Portfolio f16 Cornell edition

f16 PORTFOLIO

p_02

[]

DENVER CINEMA CENTER opposing theaters demonstrate possible social developments

p_08

OSCILLATION’S NEST performance the flour sifter is reinterpreted as device emulates similar praxis

p_10

ALLEY INSTALLATION alley way is realized through the utilization of the moiré effect

p_12

LUBBOCK BATH HOUSE bath and pool allegorically demonstrate the contrasting social autonomies

p_14

TYPOLOGY_BANK banking typology is challenged as the project becomes the derivative of the social situation

...a collection of architecturally inspired pieces as of 2016.

[Lawson Spencer]//fall_16 edition: landscape(20)

Denver Cinema denverCinema.center //dFFCenter location: course: professor: program: footprint:

Denver, CO ARCH 3501 Kuhn Park Cinema Center 40,000 sq. ft.

/OBSERVATION: The Denver Cinema Center will be home to one of the four venues at the annual Denver Film Festival. The site is situated in the lower downtown district (LoDo) of Denver. Since the installment of the 16th street mall in 1982, the LoDo region has been on an economic and social incline.

However, recent decisions by the political sector were accompanied with an increase in poverty, homeless population and inward migration. This project does not suggest that the political decisions are the cause of decrease in social structure, but recognizes that these trends in events could lead to a smilar social and economic situation before LoDo was revitalized. /LOCATION: The site is two blocks southwest of Coors Field. The stadium is home to the Colorado Rockies. The viewer/spectator environment inherent to the Colorado Rockies has made this part of the LoDo area, a popular place for bars, restaurants, and small clubs. The site is seen as a gateway in and out for this particular demographic. It was apparent that resulting piece held an enormous attraction for those heading to the bars and restaurants, while still attraction for those heading to the bars and restaurants, while still advertising cinema to those leaving the Rockies’ game or wishing an alternative means of viewing.

[ROBSHON ART GALLERY]

[UNION STATION]

02

“I observed a very lively culture as the presumed ‘homeless’ made easy conversation with those living in Denver. Rarely was there any observation of people asking for money. The vast majority of the culture seemed to be in very [SITE//1801 MARKET ST.] good physical shape, while a small minority made their presence clear through a distaste observed through three of the five mediums of perception.”

project_01

[NORTH HIGH SCHOOL]

Bus Stops Bike Racks People Circulation Car Circulation Film Festival Venues Cultural Centers

[COORS FIELD]

[REDLINE]

[UNION STATION]

[ROBSHON ART GALLERY]

[SITE//1801 MARKET ST.]

[DOWNTOWN AQUARIUM] [MUSEUM OF CONTEMPORARY ART]

[ELITCH GARDENS]

[PEPSI CENTER]

[16TH STREET MALL]

[UNIVERSITY OF COLORADO DENVER]

[THE JONES] [THE GARNER GALLERIA THEATRE] [BOETTCHER CONCERT HALL] [SPORTS AUTHORITY STADIUM]

[BUELL THEATER]

[UA PAVILIONS]

[THE COLORADO CONVENTION CENTER]

[UNION STATION]

denverCinema.center //dff

[THE DENVER FIRE FIGHTERS MUSEUM] [LINDSEY FLANIGAN COURTHOUSE]

03 [COLORADO STATE CAPITOL]

1.5

[SIE FILM CENTER]

1.6

[EAST HIGH SCHOOL]

/PROGRAM: Due to the fact that there is a higher density of population observed leaving the games as compared to going to the games, it was appropriate to place the large theater at the northeast end of the site. The southwest end became the recipient of the small theater. Because of the same observation, the larger theater became the outdoor theater and the smaller theater would be used for indoor seating. /THEATER + THEATRE + CINEMA: In addition to being an attraction for the demographic at present, it was imperative the theater be a symbol or a warning to the LoDo region of their potential return to their past before the implementation of the 16th street mall.

The two theaters are made to face one another. This allows for entrance off of opposite ends of the block, while providing a unique opportunity to compare the programs of theatre and cinema. By facing the two theaters towards one another, the outdoor theater becomes the stage for the indoor theater; simultaneously, the indoor theater is the stage for the outdoor theater. This type of interaction is realized at the conclusion of the cinema presentation when the curtain/screen rises and each theater looks out to the other. Large columns are used to suspend the outdoor theater screen, which can be stored into the ground beneath following a movie. A tension cable system for the glazing was implemented so that the indoor theater could look out to the outdoor theater with little obstruction to the viewers’ perception. With the two theaters facing one another, their respective stages become animated with the activity of those attending the cinema center. /ETHICS: The indoor theater becomes a beacon of the ‘ideal’ through its purity in form and abstraction of structural elements.

The indoor theater is a ‘box of light’ in contrast to the unorganized and irregular geometries of the outdoor theater. With the outdoor theater as a convenient, primary entrance into the complex, while the indoor theater is patrolled through a ticketing system. It is expected that each theatre will attract different social classes. The economically stable social class attending the indoor theater have the opportunity to observe and potentially scoff at the activities of the less fortunate social class that is restrained to the outdoor theater. Simultaneously, the viewers within the outdoor theater will look at the indoor theater with either resentment or inspiration. The imposed social activities are a warning to the LoDo population and those affected.

04

project_01

[volume] [volume] recipe_02 recipe_02 (volume of intermediary space) (volume ofisspace) intermediary volume inserted toinserted to volume is ....called ....called site seperatesite theaters seperate theaters

[volume] [volume] (volume recipe_02 (volume of recipe_02 space) of space) intermediary volume is intermediary volumesite is inserted toinserted to ....called ....called site seperate theaters seperate theaters

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entranceentrance entranceentrance

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for theis theaters is understood for seating forseating the theaters understood for anamorphicanamorphic screen screen

exit

exit

recipe_03 recipe_03 theaters resized tothe illustrate the theaters are resizedare to illustrate significant traffic significant recipe_05 pedestrianpedestrian traffic recipe_05 parking is inserted parking is inserted into the siteinto the site

entranceentrance entrance entrance

exit

recipe_02 recipe_02 intermediary volume to is inserted to intermediary volume is inserted seperate theaters seperate theaters recipe_04 recipe_04 seating for recipe_06 the theaters is theaters understood for recipe_06 seating for the is understood for anamorphic screen all lots in the LoDo aredistrict superimposed ....then ....then all lots indistrict thescreen LoDo are superimposed anamorphic scaled to fitscaled outdoor theater to fit outdoor theater

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exit

recipe_05 recipe_05 parking is inserted parking is inserted recipe_07 recipe_07 into the siteinto the site superimpostion a design to form seeting superimpostion becomes abecomes design tool to formtool seeting and outdoor theater and stepping instepping outdoor in theater

entrance entrance

exit

exit

recipe_04 recipe_04 for the is understood for seating for seating the theaters is theaters understood for screen anamorphicanamorphic screen recipe_06 recipe_06 all lots in the are district superimposed ....then recipe_08 recipe_08 allLoDo lots indistrict the LoDo are superimposed ....then scaled to fitscaled outdoor theater geometeries generated for outdoor theater give definition to fit outdoor theater geometeries generated for outdoor theater give definition to intermediary volume volume to intermediary

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recipe_06 recipe_06 allLoDo lots indistrict the LoDo are superimposed ....then all lots in the are district superimposed ....then scaled to fit outdoor theater scaled to fit outdoor theater recipe_08 recipe_08 geometeries generated for outdoorfor theater givetheater definition geometeries generated outdoor give definition to intermediary volume volume to intermediary

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The intermediary space is informed by the resulting geometries of the shard seating. The resulting geometries act in dialogue between the indoor and outdoor theater. They are composed of rectilinear forms oriented off the center axis, which are realized recipe_06 recipe_06 withrecipe_07 a recipe_07 storefront glazing system superimpostion a design to form seeting all LoDo lots indistrict the LoDo are superimposed superimpostion becomes abecomes design tool to formtool seeting all lots in the aredistrict superimposed ....then ....then recipe_09 recipe_08 recipe_09 (adjacent).

The resulting spaces andinstepping outdoor theater scaled to fit outdoor theater and stepping outdoor in theater scaled to fitrecipe_08 outdoor theater geometeries outdoor theater give definition of intermediary volume dictates for pathways for geometeries generated generated for outdoorfor theater give definition definition ofdefinition intermediary volume dictates pathways are used for vertical to intermediary and concessions, horizontal circulation to intermediary volume volume vertical andvertical horizontal circulation circulation, and ticketing.

denverCinema.center //dff recipe_08 recipe_08 geometeries outdoor theater give definition geometeries generated generated for outdoorfor theater give definition to intermediary to intermediary volume volume

05 recipe_09 recipe_09 of intermediary volume dictates for pathways for definition ofdefinition intermediary volume dictates pathways and circulation horizontal circulation vertical andvertical horizontal

STEEL BEAM: I-beam [W18x50]

SUSPENDED CURTAIN WALL: Frosted Glazing [d=2.25”] Spider Bracket [3’x8’] Tension Cable System [refer detail 1]

STEEL TRUSS: Warren Truss 11 Panel [d=8’]

STEEL BEAM: I-beam [W12x26]

SUSPENDED CURTAIN WALL: Clear Glazing [d=2.5”] Spider Bracket [5’x2.5’] Tension Cable System [refer detail 1] Motorized Solar Control Shades

OUTDOOR ANAMORPHIC SCREEN: draper down screen is raised/lowered by hydraulic suspension system

STEEL Column: HSS [5”x2.5”] STEEL Column: HSS [5”x5”]

FROSTED GLAZING: Fireproofed [d=2.25”]

14 1

FLOOR: Two-Way Flat Slab Post-tensioned Concrete [d=12”]

CONCRETE BEAM: Precast-Single Tee Post-tensioned [8’x18”] 20 1

06

project_01

a

b

Building Height 25’-0”

FLOOR: Grass [d=2] Earth [d=6”] Sand [d=2”] Membrane Steel Deck [2”x”] Two-Way Flat Plate Post-tensioned Concrete [d=12”]

Ground Level 0’-0”

c Balcony -12’-0” Parking Deck 1 -16’-0”

14 1

-23’-0” CONCRETE WAFFLE SLAB: Post-tensioned [12”x20”domes]

Parking Deck 2 -29’-0”

20 1

-34’-0”

Parking Deck 3 -45’-0”

denverCinema.center //dff

07

oscillation's nest device //oscillation's nest study: course: professor: program: size:

Diagnostic Mapping ARCH 2502 Mari Michael Glassell Flour Sifter + Matter 049.72803"

Oscillation’s Nest is a device that is the derivative of the systematized patterning of liquid interaction at different viscosities. The three liquids (ink, soap, and wax) can be divided into two assemblies: constant and variable. The oscillation itself is divided into four territories with the final territory being the terminus.

The final territory was excluded from the mapping studies of the other three territories, because final territory was perpendicular to the poor rather than parallel. The three prior territories were studied in parallel position to the direction of the pour.

a

4 3⁄16”

sifting screen steel agitator

HANDLE

1 9⁄16”

1⁄8”1⁄4”

1 3⁄16”

screen clamp crank lever crank handle

1 9⁄16”

1 1⁄8”

1⁄16” 1⁄4” 1⁄4” 1⁄4” 1⁄4” 1⁄16”

top rim holding bin handle

1 9⁄16”

1 3⁄16”

1⁄4”1⁄8”

4 5⁄16”

3⁄8”

1⁄4”

amount markets

5⁄16”

13⁄16”

1⁄8”

1⁄2”

5⁄16” 1⁄16” 5⁄16”

R 7⁄16”

7⁄16”

1⁄16”

5⁄16”

5⁄8”

crank lever crank handle

15⁄16”

crank handle rotation

R 1⁄2”

1⁄8” 3⁄16”

5 3⁄4”

R 3⁄16”

3 1⁄16”

1 7⁄16”

screen clamp

sifting screen steel agitator crank lever crank handle

aperature location were objects may pass through the device

R 1⁄8”

R 1⁄8”

6”

1”

1⁄16”

5” 3 1⁄2” 2 1⁄2”

R 7⁄16”

crank handle rotation

13⁄16”

aperature location were objects may pass through the device

7⁄16”

Following the mapping study, the trajectory of each splatter was illustrated through a system of linear elements to demonstrate the point of impact for in each territory. The liquids were networked through planar pieces while the variable liquids are networked through the employment of linear elements.

The two forms from the networking interact with each other in such a way, so as to form opposing masses within their own territory. As the study progressed, planes enclosed the void of the device which was bounded by the opposing masses. Within the interior of the device the vertices of each mass form a new system of networking through the use of piano wire. As the liquid(s) passes through the first territory, it will force the first territory to rotate in one direction thus triggering the following two territories swing in the same direction. The resulting back and forth motion demonstrates the oscillating pattern of liquid splattering seen in the diagnostic.

13⁄16”

1⁄2”

1⁄4” 1⁄16”

5⁄16”

aperature location were objects may pass through the device

bottom rim

handle

1 9⁄16”

5⁄8”

1⁄2”

R 3⁄8”

3⁄8” 1⁄8”

1⁄8” 1⁄4” 3⁄16”

15⁄16”

crank lever crank handle

R 5⁄16”

1⁄16” 1⁄2”

1 1⁄8”

top rim

2 1⁄16”

3 3⁄16”

top rim holding bin amount markers

4 1⁄16”

1⁄16”

bottom rim

5⁄16”

bottom rim handle

1⁄16”

5 3⁄4”

1 7⁄16”

4 1⁄16” 5 13⁄16”

elevation_01: front

4 3⁄16”

HANDLE

1 9⁄16”

sifting screen steel agitator

1 9⁄16”

1⁄8”1⁄4”

screen clamp crank lever crank handle

1 3⁄16”

1 1⁄8”

1⁄16” 1⁄4” 1⁄4” 1⁄4” 1⁄4” 1⁄16”

top rim holding bin handle

1 9⁄16”

1 3⁄16”

1⁄4”1⁄8”

1 1⁄8”

3⁄8”

1⁄2”

1⁄8” 3⁄16”

3 3⁄16”

3 1⁄16”

1 7⁄16”

crank handle rotation

aperature location were objects may pass through the device

R 1⁄8”

R 1⁄8”

3⁄8” 1⁄8”

crank lever crank handle

15⁄16”

6”

1”

1⁄16”

13⁄16” R 7⁄16”

aperature location were objects may pass through the device

crank lever crank handle

R 5⁄16” 7⁄16”

1⁄8” 1⁄4” 3⁄16”

5⁄8”

15⁄16”

1⁄2”

R 3⁄8” 13⁄16”

crank handle rotation

b

R 1⁄2”

5” 3 1⁄2” 2 1⁄2”

1⁄2”

1⁄4” 1⁄16”

5⁄16”

aperature location were objects may pass through the device

bottom rim

5⁄16”

5⁄8”

screen clamp sifting screen steel agitator crank lever crank handle

1⁄16”

1⁄2”

5⁄16” 1⁄16” 5⁄16”

R 7⁄16”

7⁄16”

1⁄16”

R 3⁄16”

1⁄4”

amount markets

5⁄16” 13⁄16”

1⁄8”

5 3⁄4”

top rim holding bin amount markers

4 5⁄16”

top rim

2 1⁄16”

bottom rim

handle

1 9⁄16”

4 1⁄16”

1⁄16”

bottom rim handle

1⁄16”

5 3⁄4”

5⁄16”

1 7⁄16”

4 1⁄16” 5 13⁄16”

elevation_02: side

c 4 3⁄16” HANDLE

The final construct is the resultant of a phantom mapping process. Phantom mapping is a particular type of process that systematically transitions from a formal map to a diagram. Here, Oscillation’s Nest is that diagram.

1 9⁄16”

sifting screen steel agitator

1 9⁄16” 1⁄8”1⁄4”

screen clamp crank lever crank handle

1 3⁄16”

1 1⁄8” 1⁄16” 1⁄4” 1⁄4” 1⁄4” 1⁄4” 1⁄16”

top rim holding bin handle

1 9⁄16” 1 3⁄16”

1⁄4”1⁄8”

1 1⁄8”

3⁄8”

1⁄2”

d

3 1⁄16”

1 7⁄16”

crank handle rotation

aperature location were objects may pass through the device

R 1⁄8”

R 1⁄8”

13⁄16” R 7⁄16”

crank lever crank handle

7⁄16”

08

e

project_02.1

1⁄4” 1⁄16”

bottom rim

handle

1⁄8” 1⁄4” 3⁄16”

15⁄16”

1⁄2”

1⁄2” 5⁄16”

1 9⁄16”

4 1⁄16”

1⁄16” 5 3⁄4”

e

d

aperature location were objects may pass through the device

R 5⁄16”

13⁄16” aperature location were objects may pass through the device

bottom rim

c

crank handle rotation

1”

1⁄16”

5” 3 1⁄2” 2 1⁄2”

R 3⁄8”

elevation_03: top

b

crank lever crank handle

15⁄16”

6”

screen clamp sifting screen steel agitator crank lever crank handle

1⁄16”

a

5⁄16”

5⁄8”

R 1⁄2” 1⁄8” 3⁄16” R 3⁄16”

3⁄8” 1⁄8”

5⁄16” 1⁄16” 5⁄16”

R 7⁄16”

7⁄16”

1⁄16”

5 3⁄4”

1⁄2”

1⁄4”

amount markets

5⁄16” 13⁄16” 1⁄8”

3 3⁄16”

top rim holding bin amount markers

4 5⁄16”

top rim

2 1⁄16”

1⁄16”

bottom rim handle

5⁄16”

1 7⁄16”

4 1⁄16” 5 13⁄16”

5⁄8”

The flour sifter (far left) is a cooking device used to break up clumps in dry ingredients. The operations of the flour sifter were tested by different liquids. The resulting diagnostic (above) was mapped to understand the performance generated by the flour sifter’s operations. The resulting maps where then modeled as a diagram of the flour sifter’s operations.

CRANK LEVER CRANK HANDLE

Crank Handle Rotation TOP RIM

TOP RIM

HANDLE

HANDLE

AMOUNT MARKERS

16 Seconds

CRANK HANDLE

Crank Handle Rotation

Crank Handle Rotation

CRANK LEVER CRANK HANDLE

Crank Handle Rotation TOP RIM HANDLE

HOLDING BIN

BOTTOM RIM

8 Seconds

CRANK LEVER

CRANK HANDLE

HANDLE

AMOUNT MARKERS

HOLDING BIN

16 Seconds

CRANK LEVER

TOP RIM

BOTTOM RIM

AMOUNT MARKERS

AMOUNT MARKERS

HOLDING BIN

HOLDING BIN

BOTTOM RIM

BOTTOM RIM

16 Seconds

8 Seconds

8 Seconds

3 Seconds

3 Seconds

3 Seconds

16”

16”

16”

4”

17.4 Seconds

4”

17.4 Seconds 4”

17.4 Seconds

8.9 Seconds

8.9 Seconds

8.9 Seconds

3.4 Seconds

3.4 Seconds

3.4 Seconds

8”

8”

device //oscillation's nest

17.9 Seconds

9.2 Seconds 3.6 Seconds

9.2 Seconds 3.6 Seconds

17.9 Seconds 9.2 Seconds 3.6 Seconds

map_fi: hybrid + synthesis

17.9 Seconds

map_03: substrate

map_02: tempo

map_01: matter

elevation_01: diagnostic

8”

Glassell_Spring 2015 | PHASE 0IC // HYBRID + SYNTHESIS | Spencer, Lawson

09

vacillating field[] //vacillatingplates plates location: course: professor: program: footprint:

Lubbock, TX ARCH 3502 Mari Michael Glassell Alley Installation changing....growing_

Vacillating Plates is an installation that fluctuates as participants activate its being. The installation embraces the linearity of the site (alley) through its tensile adaptation. The adaptation is exhibited by the formal nature of the pipes supporting the fragmented plates and through the forces inherent to the materiality of the plates. Though these plates are objects in a field, their inconsistencies, and systematic organizations evolve from the site’s field conditions. The site exhibits a field of linear multiplicities amongst visual mass and depreciation.

Visual mass can be seen through the clustering of linear elements, thus manifesting as volumes within the field. Though the objects by themselves do not have significant amounts of mass, the way in which they are clustered together do. Vacillating Plates understands this particular field condition as reinforces that nature of being with the implementation of its own clustering of linear elements.

The operation mapping studies from Oscillation’s Nest where superimposed on to the field conditions observed at the Broadway and Avenue J site (the location for Vacillating Plates). The superimposition of two similar fields is known as the moiré effect.

The utilization of the moiré effect created Vacillation’s Plates through adaptation. The installation will continue to integrate and morph itself beyond the site as the being becomes activated. As the installation encounters more participants, it gains more information and broader experiences of the context that it negotiates with. Through such, the installation continues to adapt and morph with the evolution of its field. Vacillating Plates is always adapting and then readapting as its metabolic rate of consumption is always increasing. Thus, the field and the installation is in a constant stage of expansion.

The hybrid drawing (above) is the superimposition of the field conditions from the alley site and the narrative mapping of Oscillation’s Nest. The longitudinal sections (five in total) are broken apart into a series of devisal assemblages (left), also called follies.

01 02 03 04 05 06 07 09

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10

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project_02.5

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08

N Location: Broadway and Avenue

+40’ +40’ +40’ +40’ +35’

+35’ +40’ +35’ +35’

+30’ +30’ +35’ +30’ +30’ +25’

+25’ +30’ +25’ +25’

+20’ +20’ +25’ +20’ +20’ +15’

+15’ +20’ +15’ +15’

+10’ +10’ +15’ +10’ +10’ +05’

+05’ +10’ +05’ +05’

+05’ /05

/05 /05 /05

-05’ -05’ -05’ /05 -05’

-10’ -10’ -05’ -10’ -10’ -10’

+40’ +40’ +40’ +40’

01

+35’

+35’ +40’ +35’ +35’

+30’ +30’ +35’ +30’ +30’ +25’

+25’ +30’ +25’

10

11

01

+25’

+20’ +20’ +25’ +20’ +20’ +15’

+15’ +20’ +15’ +15’

+10’ +10’ +15’ +10’ +10’

05

+05’

08 06

+05’ +10’ +05’

14

+05’

14

01

+05’ /04

/04 /04 /04

01

-05’ -05’ -05’ /04 -05’

-10’ -10’ -05’ -10’ -10’

08 08

09

-10’

7.03"

08 08 08 08

+40’ +40’ +40’ +40’

14

+35’

+35’ +40’ +35’ +35’

+30’ +30’ +35’ +30’ +30’ +25’

+25’ +30’ +25’

08 08

+25’

+20’ +20’ +25’ +20’ +20’ +15’

+15’ +20’ +15’ +15’

+10’ +10’ +15’ +10’ +10’ +05’

+05’ +10’ +05’ +05’

+05’ /03

/03 /03 /03 -05’

01

-05’ -05’ /03 -05’

-10’ -10’ -05’ -10’ -10’ -10’

09 06 06 08 13 01 02 09

1.04" 1'-4.26"

01

1.67"

13

+40’ +40’ +40’ +40’

03 03

+35’

+35’ +40’ +35’ +35’

07 04 04 07

+30’ +30’ +35’ +30’ +30’

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+25’

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03

+25’

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04

+15’

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+10’ +10’ +15’ +10’ +10’

09

/02 /02 /02

-05’ -05’ -05’ /02 -05’

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+05’ /02

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+05’ +05’ +10’ +05’ +05’

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-10’

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03

6.53"

03 03

07

13

04 02 02 02 02 02

+40’ +40’ +40’ +40’

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+35’

+35’ +40’ +35’

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01 03

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01 121212 01

13

07

+35’

+30’ +30’ +35’ +30’ +30’ +25’

+25’ +30’ +25’ +25’

+20’ +20’ +25’ +20’ +20’ +15’

+15’ +20’ +15’

02

+15’

+10’ +10’ +15’ +10’ +10’ +05’

+05’ +10’ +05’ +05’

+05’ /01

/01 /01 /01

-05’ -05’ -05’ /01 -05’

-10’ -10’ -05’ -10’ -10’

7.86"

-10’

1.29"

7.74"

1'-4.89"

01_POWER LINE POLES 02_POWER METER 03_BRAKER BOX 04_DOWN SPOUT 05_LATTER 06_DUMPSTER 07_DOORS 08_WINDOWS 09_WATER METER 10_COUNTER WEIGHT 11_FOLD DOWN STAIRS 12_BIG WHITE OBJECTS 13_LIGHTS 14_BROKEN WINDOWS

/05 /05 /05 /05 /04 /04 /04 /05 /04 /03 /03 /03 /04 /03 /02 /02 /02 /03 /02 /01 /01 /01 /02 /01 /01

field[] //vacillating plates

11

Lubbock Bath House B6.4.23 //Lubbock Bath House 5.6

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Jones AT&T Stadi

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BLACKWATER DRAW

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/OBSERVATION: This Lubbock Bathhouse is located along the i82 frontage road at the terminus of Avenue J, which segregates pieces of the developing arts district from the unoccupied, decaying Lubbock Power and Lights. Baths, a sequential cleansing in water of various temperatures, emulate the struggle for development in downtown Lubbock. Though the Lubbock Arts District is developing, it finds itself congested and frustrated by a dominating deterioration. Pools, separate from baths, are distinguished by their chaotic populous that exists in one uniform temperature. This social and aesthetic conflict of the surrounding context is demonstrated through the design and program of LBH // B6.4.23.

Lubbock, TX ARCH 2502 Mari Michael Glassell Bath House + Pool 16,800 sq. ft.

5.2

location: course: professor: program: footprint:

/POSITION: Avenue J separates the two social agendas in LBH // B6.4.23. As mentioned before, the baths and pools are separate in location, and temperature. They are also different in quantity, trajectory, and form.

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LUBBOCK POWER AND LIGHT

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(building 2) abandoned warehouse

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/SEPARATION: With Avenue J segregating the site, baths exist in quantity to the West as the developing LHUCA complex as does.

While to the East is the congested pools that are bounded by the i82 frontage road, the rail yard, and the abandoned Lubbock Power and Lights. It should be noted that with in the small rail yard, one line continues to remain inactive as it is a non-operating subsidiary.

In this manner the existing context is projected north.

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welder’s shope and gallery

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/TECHNIQUE: Mapping was an integral part of both the studio and the site. It was through this process that formal elements already present described societies’ participation in the urban fabric. The context map (middle w/ Matthew Roye + Lynced Torres) illustrates the site participation within the larger context of Lubbock.

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ard stw ersity We ch Univ

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LHUCA CAMPUS art gallery

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CERAMIC ARTS BUILDING place to make pottery +440

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ICE HOUSE art gallery and activity center ex-regeration warehouse

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GAS STATION welder’s shop and gallery

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ue Aven

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Jones AT&T Stadium

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STUDIO 4 residential artist background

The rhizome map (far left) illustrates the relationships of the elements present within and around the site as they interact with one another. The precision of such is validated by the observations of the greater context. The assemblages from the Vacillation’s Plates are placed in the site (below) according to composition and amount of the different operations in relation to similar.

01

101° 50’ 50” S // 33° 35’ 31” E

04 01

matthew jeva roye | lawson spencer | lynced torres

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B6.4.23 // Lubbock Bath House

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typology_BANK typology_BANK //urban catalyst location: course: professor: program: footprint:

Lubbock, TX ARCH 3502 David Driskill International Bank 14,400 sq. ft.

/OBSERVATION: The site is at the heart of a larger urban plan for the revitalization of Lubbock’s Central Business District. Urban Tech, a design negation between the city of Lubbock and the TTU_CoA, recognizes that the Central Business District is one of the densest neighborhoods in the city of Lubbock, yet one of the poorest, economically. As part of the revitalization/redevelopment of this area, Urban Tech is proposing a change of transportation methods within the CBD to become more segregated between pedestrian and vehicular traffic. Presently, the Central Business District is in close proximity to the vast majority of the cultural centers within the region. According to the Urban Tech studio, the site is on the one of the core streets within the space syntax of Lubbock’s most integrated areas. Adjacent to the site is Lubbock National Bank (LNB), a tattoo parlor, a small restaurant and a few parking lots.

This project is the derivative of a systematic mapping of the frequency and tempos that regularly occur in and around the site (bottom). The activity around the tape recorder is photographed. The moments without imagery are perceived to be moments of inactivity, and thus still informing the frequency and tempos inherent to this social situation.

/SOCIAL SITUATION: As of present Urban Tech has provided research with regard to the formal composition of Lubbock. As this site is a foci for urban design, it is imperative that the project begin to articulate the social situation as an element inherent to the social synergy. Social synergy is a dynamic field of interrelated forces that are constantly interacting and reacting to one another. Social synergy is the interaction between different social organizations, and is one of the elements that composes a society within an urban environment. Contributing factors such as contextual history, location, time, demographics, and situation are just some of the elements that compose social synergy. The most abstract element within social synergy is the social situation. Social situation is difficult to concretize because of the way in which it is to be quantified. Social situation is a set of conditions related to a type of action or event that one might find oneself in. In other words, social situation is comprised of a set of social circumstances. Social situation is the element of social synergy that describes the resulting interaction of the different components that form the urban environment. Though social situation is informed by the interaction of the other components, it must be analyzed as a separate entity within the urban environment to fully understand its affectious nature.

site: location

14

project_03

trajectory: tempo

[frequency = increased]

[program = responsive]

[SITE // 1108 AVENUE J]

[SITE // 1108 AVENUE J]

typology_BANK //urban catalyst

04

/SOUND: Our urban environments are a composition of sounds. Inherent to those sounds is some type of structure (urban DNA) that describes the activities taking place. Because there is an inherent structure to the sounds of our cities, our cities are and have a musical composition to them. Because our cities have a musical composition inherent to their being, then they can be described through all the same constructs used when describing piece of sheet music. Sound is used a measuring device to articulate the social synergy of the area surrounding the site. Artifacts such as tempo (a measurement over the course of a few minutes) and rhythm (a measurement over the course of a day) can attest to the social “vibrancy” within its context. Example: [someone walking on the street in New York City will be walking a faster pace (tempo) than someone in rural Illinois, and over the course of a day, New York City will have a greater “vibrancy” (amplitude) than rural Illinois]. Because this project is part of a greater urban revitalization plan, it is the expectation of this project to be a driving force in the revitalization as it enhances the social autonomy through the acceleration of tempo in the social situation. Ultimately, the project will change the rhythm within the present urban fabric.

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dB 3915-

/ANALYSIS: A tape recorder was placed at the heart of Lubbock’s CBD, which is bounded by 9th Street to the north and 15th Street to the south; to the west is Avenue M, while to the east is Avenue G. There is total of 36 blocks. A second tape recorder was placed at one end of a given street while the happenings around the tape recorder were photographed at the opposite end of the street.

Data was gathered of the inner 16 blocks and proportioned to the data of the first tape recorder.

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Hz 10k8k6k4k2k1k-

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plan_03: level 02

plan_05: level 04

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“I found myself recording at each intersection for three or four minutes before moving to the next data point. At the Southeast corner of Ave J and Main (far left) I recorded 7 cars passing by, no pedestrian traffic, and two birds chirping between 10:41 a.m. and 10:44 a.m.� The data gathered informs the social situation and activity around the site.

06 A501

Level 4 46' - 0"

05 A501 Level 3 32' - 0"

Level 2 18' - 0"

04 A501

Level 1 0' - 0"

typology_BANK //urban catalyst

17

/TYPOLOGY SHIFT: Form and Program respond to the existing tempos and frequencies mapped in the sound analysis through the syncopation of void/solid, closed/open, slow/fast and other types of dichotomous conditions. The structure/organization of program is first realized as the spaces respond to the site and its relation to context. Programs expecting more activity and louder public presence are placed along Avenue J and then Main St. As the program space desire more intimacy and separation from the public sector, they are placed along the interior of the site and then vertically above the ground level. The programs receive their formal definition through proposed tempo of activity in their respective locations, while still responding to the site and environment conditions. As this project evolved, it begins to challenge the bank typology. Before, the pride of the bank was in its vault as symbol strength and stability. Naturally, the architecture reflected this notion, and the bank typology was formally described as solid, heavy, monumental, and firm. This project argues that the pride of the bank is no longer in the vault, but rather in its efficiency and ability to exchange information. The thin, tectonic, and tensile components are the formal interpretation of this new pride.

Skin is treated as a canvas that has the ability to wrap in and around its programmatic space, thus altering the social activity through its formal composition.

When delineating the skin to a canvas, it informed the location and sizing of structural elements.

The section (left) illustrates the skin to structure relationship, while informing interior geometries. [interior = boundedExterior]

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project_03

section: slice_01

section: slice_02

section: slice_03

section: slice_04

typology_BANK //urban catalyst

19

Lawson Spencer Undergraduate Student | RA | SA CoA_Texas Tech University, Lubbock T: (210)-204-5724 E: lawsonleespencer@gmail.com

It can be understood that within every constructed assembly there are portions of architecture and portions of building that simultaneously exist together and not separately. Encompassed within this constructed assembly is the notion of origin, which is process or development that creates the constructed assembly. In the field of Architecture, success is determined by sensory appeal or appreciation of experience and process of creation. If the architecture of a constructed assembly is the aesthetic experience and the development of such, then building is the non-integrated utility. This is to say that within every building, there are certain amounts of architecture that can encompass utility if it somehow, by some measure contributes to sensory appeal or appreciation. The success of the building is determined by how much architecture is present in comparison to how much building is present, and thus the overall piece can subjectively be defined as either architecture or building.