Dynjandi School of Music - Architectural Project Portfolio '19 - Lucas Akira Druet

lost in a lifetime// lucas druet_M1 1909-1912

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Contents

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07 preliminary 21 landscape

studies

studies

27 dynjandi 35 elemental

interactions

39 introverted

studies

45 extroverted

studies

53 building

development

61 dynjandi

school of music

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A School of Music in a rural Icelandic Context

Preliminary Studies The project began with submersion into geographical, contextual, and programmatic studies. Experienced through readings, film, photography, and physical experimentation. The ultimate goal of these studies was to uncover and explore sources of inspiration conducive to the creation and writing of music.

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P ho to St u d i e s

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Disorienting, contrasted, and textured. These photos taken during the studio visit to Iceland capture the themes of my preliminary studies. Different states of elementary phases, frozen and fluid, creating a brief or extended memory in a volatile landscape.

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P hoto St udi e s

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P hoto St udi e s

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P hoto St udi e s

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P hoto St udi e s

Ca s ting St u d i e s

flows / layering

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cavernous

Inspired by the forms, textures, and activity of the Icelandic landscape, a series of casting exercises were used as investigative instruments.

Experimenting with light, material, form and space, and evoking elemental interactions.

austere

elemental interactions

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flows / layering

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cavernous

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austere

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elemental interactions

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Co-existing elements in a shifting landscape

Landscape Studies Prior to the studio trip to Iceland, an effort to familiarize myself with rural Icelandic conditions was studied through aerial and standard photography as well as digital modeling and fabrication. These studies inspired my focus for site selection during the studio trip.

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O ra ef a jรถ k u l l G l a c i e r St u d y

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The Vatnajรถkull glacier and Oraefajรถkull volcano on the south eastern corner of Iceland was a area of focus during preliminary studies. Continuing with the theme of elemental interactions, my primary focus revolved around the slow movement of glaciers eroding and forming the landscape.

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Site Stu die s 25

the glacial erosion and sculpting of landscape could be traced from the spectacular formation of peaks and valleys along the Oraefajรถkull Volcano to the exponentially complex fanning network of river veins leading to the ocean.

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Westfjords, Iceland - seclusion and meditation

Dynjandi

While visiting the Westfjords of Iceland I had been particularly inspired by one site. Dynjandi (Icelandic for ‘thunderous’ or ‘resounding’) is a series of seven waterfalls that cascades down the rocky landscape until reaching one of the many ocean inlet fingers in the Westfjords.

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D y nja nd i S i te S e l e c t i o n

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An ex-urban situated School of Music could benefit from be sited in such a way that provides meditative seclusion as well as experientially and acoustically rich diversity.

The Westfjords is a landscape of seclusion, quiet, and peace.

Only elemental conditions provide experiential contrast here, like the high winds whipping over the bare landscape or the thunderous roar of the dynjandi waterfall that consume the senses.

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D yn jan di Site 31

Vibrant seasonal change represented in the colouring and snow coating of the bare but highly dynamic landscape.

D yn jan di Site

The thunderous uppermost waterfall is dizzying in scale and reveals itself in stages as you hike the mountain side - evoking a seek and reward experience.

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D yn jan di Site 33

Elemental interactions repeat at infinite scales from the carving out of the entire Westfjords during the ice-age to small interactions between water and ice.

D yn jan di Site

The river carves out a path into the landscape in both permanent rock and earth and temporary ice and snow.

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what is permanent? what is vulnerable?

Elemental Interactions The theme study of elemental interactions began to architecturally materialize as an approach to space and program.

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extroverted

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intro v er te d s o l i d s / ex t ro v e r ted fl o ws

Inspired by the natural interactions between permanent and vulnerable or fluid elements, I began to strategize the program arrangement in terms of introverted solid spaces and extroverted fluid space.

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spaces to withdraw and focus the senses

Introverted Studies Having established a concept of introverted and extroverted spaces I began a series of form and material studies through digital and physical modeling, inspired by formations in the Icelandic landscape.

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Ca v er no u s st u d i e s

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Inspired by the cave systems explored during the studio trip, I began approaching the introverted space massing as cavernous spaces with undulating walls to aid in acoustic dispersion. Light entering the space primarily from slight openings above contribute to the feeling of enclosure and introversion.

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w ood form 43

The idea of using linear members to produce curved geometry was inspired by the pillars of basalt columns in Iceland.

con cre te form

An experiment using charred wood as form-work for a curved geometry was an additional study into the idea of elemental interactions and creating imprints of a memory.

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places to move, collaborate, and explore

Extroverted Studies A scattered arrangement of introverted spaces can produce dynamic extroverted spaces in the negative volumes between. An acrylic and wood model was used to study these relationships.

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ac r ylic mo de l

This model was created purely for the purpose of studying spatial relationships between introverted and extroverted forms as well as beginning to understand strategies of flowing a program down a sloped site.

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Unex pe c te d D i s c o v e r i e s

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Further to its intended purpose of understanding spatial relationships, this model became used as a device to study the use of light, reflections, and distorted imagery.

These new ideas where translated to experiential and material strategies for the building.

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A cr y lic Mo del 51

Born out of this model was the idea of using reflective properties to cloud the direct experience through the extroverted space. The space will require full exploration to comprehend the spatial organization.

A cr y lic Mo del

The model was a useful device in imagining relationships betweens solid spaces and light and transparent spaces.

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implementing strategies and formalizing a building

Building Development Gathering strategies learned from studies and experiments, I had begun to formalize and express these ideas in building representational graphics as well as form studies that related to program adjacency strategies and scale.

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Visua lizat ion

This graphic depicts the notion of various introverted solid austere forms scattered in the landscape with a light transparent structure flowing and bridging between them.

The highly reflective glass projects the surrounding landscape in an effort to add a level of stealth of the building in the landscape.

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Visua lizat ion

This graphic explores the interior experience of the extroverted volume. Continuation of solid forms and glimpses of other spaces encourage exploration. Volumes open to the exterior strengthen environmental connections.

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Iterati ve Form

After having developed general ideas of program allocation, spatial priority, and landscape integration, a series of form manipulative iterations helped arrive at a proportional and comfortable building scale and form.

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for the creation, meditation, and study of music and sonics

Dynjandi School of Mus The culminative expression of research, studies, experiments and strategies. The Dynjandi School of Music is a 4200m2 performance space, institute, and learning commons with student housing located in the Dynjandi site at the centre of the Westfjords.

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sic

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building p l a c e m e n t

The building is situated approximately half-way up the hike to the uppermost fall at the Dynjandi site. The building is tucked into the terracing slope allowing it to nestle into the landscape and only to fully reveal itself when the site has been fully explored.

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S ite Mode l

Putting the building in context with the Dynjandi falls in this model helped in understanding the dominating scale of the falls and terrain.

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extro ve r te d In tro ve r te d

The light extroverted spaces that bridge and flow around the solid spaces host program that benefits more from visual interactions both inward and outward to the site.

Collaborative practice rooms, office functions, classrooms, study spaces, learning commons and lounges can be found here.

The solid introverted spaces scattered in the landscape house spaces that desire more visual and acoustic separation than other spaces. This includes certain performance spaces, practice rooms, library functions, as well as functional service spaces and student housing.

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b uild in g mod el

This building model depicts the solid forms tied in and emerging from the landscape with acrylic representing the fluid spaces that connects them.

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entry

concert hall

lounge / living

student residence

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site plan 1:1000

amphitheatre

learning commons

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entry forum administration practice room drum room rehearsal room offices concert hall washrooms service amphitheatre

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level 1 plan 1:500

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concert hall washrooms service amphitheatre small performance room classroom practice rooms digital lab lounge / living jam room kitchen service student housing storage

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level 2 plan 1:500

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concert hall library classrooms study area practice rooms outdoor patio quiet study student housing

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level 3 plan 1:500

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cav ernou s 77

This small performance space is inspired by volcanic lava flow caves.

The cavernous walls are made up of a highly textured and porous concrete finish to absorb and scatter sound similar to the cave systems. Small focused views to the ocean allow audiences to mediate on the music being performed.

t h un derou s

This practice room is positioned with a channeled view out to the Dynjandi falls. The acoustics is determined by the soft exposed CLT floor and wood slatted ceiling.

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con ce r t h all 79

The concert halls simply wood clad undulating walls aid in the deflection of sound and contribute to an atmosphere that focuses attention to performance and sound.

pract ic e ro om

A diverse scattering of practice rooms throughout the building allow musicians to use rooms that cater to their need for acoustics, size, and inspirational views.

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5-ply CLT panel

corrugated m insulated co

services and fixtures concealed in-between structure

intensive gr roof (moss)

perforated wooden acoustic panels

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1:50

metal formed oncrete high reflectance full height glazing

Wal l Sec tion

reen

The buildings structure is primarily made up of a steel and crosslaminated timber hybrid diaphragm.

The solid austere forms are insulated concrete structures, aiding in the shear strength of the CLT system.

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S e c tion Mo del

The stacked, skewed, and interconnected nature of this building are best understood through section. These spatial relationships can be studied further using this sectional model.

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west elevation 1:500

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north elevation 1:500

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east elevation 1:500

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E x te rior

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E x te rior

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E x te rior

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E x te rior

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E x te rior

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i nte rior - extro

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i nte rior - extro

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i nte rior - extro