reality it is a part of the water’s surface within the harbor of sailboats.

above

“outside” below Support Spaces

Horizontal Threshold of maritime

museum‘s entrance

Beautiful! I feel like this is your money shot! Not the upper one. Why not this the big one?? The section of the building is what this one is all about....right??

1

A dialog between land, water and air formally becomes four main open spaces, two enclosed and two outside. restaurant

offices

classes

exhibition space “inside”

research

delivery docks

Entry Lobby “outside”

maritime museum / Tyler selby


TO W 3

ER

EXHIBITION GALLERY exterior skin

structure

2

LOBBY

OPEN DECK

4

1

formal elements

Bouyancy On Display

1 2 3 4

Two openings in the elevated deck allow for a boat to be installed in the lobby and a larger boat to be installed above the exhibition space. The remaining exhibition space is column free and open to be developed by the museum’s curator.

Support spaces within the tower

THRESHOLD SPACES Entry Lobby, Event Space deck Exhibition Space

Tower spaces

TO W

ER

LOBBY

EXHIBITION GALLERY

5 Restaurant 6 Auditorium 7 Classroom 8 Coat Check TO 9 Front Desk W ER 10 OFFICES 11 Restoration Lab OPEN DECK 12 Research Library Library vertically links classrooms and restoration lab

LOBBY

EXHIBITION GALLERY

TO W TO W

ER

LOBBY

ER

EXHIBITION GALLERY

LOBBY

OPEN DECK

5

EXHIBITION GALLERY

TO W TO W

LOBBY

ER

3 EXHIBITION GALLERY

LOBBY

OPEN DECK

6

ER

7

EXHIBITION GALLERY

8 TO W

9

ER

LOBBY

4

XHIBITION GALLERY

11

2

1

open deck, overlooked by tower of classrooms, restaurant and offices

Interior of lobby reveals the second facade OF SUPPORT TOWER

above; isometric section Threshold + Tower Spaces

maritime museum / Tyler selby


Make viewers understand this is your building on the site quickly. Can you make it more distinct??

6

Rocking the Grid CBGB Music Center

Lafyette and Housten, Manhattan, New York Fall 2007 Urban Opportunity AREA 1142 m2 (12,300 ft 2) STUDIO CRITICS Peter Pran, Rene Diaz

The design process began with the question of how interaction between the public and privately owned spaces could overcome the typical disconnect and create a shared space between people within the SoHo area as well as those inhabiting the Music Center. Given such a highly visible location, the design for the CBGB Music Center utilized the power of projection to connect with the people of Manhattan. The building’s facade recedes from the limits of the site to dissolve the threshold as a clear line to create a shared space between the Music Center’s interior and the streets surrounding it. The experience of a building begins long before actually entering inside the building’s envelope.

^

^

Typical Facade Exterior envelope wraps disconnected interior spaces.

This kind of hurts my eyes to read. Maybe tone down the background so text pops more.

Expanded Facade Lobby provides shared space to connect public street with private spaces inside.

Distributed Facade Lobby space is distributed into ajoining spaces to directly connect street and inner building spaces. Both street and interior form a single, shared space that does not require a third intermediary space.

Music Center / Tyler selby


The Marquee complete building

central tower

1 Creates enclosure for ground level.

2 Provides practice spaces and artist lounge.

3 Active communication to engage public.

Updated ad for Maxell, original c.1979

WORK

PARTITIONED OFFICE SPACE

LEVEL 6

WORK

OPEN OFFICE SPACE

LEVEL 5

BAR + RESTAURANT

LEVEL 4

DINE

SECTION Elevation

I love the look of the streets...but it gets really fake right here...maybe just push the color and and people right off of the page...instead of this wierd little rectangle sticking up.

PRACTICE

ARTIST’S TERRACE

PERFORM

AUDITORIUM 500 SEATS

CONNECT

SECTION

PRACTICE ROOM

AUDITORIUM LOBBY

LEVEL 2

PROGRAM DISTRIBUTION MERCHANDISE SHOP

ARTIST GALLERY

LEVEL 3

RR

LEVEL 1

PROGRAM DISTRIBUTION

26

8

8

25

15

26 16 26

15

5

14

5

5

(Shaded Area)

15 13 LEVEL 3 LEARN

LEVEL 6 WORK

25

8

10

12

5 11

24

7

5

21

22 23

LEVEL 2 WATCH

LEVEL 5 WORK

8

9

20

8

19

4 3 9

The distribution of sound occurs along a smooth gradient across space. The music center extends the experience beyond the building footprint to encourage a shared experience with an extended audience of spectators.

5 5

17

7 6

6

LEVEL 1 ENTER

1

18

2

LEVEL 4 EAT

1 LOBBY 2 CAFE 3 GALLERY 4 BOOKSTORE 5 STORAGE 6 ELEVATORS 7 ESCALATORS 8 RESTROOMS 9 EVENT RESTROOMS 10 AUDITORIUM LOBBY 11 AUDITORIUM 12 BACKSTAGE 13 RAMP TO STUDIO 14 RECORDING STUDIO 15 CLASSROOMS 16 TERRACE 17 RESTAURANT LOBBY 18 BAR AREA 19 DINING AREA 20 KITCHEN 21 OFFICE LOBBY 22 RECEPTIONIST’S DESK 23 WAITING AREA 24 WORKSPACE 25 CONFERENCE ROOM 26 EXECUTIVE OFFICE FIRESTAIRS OPEN TO BELOW GREEN SPACE


7

home cliff home Dali Residence Cadaques, Spain

Fall 2007 Home for a star competition AREA 464 m2 (5000 ft 2) STUDIO CRITIC Peter Pran On approach, the house is very simple and unimposing.

After committing to the design concept of a house melting into the sea the form was achieved through multiple physical models. Ultimately, the form was decided by the nature of melting clay after subjecting a bar of the material perched upon a found piece of concrete to an oven for fifteen minutes which resulted in the desired form. Artficially created, a gesture of intuitve existence, the final design is quantitatively sublime.

Melting Clay

master Bedroom

The house’s three floors transition from public spaces at the top where the entrance is and becomes private as the floors reach toward the sea. A mutated box frame gives stability to the cantilevered structure. The glass facade screens out the sun by using glazing that appears opaque to the light waves.

Reminds me of LOST! (Im on season 6 now!)

Hearth and EAting area

Dali believed we should use “the spontaneous method of irrational knowledge based on the critical and systematic objectifications of delirious associations and interpretations...” He proposed a tourism of sanity into the realm of paranoia; a state of delirium that eventually lead to Surrealism. Spending most of his youth in Cadaques, Spain, Dali always remained close to the sea and a Spanish cliff side was chosen for the site which had similar qualities to the cliffs Dali included in his paintings.

remove??

1. Top LEVEL

-1. Middle LEVEL

-2. Bottom LEVEL

Section

DALI HOME / Tyler selby


Jodie's edits  

Tyler it looks awesome!!

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