20SP Integrated Design Studio Portfolio | Museo Lousanna

MUSEO LOUSANNA Water and Memories ARCH 513.01 Integrated Project Design Spring Semester | 2020 Professor Roberto Viola-Ochoa Skyler Moncada A sincere investigation into the city, her context, and one vision of her evolution.

TABLE OF CONTENTS

iii

INTRODUCTION

2.

CONTEXT

3.

CONCEPTUAL FRAMEWORK

4.

FINAL DESIGN

5.

STRUCTURAL DESIGN

6.

ENVELOPE DESIGN

7.

PASSIVE + ACTIVE STRATEGIES

8.

APPENDIX 1 | BLACK & WHITE SET

9.

APPENDIX 2 | ASSIGNMENT SERIES

INTRODUCTION Lausanne represents the heart of Switzerland’s densely populated metropolitan lowlands. It is located on the northern edge of Lac Leman, within the network of the French Swiss Canton of Vaud which includes Geneva, Monteraeux, and itself strung together by a variety of smaller towns.

It is located within an exceedingly ideal climate context, experiencing ideal orientation, prime natural conditions bordering the lake, and sproting unparalleled views out onto the swiss Alps.

The objective of this studio is to immerse ourselves into the waterfront, one of Lausanne’s three distinctive districts. The area has undergone extensive, varied masterplanning efforts for well over one hundred years, leaving it poorly realized, particularly after the planning efforts of the Swiss National Exposition 1964 (Expo 64).

The area currently plays host to a variety of sports facilities, residences in close proximity to the Ecole Polytechnique Federal de Lausanne (EPFL) in addition to various parking lots and traces of the Expo some 60 years later.

We have identified two sites worth consideration for an architectural intervention, with the potential of positively affecting the lackluster masterplan in a way that truly unites Lausanne with the water at her very heart.

This document serves as the process of investigating these sites and their conditions.

CONTEXT | HISTORY, DISTRICTS, DEVELOPMENT

CON T EX T | H I S TO RY Switzerland is a series of dichotomies, from subtle landscapes and soft plateaus to intense mountain ranges and difficult terrains. Switzerland is known for its vast rural landscapes, but also its metropolitan and urban developments.

In our study, we are looking at a more urban environment.

Despite it’s complex topography and geographical ranges, Switzerland has become extensively interconnected by railway systems, which battle mountain ranges, travel great ranges over man made bridges, tunnels, and the Swiss landscape.

Switzerland is bordered by France, Germany, Austria, Liechtenstein, and Italy. The area of Switzerland we are studying is bordering France, in the Vaud district.

Specifically, we are studying the city of Lausanne, which borders Lac Leman between Geneva and Montreux.

CON T EX T | H I S TO RY Lausanne is the capital of the Swiss canton Vaud, which is the third largest canton by population in the Swiss Federation of 26. Vaud is located in the French speaking western region of Romandy, Switzerland.

Lausanne is within the Swiss Lowlands plataeu, opposite the great mountains that stretch across Lac Leman on the French side of the lake, omnipresent in the view out from the city. The city is in reality rather steep in the old city center, and has some steppings down to a plateau of the Flon district and the waterfront.

Lausanne began as a roman military camp adjacent a Celtic settlement during the 2nd century, and developed into a location of note before the fall of the Roman Empire in the 15th century, the camp moved to the current city center of Lausanne on hilly terrain to ensure the security of its citizens. The city that grew out of this move would change ruling hands, but would eventually have its status changed, granting it distinction as the capital of the new Swiss Canton Vaud, formally joining it with the Swiss Federation.

Lausanne is divided into 18 districts, with smaller neighborhoods in each district. The districts that really define Lausanne are the Old City, the Industrial Flon District, and the Waterfront.

Since its inception as a city, Lausanne has established itself on the world stage as a capable host for major international events and organizations, making a confident mark in 1964 as the hosts of the Swiss National Exhibition.

Although the event is considered a resounding success, this urban planning exercise performed by the city to prepare for Expo 64 has left it not-quite-finished. Between 1950 and 1970, Lausanne oversaw a substantial period of immigration from Italians, Spaniards, and the Portuguese, who mostly settled in the industrial district of Renens who substantially changed the local diet.

Over time, the city has served as a refuge for various European artists, from T. S. Elliot to Hemingway and romantic poets Shelly and Byron.

D IST RI CTS | L E C I T E La Cité is a medieval town of Lausanne built around the city hill. It shares its neighborhood borders with the Flon and Louve rivers. The streets are full of history and the architecture is breathtaking. The city neighborhood houses some of the architectural jewels of Lausanne such as St-Marie Castle, the headquarters of the Cantonal Council, and the Cathedral. Considered one of the most beautiful monuments of Gothic art in Europe.

The city is distinguished by its red roofs and the medieval stone look. At the beginning of the city’s development most of the materials used for the buildings were stone.

Now they are still using stone but they are also incorporating concrete while preserving the medieval feel that gives the city it’s identity. Even though the city is mostly composed of medieval-like buildings there are some weaving of Germanic, French and Roman architecture.

The city adjusted to its geography. A lot of the buildings and houses are stacked in the hill’s topography, housing typical small bistros and craft shops which gives the identity of the cite.

D IST RI CTS | T HE F LO N The Flon is a mainly pedestrian city center district that offers numerous shops and entertainment opportunities from boutiques, restaurants, cinemas, beauty salons, spas, and art galleries during the day and bars and clubs during the night forming the heart of the modern city.

This neighborhood has developed through the years and its architecture has been evolving. The Flon used to have a river going through the middle of the district. The river was filled with soil to create a flat area that became the industrial center of Lausanne, the only flat space of that magnitude.

The district’s architecture has been under demolition and rehabilitation, making the old garages and warehouses into new flexible surface areas, hosting arts & crafts activities as well as administrative and commercial activities. Without forgetting its history. The district still has its cobblestones and the remains of rails, to evoke the old industrial function of the area. Allowing for simultaneously historic and modern architecture.

Previously the industrial center of Lausanne, it has now transformed into a more cultural and economic center of the city. This neighborhood is a big part of Lausanne’s daily life and the vernacular architecture shapes the urban fabric of the district.

D IST RI CTS | WAT E RF RO NT The waterfront is largely a recreational district, including public pools, a waterfront walkway system, and museums.

The waterfront also includes areas of historical interest like Castle Ouchy, the University of Lausanne, and the Ecole Polytechnique Fédérale de Lausanne.

The port has been largely for the transfer of people across Lac Leman, ever since the Roman times. Lausanne’s port area connects to France, Montreoux, and Geneva as major areas of interest.

Now the waterfront is disjointed due to the remnant architecture of the World’s Fair of 1964, that does not give a cohesive identity to the waterfront.

D EVELO PME N T | 1 6 0 0 The largest density of people in the 1600s was around the medieval center, the old city area. The old city was densified and organized to enclose the center most areas much like a fortification, remnant of the medieval plans.

There was a smaller development closer to the waterfront, but that area diminishes. This area develops with the University of Lausanne, established in 1537, as well as the notable architecture from the medieval era.

The Cathedral of Lausanne and Place St. Francois, both notable religious centers, were established in 1275 and 1272.

The city was largely remnants of the medieval city, and took time to sprawl out from this medieval plan.

The Medieval city is characterized by the red terra cotta roofs, the pitched roofs, and plaster like finishes and cobblestone stone.

D EVELO PME N T | 1 8 5 2 The growth of the city began to spread out from the medieval formworks, with access to more educational opportunities at the École polytechnique fÊdÊrale de Lausanne established in 1853.

In 1856, the first train from Geneva to Lausanne was established, creating a connecting fabric across Lac Leman, further connecting Lausanne to the rest of the region.

The train system has begun to connect all of Switzerland together, throughout the the difficult and intense landscape.

The train was integrated into the city without disrupting the urban footprint by going below ground as needed.

At this time the city was largely developing out of the medieval frameworks, but not spreading out too far from the city center except for agricultural reasons.

The waterfront has not been really developed at this time, as transport of persons was not an overly productive market.

D EVELO PME N T | 1 8 7 5 Lausanne began to spread out more from the old city center, as well as creating a new industrial district, Flon, by in-filling the Flon river to create a flat, open area to develop new industries.

These buildings were made to contrast the old city fabric, with flat rooftops, aligned buildings to the street, and create defined order in the facade.

The introduction of the metro allowed people to begin to spread out farther, and travel farther from work and live separately for the busy city center.

The Flon district began to be developed, by infilling the Flon river and surrounding area, creating a flat plateau area to grow the industrial district.

D EVELO PME N T | 1 9 3 0 The city began to expand rapidly in the northern and southern areas around the old city and the waterfront. The post bus became widely used in this time, allowing people to spread out farther from the main city center and travelling farther for work.

The Flon district became more developed and established by this time, becoming the hub of the city for work and manufacturing.

The post bus originally transported mail across Switzerland, but then began transporting people as well, creating a third mode of transportation. This allowed for even more expansion from the city center.

The Flon district became fully established as an industrial center.

The waterfront began to take form, as people could live farther from the city center and transport to the city center for work by post bus, metro, or train to other economic centers outside of Lausanne. The waterfront became more of a residential area, with some small commercial areas.

DEVELOPMENT | ACTIVITY PROFILE The primary area for museums and shopping occur in the center area of the city, from Ouchy to the old city center.

The museums are concentrated in this area because it is a higher shopping zone, and since that would attract people, the museums should be integrated for a higher occupation.

Various museums include the Lausanne Botanical Garden and Museum, the Olympic Museum, the Vaud Zoology Museum, and the Vaud Archaeology and History Museum. The parks are more spread out over the city, not concentrated in any one area.

In green cover, the forests are primarily to the north, where there is less development. There are very few green roofs, but this may be likely to change in the future with net zero design requirements. Most agriculture is to the north east, where vineyards and other produce is grown. There are very few community gardens as well, but this may change with future initiatives to encourage more green space. There are few parks in the city center, where more are in the radius around it and towards the waterfront and north.

D EVELO PME N T | PR E S E NT Today Lausanne is much more spread out, with increasing densities overall. This does not impact the green spaces, as greenery and preservation are key cultural components to Lausanne’s development. The Swiss National Exposition of 1964, or Expo 64, became a great influence on the waterfront, with remnants of the architecture still present.

In 1994, Lausanne became the Olympic Capital of the World, largely as an organizational congress for the Olympics. Lausanne takes a lot of pride in their sports culture, with pools on the waterfront and other exercise-recreational areas.

The largest change to the city was in the late 1990’s to today, where the Flon district has been revamped and rehabilitated to become more of a shopping and civic area in the city.

CONCEPTUAL FRAMEWORK

RUINE S-RO MA I N E D IS TR ICT R E LAT I O NS HI PS The Old City serves as the heart of modern-day Lausanne.

It was the location where the settlement of Lousanna relocated, and encompasses the retroactively revived Flon district.

The Waterfront District exists as the larger urban focus of this studio, having played host to a wide variety of redevelopment schemes that were never fully realized. The most prevalent footprint, those left behind by EXPO64, currently leave the most visually prominent marks. It also hosts the Ruins, my chosen site for an architectural intervention as an attempt at beginning to resolve the issues present.

The EPFL sits at the heart of Lausanne’s academic pursuits, hosting a large number of students and residents of the city in a well developed suburb. This area features a connection to the Waterfront District, but with no major draws other than the sports fields or public pools in the Summer, the area lacks significant appeal year-round.

The Ruins exist at the heart of the original settlement of Lousanna. Since she was abandoned at the fall of the Roman Empire, Lousanna had since been buried, played host to a variety of adjustments (like EXPO64), and been included in a planned highway before their rediscovery and subsequent establishment as a public park.

L F P E E TH

R E T A W

T C I R T S I D T S N N I O U R R F R

Y T I C D L O

INTERVEN T I ON S | WAT E R F RO N T The Waterfront has largely been defined over history through its use as a major port, and has served as the home of the EPFL Institute of Technology since 1853.

In 1936 and 1937 the Bellerive Plage was built to combat an economic crisis and unemplyment, banning machines from the site to draw more workers. Architect Marc Piccard , the project lead, was also responsible for enlarging the site in 1962.

The most significant planning evolutions struck the area in 1964 during the Swiss National Exposition, or Expo 64, which implemented marked planning initiatives that have left the area under-realized.

In 1993, Architect Innes Lamuniere and Patrick Devanthery carried out a meticulous renovation that aided in the resolution of the masterplan in this area, but the entire condition still has yet to be fully merged.

Following the exhibition, the area has struggled with its identity, hosting stunning water conditions that can feel disconnected from its urban context due to a poorly realized waterwalk and an unresolved parking lot and dock condition across from the Bellerive Plage changing rooms.

The district is distinct as a location for exercise, leisure, boating, and relaxation. It is the quintessential connection condition for the city to Lac Leman.

We have two sites for consideration, the leftmost site is the Roman Ruins Site, and the rightmost site is the Bellerive site.

RUINE S-RO MA I N E | A NA LYS I S The site lies directly adjacent to busy main roads, and exists within a mixed-use district that is defined by sports facilities, campsites, and archery range on its southern half.

Site entry is varied, with two main entrances from the direction of the museum as well as the parking lot on its southern border. While access to the site is not particularly limited, it is poorly defined, and may require significant reorganization to facilitate the arrival of a museum.

Some of the general challenges that the Roman site experiences is the proximity of the site with the street and the connection between the ruins and the museum which is a conflict as they are far apart from each other.

Site

In order to go from the museum to the site, you must traverse a tunnel beneath one of the main roads of the city, which is not ideal. Another challenge is that the site experiences a natural set back, and is not really visible from the surroundings as it has a drop of elevations in the site boundaries.

Another challenge is security, the site is pedestrian access from many areas throughout the entire site which we think is a challenge as they should be having more control of everyone that enters in order to protect them.

Residential Commercial Educational Green Spaces Recreational Ciivil Medical

RUINE S-RO MA I N E | S I T E 2 The Ruines-Romaine site has a colored history, initially serving as the center of Lousanna before the city moved following the fall of Roman rule. As teh architecture disappeared over time and the site was covered, the ruins totally forgotten until an urban planning effort placed it in the path of new infrastructure.

As excavation began and the ruins were unearthed, the project was adjusted and the ruins were fully revealed, causing the formation of a Lausanne-Roman history museum offsite.

Now a major waypoint in the city, the ruins find themselves poorly managing their relationship with that same museum, disconnected physically and sunken in a clearing behind a collection of tall vegetation on steep border terrain.

RUINE S-RO MA I N E | E XPE R I E NCE The ruines represent a remarkable site within Lausanne, tucked in to a pocket of land with high vegetation, plentiful access to sunlight, and a pleasant walking path. The area is understandably defined by the ruines, and the movement and use of the site reflects that.

Alternatively the southern half of the site is more ambiguous. Parking and and archery range occupy the whole fo teh southern hemisphere, leaving little room for public activities to take place.

Additionally, the southern half does not yet serve the ruines in a meaningful way other than providing parking. While the ruines themselves are the destination, the park is relatively small and would not occupy a visitors time substantially on its own.

Paired with the difficulties presented in reaching the site of the current museum, and the whole area begins to feel unfinished, or rather as though it has not lived up to its potential.

INIT I AL PRO POSA LS D IAGRAM M AT I C E VA LUAT I O N SITE PLAN The site is defined by the ruines, and the ruins become defined by their relationship to the building as an exhibit. In this way, the ruins manifest as a focused, defined experience without compromising the concept.

PROGRAMMATIC GROUPING Program here mirrors the approach of the Solo House, interpretting the ruins themselves as the courtyard.

The design encapsulates the ruins, utilizing peripheral program bars defined by use. There is a potential for multiple entraces or exits to specialized section of the project, avoiding the feeling of walking endless corridors.

PERSPECTIVAL CONCEPT Originally, the concept of etched glass windows at key junctions of the Musuem allowing carefully aligned views of a reconstructed Lousanna stood at the heart of design decisions I wanted to employ.

This project is inward focused, rejected outside context in favor of formalizing the ruins. My intention is to provide internal context that makes it easier for visitors of Lousanna to understand her scale and grandeur despite being a few hundred years late.

P ROPOSAL 1

PROPOSAL 2

FINAL DESIGN | NARRATIVE, SELECTION OF DRAWINGS

FINA L D ES I GN N ARRAT IVE Site investigations have strongly indicated the absence of formal purpose on this site. As a result of incomplete urban plans, a detached programmatic element in the form of the Lausanne-Vidy Roman Ruins Museum, and an unresolved edge condition to the ruins themselves, the ruins have become a glorified public park.

To adress the problem, I performed precedent analyses on the Solo House by firm KGDVS, and the Chilean House by Smijlan Radic, who use rigid geometric principles to organize and structure the entire experience of each respective project.

While the former focused on strong concentric geometries, using voids between each layer to construct program, the latter project uses organizational bars to control movement and use. In each, the courtyard is a key component of the experience, and in each it is enclosed.

I combined the first of my design concepts, the Walled Fortress, with the precedent analyses to create a project that encloses the ruins while providing a path for ambulating the perimeter. The colonnade extends to the museum, which has been organized into bars of program broken around courtyards for ventilation and natural light.

Right: Museum Courtyard, can be utilized for sculptures, live exhibits, or a curated garden. It brings light into the Core of the museum, complimenting the Restoration Area and Cafe.

PRO GRA M LOCATIONS

PAS S IV E S T RAT E GIE S

M AJ OR C I RC U L AT I ON

P R E LIM IN ARY D E S IG N SI T E R E SPON SE S Circulation on the site is extremely problematic. There were three common entrances to the site; The East Edge which related to the current path to the existing museum, The North Edge directly off the main road, and the Southern Edge where a parking lot currently exists.

To remedy the problems, the site should be enclosed by an elevated colonnade, providing a privileged view onto the ruins, as well as formalizing the site experience. However, a clear entry from the parking lot into the ruins is still provided so that it can fulfill its contemporary function as a park.

This combination of perspectives and methods of movement should provide a fresh experience.

The main functions of this project are to house the Museum, Community Center, and facillitate the viewing of the Ruins. These functions have been organized into one programmatic bar, subdividing the building into three major pieces. Support Program for each section is placed at the peripheral edges of the building.

Switzerland enjoys a fairly ideal climate, with four distinct seasons. Due to a high number of sunny days, reliable wind speed and direction, and average precipitation for the region, 3 major passive program strategies were selected.

The design includes high amounts of concrete in order to utilize passive heat gain through sheer thermal mass during the winter months, including four major courtyards for sunbathing and the introduction of natural light.

In the warmer months, the curtain wall and courtyard both utilize operable windows and glass panels to introduce fresh air and vent warm air.

Finally, a green roof and water filtration system will collect rainwater and distribute it through radiant heating and cooling designed into floor and wall panels. Additional water will be utilized for plumbing systems and to care for the intended landscaping efforts.

PRODUCED BY AN AUTODESK STUDENT VERSION

FINA L D ES I GN EX EC U T IO N The site was understood as a series of zones that flow between each other, with two public spaces flanking the museum, acting as a matrix that connects the two. The site approach form Lac Leman is enhanced by the greater planting of vegetation and wildflowers that compliment the museum, while the meadering entrance encourages vistors to admire the view. Access at two major junctions are still included for absolute public access to the ruins without being forced to purchase a ticket or enter the museum, serving as a formalized public park within the greater courtyard.

PRODUCED BY AN AUTODESK STUDENT VERSION

Courtyards were implemented within the footprint as a disruptive element to modulate the program within, in addition to supplementing various passive and active strategies included in the design. These courtyards serve a variety of public or private functions under flexible conditions that allow the Multifunction Room and Museum Galleries greater potential for event hosting.

6 A#

MECHANICAL

WORKROOM

WRS

WORKROOM

17A

07C

08B

07D

KITCHEN

STORAGE

PLAYROOM

BOOKSTORE

CAFE

IT

STORAGE

MECHANICAL

01

03

05

18

20

15

13

17B

WORKROOM ADMINISTRATION

07B

22

COURTYARD 01

MULTIFUNCTION

COURTYARD

COATS

IT

LOCKERS

COURTYARD

GALLERY-A

GALLERY-B

GALLERY-C

COURTYARD

RESTORATION

02

02

04

06

21

03

10

11

12

04

14

WRS 08A

LOBBY

5

19

A# WORKROOM

RECEIVING

07A

16

1 A#

PRODUCED BY AN AUTODESK STUDENT VERSION

The plan was derived as a synthesis between my two original proposals, absorbing the strength of the Chilean Precedent into the organization of spaces, with the gravity of the Solo House in a continuous colonnade system that encompasses the site. The public program and museum program then split the facility into two wings which are handled as seperate entities under a unified structure with their own mechanical systems, who both feature permeability and access to the ruins and view of Lac Leman.

PLAZA 1

MUSEUM 2

RUINES-ROMAINES

3

2

1

3

FINA L D ES I GN EX EC U T IO N

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

The design heavily relies upon passive systems to handle the internal conditions of comfort. The roof plane extends out to cover the colonnade system at the precise distance to modulate the acceptance of light into the space through the curtain wall facade. During the cooler months of Autumn through Spring, sunlight is brought in and distrubted across the museum, while it is shielded more significantly during the Summer.

A

B

C

D

E

F

G

H

I

J

K

L

M

N

P

O

R

Q

S

T

U

V

ADMINISTRATION

WORKROOM

COURTYARD

MULTIFUNCTION

COURTYARD

LOBBY

COURTYARD

GALLERY-A

GALLERY-B

GALLERY-C

COURTYARD

RESTORATION

RECEIVING

22

07A

01

02

02

19

03

10

11

12

04

14

16

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

The curtain wall features an operable mullion systems that accepts the flow of air during the first half of the day as the wind is drawn up from over the water and through the city, using the internal courtyards as air and heat exhaust. Inversely, as the air cools down and begins to sink back down the mountain towards the water, it is drawn into the building through the courtyards and vented through the facade.

Lac Le

man

Administration Community Lobby / Circulation Museum Landscaping Roads Airflow

PRODUCED BY AN AUTODESK STUDENT VERSION

FINA L D ES I GN EX EC U T IO N Site investigations have strongly indicated the absence of formal purpose on this site. As a result of incomplete urban plans, a detached programmatic element in the form of the Lausanne-Vidy Roman Ruins Museum, and an unresolved edge condition to the ruins themselves, the ruins have become a glorified public park.

While the former focused on strong concentric geometries, using voids between each layer to construct program, the latter project uses organizational bars to control movement and use. In each, the courtyard is a key component of the experience, and in each it is enclosed.

I combined the first of my design concepts, the Walled Fortress, with the precedent analyses to create a project that encloses the ruins while providing a path for ambulating the perimeter. The colonnade extends to the museum, which has been organized into bars of program broken around courtyards for ventilation and natural light.

PRODUCED BY AN AUTODESK STUDENT VERSION

To adress the problem, I performed precedent analyses on the Solo House by firm KGDVS, and the Chilean House by Smijlan Radic, who use rigid geometric principles to organize and structure the entire experience of each respective project.

GALLERY-C

COURTYARD

RESTORATION

12

04

14

Right: Museum Courtyard, can be utilized for sculptures, live exhibits, or a curated garden. It brings light into the Core of the museum, complimenting the Restoration Area and Cafe.

PRODUCED BY AN AUTODESK STUDENT VERSION

1

2

25’ O.C. COLUMNS

STRUCTURAL CONCRETE

FLAT SLAB

1

3

2

3

3

STRUCTURE | NARRATIVE, INTERVENTION

STR U CT U RE LO G IC Site investigations have strongly indicated the absence of formal purpose on this site. As a result of incomplete urban plans, a detached programmatic element in the form of the Lausanne-Vidy Roman Ruins Museum, and an unresolved edge condition to the ruins themselves, the ruins have become a glorified public park.

To adress the problem, I performed precedent analyses on the Solo House by firm KGDVS, and the Chilean House by Smijlan Radic, who use rigid geometric principles to organize and structure the entire experience of each respective project.

While the former focused on strong concentric geometries, using voids between each layer to construct program, the latter project uses organizational bars to control movement and use. In each, the courtyard is a key component of the experience, and in each it is enclosed.

This was paired with a functional colonnade to display the ruins within, while providing shaded cover around the periphery at a higher elevation to better observe the landscape. It still functions as a public park, so that the number of ways to experience the ruins becomes stratified, providing multiple dimensions.

T HE PA LE S T RA , POMP E II, ITALY

NATURBAD RIEHEN, SWITZ ERLAND

JA ME S S IMON GA LLE R IE , BERLIN, GERM ANY

KOLUM BA M USEUM , COLOGNE, GERM AN Y

I combined the first of my design concepts, the Walled Fortress, with the precedent analyses to create a project that encloses the ruins while providing a path for ambulating the perimeter. The colonnade extends to the museum, which has been organized into bars of program broken around courtyards for ventilation and natural light.

Left Page: Each example shown displays a relationship between merging architecture with existing conditions, either as a colonnade adaptation or a physical merge.

Right Page: Museum Courtyard, can be utilized for sculptures, live exhibits, or a curated garden. It brings light into the Core of the museum, complimenting the Restoration Area and Cafe.

COURTYARD

COURTYARD

B UB BLE DECK

MUSEUM GALLERIES

LOBBY / ENTRY HALL

MULTIFUNCTION SPACE

FLAT SLAB W / VO IDS

COURTYARD

COURTYARD

T R I B U TARY C ONSI D E RAT I ONS

F L AT SL AB ST R U CT U R E

STR U CT U RE AXO N O M ET R I C + PLA N As intended, the structural system was made to be clean and functional. There is a 16’ floor-to-ceiling height within the museum space, fully uninterrupted by any mechanical systems, allowing for the spaces within to play to host to a wide variety of functions without height restrictions.

Penetrations in the roof plane are easily planned and accomodated by the green roof system, allowing for retroactive placement of exhaust and ventilation for specific spaces without compromising the overall form.

The column system is made obvious through the colonnade, but becomes concealed as visitors enter the program spaces, allowing the program to fully absorb the attention of the visitors.

The curtain wall system on the South facade of the museum allows full visibility into and out of the museum, while the structural walls on the perimeter feature more specific perforations at selected viewing angles out onto the ruins.

1

MAT SLAB + FOUNDATION WALL

2

BASEMENT COLUMNS

3

GROUND FLOOR FLAT SLAB

4

STRUCTURAL CONCRETE FACADE

5

GROUND FLOOR COLUMNS + COLONNADE

6

ROOF FLAT SLAB

The basement hosts the entire mechanical system design for the building, with low profile floor ducts dispensing and collecting air throughout the day.

Left Page: Structural Buildup Right Page: Structural Model

5

4

3

2

1

BUILDING ENVELOPE | INITIAL CONCEPTS, SYSTEM

BU ILD I N G ENV E LOP E P REC ED EN T S T UDI E S Aumkupfergrabben Museum in Berlin, Germany Early in the semester, I completed studies of the Bastian Gallery by David Chipperfield in Berlin, and found inspiration in the methodology his firm employed to use natural ventilation in IPE wood facade panels. The building was thermally massive, using exterior walls as insulation and structural elements, in addition to inbuilt shading devices concealed in the plynths. I wanted to implement a version of this within my design in order to provide natural ventilation that worked with the flow of mountain air in the valley Lausanne occupies.

The Teacher’s College in Chur, Switzerland The teacher’s college in Chur featured a different approach to the inbuilt shading devices over teh windows, but in a curtain-wall facade that also involved operable mullions for natural ventilation. I leaned more heavily towards this approach, as it gave me more opportunities to explore and understand a permeable visual relationship between Lac Leman, my new Museum, and the Ruins.

Left of Page: Bastian Gallery, Berlin Right of Page: Teacher’s College, Chur Right Page: Wall Assembly Detail

7'-7"

TOP-OF-COLONNADE 068'-7"

12'-0"

COURTYARD-WALL 061'-0"

18'-0"

TOP-OF-ROOF 049'-0"

6'-0"

FINISH-FLOOR 031'-0"

6'-4"

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

GROUND-LEVEL 025'-0"

BOTTOM-FOUNDATION 018'-8"

1

WALL ASSEMBLY 1/4" = 1'

1

ELEVATION 1/4" = 1'

1

PLAN 1/4" = 1'

PASSIVE + ACTIVE | CLIMATE, DESIGN CONSIDERAITONS

PASSI VE + ACTI V E S TRATE G I E S CL IMATE AN A LYS I S Climatic Observations During the climate analysis, we identified the moderate annual temperature, and the four distinct seasons as vital to designing flexible responses throughout the project. While the Summer and Fall months are relatively mild, the Winter and Spring feature elevated humidity and cold temperatures. Sun exposure is high throughout the year, and since my building is thermally massive, it will require active and passive elements to reduce solar heat gain overall.

Design Responses In response to these factors, I’m planning to implement passive cooling strategies revolving around air flow that utilizes the natural geographic pathways North and South, up and down the mountain. Courtyards allow airflow into the building, with operable windows throughout the facade and courtyard envelope to aid in cooling during the Summer.

Radiant-heating and cooling systems will be built into the roof and floor planes to reduce the cooling and heating loads of the VAV systems, and to better respond to individual program elements (Museum, Lobby, Cafe, Multifunction, etc).In addition, a perimeter colonnade allows the roof to extend 12.5’ beyond the building envelope, reducing direct solar paths into the building during the Summer months.

The Ruins site specifically features a steep topographic change from the lowest point by the Museum, to the highest adjacent to the roads and above the ruins. A simple colonnade was implemented surrounding this location to act as a formal pathway for visitors, and to provide slight shelter from the elements year-round.

Top: Lausanne in Various Seasons, Energy Consumption in Buildings related to Mechanical Systems, Clothing Insulation by Season Bottom: Site Panoramics

PASSI VE + ACTI V E S TRATE G I E S SPR IN G + FA LL The Spring and Fall months share very similar conditions: mild temperature, average humidity and precipitation, and high solar exposure throughout the day. While mechanical systems are necessary during this time of the year, utilizing daylighting and solar radiation will help in reducing the load on the mechanical systems to avoid or greatly reduce environmental effects and cost.

Featured Project: Aumkupfergrabben Museum, Berlin Design Considerations: High thermal mass, direct daylighting, natural ventilation in facade, integrated shading system.

PASSI VE + ACTI V E S TRATE G I E S SUMM ER The Summer months are not particularly hot in Lausanne.

However, the humidity can be quite high, and so the movement of air and light mechanical interventions within the building are crucial to avoiding discomfort. Additionally, shading elements and high thermal mass to absorb and diffuse heat across the design are important in maintaining cool and comfortable conditions on the interior.

Airflow throughout the building, though not exceptionally high, will play a key roll in this effort as well. Operable windows and courtyards interspersed through the building will help with a passive flow of air.

Featured Project: Teacher’s College in Chur, Switzerland Design Considerations: Integrated shading system in the facade, natural ventilation, curtain wall facade.

PASSI VE + ACTI V E S TRATE G I E S WINTER The Winter months are cold, but not particularly inhospitable. With low windspeed, temperate lows, and average precipitation, heating systems are required but need not be excessive. With opportunities to allow direct sunlight into the building, as well as absorb solar radiation with high thermal mass and operable systems, the mechanical responses do not need to be excessive either.

Systems that prioritize specific spaces rather than large open areas, or that are able to operate at different levels in a wide variety of zones, would be preferable to responding to changing populations and users throughout the day.

Featured Project: London Royal Academy of Arts, Exp. Design Considerations: High thermal mass, direct daylighting, effecient minimal mechanical systems.

PASSI VE + ACTI V E S TRATE G I E S SUN Lausanne experiences a low average number of sunlight hours through the year, with a maximum of about 8 in July.

To maximize effective use of these sunshine hours during the day, courtyards have been implemented to capture daylight and solar radiation, reflecting it into the surrounding spaces. This method is particularly effective during the Winter and Spring months when the weather is coldest.

Conversely, the colonnade system implemented is meant to combat solar transmission during the Summer and Fall, providing shading around the entire site and proventing direct solar heat gain. The curtain wall allows sunlight in during the Winter and Spring when it is most needed, and is largely obstructed during the summer to prevent cooling responses from the mechanical systems.

Natural ventilation became a priority in my design because the climate for Lausanne is so favorable. I found it to be exceedingly advantageous in its predictable flow over the course of the day, and with proper modulation could comfortably handle mechanical air quality responsibilities for a majority of the building for over half of the year.

M SU M ER

TER

N SU

WIN

SUN

PASSI VE + ACTI V E S TRATE G I E S TE M P ERAT U R E A green roof has been implemented to provide significant thermal mass, effective in all four seasons to either retain or deflect heat and cold. The facade system allows light into the building from the south face during the cooler months, while effectively shielding the interior from the light during the Summer months.

The courtyards allow heat and air to enter or exit the building from its core by way of sunlight and natural ventilation.

PASSI VE + ACTI V E S TRATE G I E S WIND

Summer Fall

The Ruins being enclosed means that the courtyard now enjoys cooler conditions during the Summer as the cold air sinks into the space, and warmer conditions during the Winter as the area is shielded by concrete and existing vegetation.

Winter

The primary focus of my design to best utilize this factor involves operable windows, enclosed courtyards, and mountain airflow to promote a movement of throughout the building during the warmer Summer and Fall months, while providing buffer zones during the colder Winter and Spring months to provide thermally massive units that are physically distanced from the wind.

Spring

Wind conditions throughout the year are extremely mild, and do not play a factor in particularly poor experiences.

With an average between 5 and 10 mph for the majority of the year and predictable wind directions based on time of day, the wind can be utilized as an asset to building functions rather than a factor to be designed against resisting.

Lausane Avg. Wind SPeed 5-10 mph 7-11 km/h

Airflow

MUSEUM

MULTIFUNCTION

ADMINISTRATIVE

PASSI VE + ACTI V E S TRATE G I E S S YST EM AN A LYS E S

HEATING

THE ADMINISTRATIVE AREAS SERVICE ALL OFFICES AND WORK ROOMS THAT WILL BE OPEN TO THE PUBLIC AND STAFF. SINCE IT IS EXPECTED THAT PEOPLE WOULD BE SPENDING LONG HOURS IN THESE SPACES, CONSISTENT TEMPERATURE WILL BE IMPORTANT.

THE MULTIFUNCTION AREA WILL HAVE A HIGHLY FLUCTUATING POPULATION THROUGHOUT THE DAY, BEING EMPTY IN ONE MOMENT AND FULL IN ANOTHER. A HYBRID OF RADIANT HEATING AND CAV SYSTEMS WILL HELP MANAGE THE FLUCTUATING CONDITION.

THE MUSEUM IS THE MOST STRINGENT CONDITION, REQUIRING INTENSELY CONSISTENT TEMPERATURE AND AIR QUALITY WITH A POTENTIALLY HIGH NUMBER OF PEOPLE IN A RELATIVELY CONTAINED AREA.

COOLING

THE ADMINISTRATIVE AREAS SERVICE ALL OFFICES AND WORK ROOMS THAT WILL BE OPEN TO THE PUBLIC AND STAFF. SINCE IT IS EXPECTED THAT PEOPLE WOULD BE SPENDING LONG HOURS IN THESE SPACES, CONSISTENT TEMPERATURE WILL BE IMPORTANT.

THE MULTIFUNCTION AREA WILL HAVE A HIGHLY FLUCTUATING POPULATION THROUGHOUT THE DAY, BEING EMPTY IN ONE MOMENT AND FULL IN ANOTHER. A HYBRID OF RADIANT COOLING AND CAV SYSTEMS WILL HELP MANAGE THE FLUCTUATING CONDITION.

THE MUSEUM IS THE MOST STRINGENT CONDITION, REQUIRING INTENSELY CONSISTENT TEMPERATURE AND AIR QUALITY WITH A POTENTIALLY HIGH NUMBER OF PEOPLE IN A RELATIVELY CONTAINED AREA.

A COURTYARD IS AVAILABLE TO AID IN VENTILATION AND COOLING DURING SUMMER MONTHS.

TWO COURTYARDS ARE AVAILABLE TO AID IN VENTILATION AND COOLING DURING SUMMER MONTHS.

AIR CHANGES IN THESE AREAS SHOULD BE FREQUENT, TO PREVENT WORKERS FROM FEELING AS THOUGH AIR QUALITY HAS STAGNATED AND TO MAINTAIN COMFORTABLE WORK ENVIRONMENTS.

AIR CHANGES IN THIS SPACE WILL BE SIGNIFICANT AS A RESULT OF A HIGH VOLUME OF PEOPLE IN A LARGE, ENCLOSED AREA.

VENTILATION

SYSTEMS

A COURTYARD IS AVAILABLE TO AID IN VENTILATION AND COOLING DURING SUMMER MONTHS.

RADIANT HEATING / COOLING SINGLE DUCT CONSTANT AIR VOLUME

THE MUSEUM IS THE MOST STRINGENT CONDITION, REQUIRING INTENSELY CONSISTENT AIR QUALITY WITH A POTENTIALLY HIGH NUMBER OF PEOPLE IN A RELATIVELY CONTAINED AREA.

TWO COURTYARDS ARE AVAILABLE TO AID IN VENTILATION AND COOLING DURING SUMMER MONTHS.

RADIANT HEATING / COOLING SINGLE DUCT CONSTANT AIR VOLUME

RADIANT HEATING / COOLING SINGLE DUCT CONSTANT AIR VOLUME

SERVICES + SUPPORT THE SUPPORT SPACES INCLUDE STORAGE AREAS, RECEIVING AREAS, THE KITCHEN(S), CAFE, BOOKSTORE, AND LOBBY. RADIANT HEATING SYSTEMS WITH DAYLIGHTING WILL AID THE SPACES THAT PEOPLE OCCUPY, WHILE INFREQUENTLY INHABITED SPACES WILL REQUIRE LESS SIGNIFICANT HEATING DURING THE DAY.

THE SUPPORT SPACES INCLUDE STORAGE AREAS, RECEIVING AREAS, THE KITCHEN(S), CAFE, BOOKSTORE, AND LOBBY. RADIANT COOLING SYSTEMS WITH DAYLIGHTING WILL AID THE SPACES THAT PEOPLE OCCUPY, WHILE INFREQUENTLY INHABITED SPACES WILL REQUIRE LESS SIGNIFICANT HEATING DURING THE DAY. OPERABLE WINDOWS ADDITIONALLY ALLOW FOR NATURAL COOLING.

THE NEEDS IN THESE SPACES ARE VARIED. THE KITCHEN REQUIRES MORE INTENSE VENTILATION THAN INFORMATION TECHNOLOGY OFFICES OR STORAGE, BUT MAY CALL FOR DIFFERENT SYSTEMS DEPENDING.

HVAC ALL-AIR SYSTEMS ADVANTAGES

ADVANTAGES

DISADVANTAGES

- LONG SYSTEM LIFESPAN

- HIGHLY POLLUTANT

- HIGHLY EFFICIENT HEATING AND COOLING:

- HIGHER UPFRONT COST THAN OTHER HVAC

- CONSISTENT AIR QUALITY

- DUCTS REQUIRE SIGNIFICANT SPACE

BECAUSE GEOTHERMAL ENERGY IS ALL ABOUT

SYSTEMS

- QUICK INSTALLATION

- DIFFICULT TO BALANCE AIR FLOW AND QUALI-

MOVING HEAT RATHER THAN CREATING HEAT.

- DISCHARGE LOCATION IS REQUIRED

- POTENTIAL FOR ENERGY CONSERVATION WITH OUT-

TY WITH VARIABLE SYSTEMS

THE EQUIPMENT CAN OPERATE AT 300 TO 500

- ENVIRONMENTAL CONCERNS ABOUT GREEN-

SIDE AIR

PERCENT EFFICIENCY

HOUSE GAS EMISSIONS

- HEATS AND COOLS CONCURRENTLY

- LOW ENVLRONMENTAL IMPACT

- SPECIFIC GEOGRAPHIC QUALITIES ARE RE-

- QUIET SYSTEM WHEN DESIGNED

- RENEWABLE HEATING AND COOLING

QUIRED TO FACILITATE INSTALLATION

- PROVIDES GOOD AIR QUALITY UNDER ALL VARIETIES

- NOT WEATHER DEPENDANT

- PERFORMS POORLY WITH SYSTEMS THAT RE-

OF LOAD

- EXCELLENT RELIABILITY AND LOW MAINTE-

QUIRE OUTSIDE AIR

NANCE REQUIREMENTS

- DIFFICULT TO INSTALL

- QUIET OPERATION: THE LARGEST COMPO-

- DIFFICULT TO MAINTAIN

HVAC ALL-WATER SYSTEMS ADVANTAGES

DISADVANTAGES

NENTS OF A GEOTHERMAL HEAT PUMP ARE

- MUCH MORE EFFICIENT AT HEAT TRANSFERRING

- INSTALLATION IS EXPENSIVE

INSTALLED UNDERGROUND

AND COOLING DOWN HOT AIR THAN ALL AIR SYSTEMS.

- REQUIRES HIGHER MAINTENANCE COMPARED TO

- REDUCED OPERATING COSTS

- OCCUPIES CONSIDERABLY LESS SPACE, AND CAN BE

ALL AIR SYSTEMS, SPECIFICALLY IN CONDITIONED

- HIGH EFFICIENCY HEATING

EASILY RETROFIT

AREAS

- QUIET OUTDOOR UNITS

- THROUGH CENTRAL SYSLEM, INDIVIDUAL ROOM

- IT IS DIFFICULT TO ENSURE REQUIRED VENTILATION

- QUIET FAN COILS

CONTROL IS POSSIBLE

-HARD TO CONTROL HUMIDITY, PARTICULARLY

- SIMULTANEOUS COOLING AND HEALING IS POSSIBLE

DURING SUMMER MONTHS AND IN ENCLOSED

- SOLAR AND WASTE HEAT CAN BE UTILIZED

SPACES

RADIANT COOLING SYSTEMS ADVANTAGES

DISADVANTAGES

- ENERGY EFFICIENT

- CONDENSATE FORMATION ON THE COLD RA-

- SUPERIOR INTERNAL COMFORT

DIANT SURFACE RESULTS IN WATER DAMAGE.

- GREATER ARCHITECTURAL FLEXIBILITY

MOULD FORMATION

- REDUCED OPERATING AND MAINTENANCE

- COMPLICATED CONTROLS REQUIRED SKILLED

COSTS

MAINTENANCE STAFF

- MORE EFFECTIVE CONTROL OF VENTILATION

- DIFFICULT TO ACCESS

- EASY TO COMBINE WITH HYBRID SYSTEMS

- EXPENSIVE TO REPLACE

ADDITIONALLY, THESE SPACES OCCUPY THE FULL LENGTH OF THE PROJECT, WHICH MAY CALL FOR A SPLIT SYSTEM.

RADIANT HEATING SYSTEMS ADVANTAGES

RADIANT HEATING / COOLING SINGLE DUCT CONSTANT AIR VOLUME

DISADVANTAGES

GEOTHERMAL SYSTEMS

DISADVANTAGES

- ENERGY EFFICIENT

- SUBSTANTIAL INITIAL INVESTMENT

- QUIET HEATING

- RISK OF LEAKS IN HYDRONIC SYSTEMS

- ALLERGY FRIENDLY

- RISK OF FIRE IN ELECTRIC SYSTEMS

- CONSISTENT TEMPERATURE

- REQUIRES SIGNIFICANT PLANNING FOR MAXI-

- FLEXIBLE FUELING; CAN RUN ON ANY COMBI-

MUM EFFECIENCY

NATION OF GAS, WOOD, OIL - AVOIDS DUCT WORK - EASILY SCALABLE

PASSI VE + ACTI V E S TRATE G I E S D ESIG N C O NS I DE RAT I O NS General Considerations It is my intention to design and implement a series of systems in my project that provide responsive control to building occupants. I want them to feel most comfortable in the spaces where they will be spending the majority of their time, and want to avoid static conditions that promote waste. As such, the systems designed should be environmentally conscious and easily adaptable to changing seasons and interior conditions.

- Responsive - Adaptive to Daily Activities - Avoid Large Carbon Footprint Visual Considerations I want to prioritize cleanly organized, concise systems. I want them to be invisible and of high quality, so that they can be felt but not seen. On the roof, I am happy to place systems within the green roof system provided that they are not too large or can be partially concealed. Since the roof is visible from the North end of the site, it is important that they appear visually minimal.

Ductwork, lighting elements, and pipes may be visible at roof level, although I would like to place some of these elements in trenches to reduce clutter overhead if the requirements are too significant to comfortably organize.

Audio Considerations It is crucial that the mechanical systems fade into the background audibly, and do not play a significant role in distracting occupants from the Museum Galleries, and Multifunction Room or Offices. This is less crucial in support spaces like the event kitchen or storage areas.

Physical System Considerations Elements may be more numerous if it reduces overall noise level and size of elements, but if they can be centralized for each half of the building, Museum and Public Use, then that would be preferable.

Left Page: Final mechanical axonometric Right Page: Mechanical System Vignettes, Conceptual Mechanical Plan, Conceptual Mechanical Section

PASSI VE + ACTI V E S TRATE G I E S SYS TEM CALC ULAT I O NS The selection for my systems included water-to-water air handling units connected to heat pumps and a geothermal circuit of boreholes. That meant I needed to size 4 systems: 1. Geothermal Boreholes 2. Heat Pumps (HP) 3. Air Handling Units (AHU) 4. Radiant Heating Coils By following the corresponding charts in the Architect’s Studio Companion, I was able to determine that I would need 35 total boreholes at a depth of 300’, with 3 HP’s, and two AHU’s. Two HP’s were dedicated to the museum wing, which encompasses a large area and requires a larger AHU. Separately, I calculated the number of coils required by dividing the corresponding square footages of each wing of the building by 400 square feet (the area covered by one loop of coils).

Right: Mechanical Systems Sizing Chart Right Page: Mechanical Systems Sizing Graphs for Heating and Cooling, and Spaces for Air Handling

PASSI VE + ACTI V E S TRATE G I E S M EC H AN ICAL S YS T E M S I chose to implement a geothermal system hooked into three heat pumps that distribute their payload to two separate water-to-water air handling units, one for each wing of the building. VAV units are installed in the duct work to provide indivudal control to each room, and low-profile exhaust vents for restrooms and kitchens have been implemented in the roof, concealed from sight by the green-roof system.

A radiant floor system has also been elected to help with the temperature control of occupied program spaces during the cooler months.

A

B

D

C

E

F

H

G

I

J

K

L

M

N

O

P

Q

R

S

T

U

1

SUPPLY

SUPPLY

SUPPLY

SUPPLY

SUPPLY

PRODUCED BY AN AUTODESK STUDENT VERSION

2

RETURN

RETURN

RETURN

AIR HANDLING UNIT 2 MAIN SUPPLY 4'-6" x 2'-0"

3

RETURN

AIR HANDLING UNIT 2

AIR HANDLING UNIT 1 MAIN SUPPLY 4'-3" X 2'-0"

AIR HANDLING UNIT 2 MAIN RETURN 4'-0" x 2'-6"

AIR HANDLING UNIT 1 MAIN RETURN 4'-3" X 2'-0"

4

AIR HANDLING UNIT 1

HEAT PUMP 1

AIR HANDLING UNIT 1 FRESH AIR INTAKE 5'-0" X 6'-0"

5

AIR HANDLING UNIT 1 EXHAUST 4'-0" X 6'-0"

HEAT PUMP 2

HEAT PUMP 3

AIR HANDLING UNIT 2 FRESH AIR INTAKE 7'-3" X 7'-0"

AIR HANDLING UNIT 2 EXHAUST 8'-0" X 4'-0"

RETURN

RETURN

V

PRODUCED BY AN AUTODESK STUDENT VERSION

PASSIVE + ACTIVE S TRATE G IE S RA D I A N T F LOOR I N G

1

2

3

4

5

6

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

APPENDIX 1 | BLACK & WHITE DRAWING SET

L AU SA N N E, S WI T Z ER L AN D

A RC H 513. 01 G RAD UAT E I N T EG RAT ED D ESI GN ST U D I O P RO F ES S O R : RO B ERTO VI O L A - O C H OA ST U D EN T : S K Y L E R M O N CA DA RO G ER WI L L I AM S U N I VER S I T Y SA AH P S P R I N G 2020

CONTENTS SH EET N U M B ER

S H EET N AM E

A0-00

C O N T EN TS

A0-01

O C C U PA N CY + F I X T U R ES

A0-02

EG R ES S

A0-03

SITE PLAN

A0-04

R EN D ER ED EL EVAT I O N

A1-01

RO O F P L A N

A1-02

G RO U N D F LO O R P LAN

A1-03

B U I L D I N G EL EVATI O NS

A2-01

B U I L D I N G S ECT I ONS

A2-02

C O U RT YAR D S ECT I O N

A2-03

WA L L AS S EM B LY

M1-01

M EC H A N I CA L P L A N BASEMENT

M1-02

M EC H A N I CA L P L A N GRO U ND FLO O R

M1-03

RAD I A N T H EAT I N G P LAN

M1-04

M EC H A N I CA L S YST EM AXO N

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

SKYLER MONCADA

Musée Romain de Lausanne-Vidy

LAUSANNE-VIDY ROMAN RUINS MUSEUM

ROGER WILLIAMS UNIVERSITY

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

CONTENTS S1-01

S T R U CT U RAL P L A NS

S1-02

S T R U CT U RAL S YST EM AXO N

A0-00

ROGER WILLIAMS UNIVERSITY

GENERAL NOTES: TOTAL BUILDING OCCUPANCY = 712 REQ. NUMBER OF EXITS = 3 NUMBER OF INCHES REQ. PER PERSON = 0.15" CALCULATED EXIT MEASUREMENT = 106.8" @ 32" PER DOOR, CALCULATED NUMBER OF DOORS = 3.4

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

24 TOTAL EXIT DOORS 12 PAIRS OF EXIT DOORS AT 32"

SPRING 2020 ROBERTO VIOLA-OCHOA

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

EXIT 01 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 02 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 03 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 04 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 05 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 06 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 07 2 DOORS @ 36 IN TOTAL 72 IN

POINT 5: 100'

POINT 4: 130'

POINT 1

IT

WORKROOM

WRS

WORKROOM

3

18

2

18

KITCHEN

STORAGE

PLAYROOM

BOOKSTORE

CAFE

IT

STORAGE

MECHANICAL

100

6

20

28

47

2

3

4

TWO DOORS

POINT 1

GALLERY-A

GALLERY-B

LAUSANNE, SWITZERLAND WATER + MEMORIES

GALLERY-C

67

67

50

TWO DOORS

TWO DOORS

TWO DOORS

WORKROOM 18

ADMINISTRATION 8

WRS 2

COURTYARD 01

COATS

MECHANICAL

LOCKERS

RESTORATION

2

4

4

8

MULTIFUNCTION

COURTYARD

COURTYARD

COURTYARD

267

02

03

04

MAY 21, 2020

TWO DOORS

LOBBY 6 POINT 3,4,5 WORKROOM

RECEIVING

18

6

SCALE: 1/16” POINT 1: 108' EXIT 08 2 DOORS @ 36 IN TOTAL 72 IN

EGRESS PLAN 1/16" = 1'

POINT 2 : 100' EXIT 09 2 DOORS @ 36 IN TOTAL 72 IN

POINT 3 : 110' EXIT 10 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 11 2 DOORS @ 36 IN TOTAL 72 IN

EXIT 12 2 DOORS @ 36 IN TOTAL 72 IN

A0-01

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA IT

WORKROOM

WRS

WORKROOM

3

18

2

18

KITCHEN

STORAGE

PLAYROOM

BOOKSTORE

CAFE

IT

STORAGE

MECHANICAL

100

6

20

28

47

2

3

4

TWO DOORS

SKYLER MONCADA GALLERY-A

GALLERY-B

GALLERY-C

67

67

50

TWO DOORS

TWO DOORS

TWO DOORS

WORKROOM ADMINISTRATION

18

8

WRS 2

COURTYARD 01

MULTIFUNCTION

COURTYARD

267

02

COATS

MECHANICAL

LOCKERS

2

4

4

RESTORATION 8

COURTYARD

COURTYARD

03

04

TWO DOORS

LOBBY

RECEIVING

18

6

BATHROOM LOCATIONS 1/16" = 1'

Musée Romain de Lausanne-Vidy

6

WORKROOM

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: VARIES

MEN'S RESTROOM 3/8" = 1'

WOMEN'S RESTROOM 3/8" = 1'

A0-02

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

A0-03

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

A0-04

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

BATHROOM EXHAUST SEE MECHANICAL DRAWINGS

BATHROOM EXHAUST SEE MECHANICAL DRAWINGS

KITCHEN EXHAUST SEE MECHANICAL DRAWINGS

Musée Romain de Lausanne-Vidy

KITCHEN EXHAUST SEE MECHANICAL DRAWINGS

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

A1-01

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

SKYLER MONCADA

PRODUCED BY AN AUTODESK STUDENT VERSION

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

EXISTING RUINS

EXISTING WATER

6 A#

5

25'-0"

11"Run x 5.5"Rise, 6' Dif.

IT

WORKROOM

WRS

WORKROOM

106

107C

108B

107D

KITCHEN

STORAGE

PLAYROOM

BOOKSTORE

CAFE

IT

STORAGE

MECHANICAL

101

103

105

118

120

115

113

117B

4

25'-0"

WORKROOM

COURTYARD 01

MULTIFUNCTION

COURTYARD

COATS

MECHANICAL

LOCKERS

COURTYARD

GALLERY-A

GALLERY-B

GALLERY-C

COURTYARD

RESTORATION

102

02

104

117A

121

03

110

111

112

04

114

WRS 108A

LOBBY

25'-0"

5

122

100'-0"

3

107B

ADMINISTRATION

A#

119

WORKROOM

RECEIVING

107A

116

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Ramp 1:35

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

Ramp 1:20

25'-0"

2

Ramp 1:23

Ramp 1:23

1

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

25'-0"

LAUSANNE, SWITZERLAND WATER + MEMORIES

525'-0"

1 B

C

D

E

F

G

H

I

J

K

A#

L

M

N

O

P

Q

R

S

T

U

V

MAY 21, 2020

SCALE: 1/16”

A1-02 PRODUCED BY AN AUTODESK STUDENT VERSION

A

PRODUCED BY AN AUTODESK STUDENT VERSION

A

B

D

C

F

E

H

G

I

J

L

K

N

M

P

O

R

Q

T

S

V

U

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO TOP-OF-COLONNADE 068'-7"

SPRING 2020 ROBERTO VIOLA-OCHOA

COURTYARD-WALL 061'-0"

ROUGH CONCRETE FINISH, PANELS @ 3' X 9'-4"

TOP-OF-ROOF 049'-0" RED-PAINTED COPPER PARAPET CAP OPERABLE MULLIONS, STEEL FINS w/MATTE BLACK FINISH, BUG SCREEN BEHIND

ROUGH CONCRETE FINISH

SANDBLASTED CONCRETE FINISH, CAST MONOLITHIC AS PANELS

CURTAIN WALL LOW-E DUAL PANED GLASS

FIRST-FLOOR 031'-0" GROUND-LEVEL 025'-0"

SKYLER MONCADA

BOTTOM-FOUNDATION 018'-8"

SOUTH ELEVATION 1/16" = 1'

B

D

C

E

F

H

G

I

J

K

L

M

N

P

O

R

Q

T

S

TOP-OF-ROOF 049'-0"

RED-PAINTED COPPER PARAPET CAP SANDBLASTED FINISH ON CONCRETE COLUMNS ROUGH CONCRETE FINISH

FIRST-FLOOR 031'-0"

TEMPERED GLASS PANELS, RED-PAINTED STEEL HANDRAIL

GROUND-LEVEL 025'-0"

SANDBLASTED FINISH ON CONCRETE BASE

BOTTOM-FOUNDATION 018'-8"

NORTH ELEVATION 1/16" = 1'

20

18

19

16

17

15

14

13

10

11

12

9

7

8

5

6

4

3

2

1

TOP-OF-COLONNADE 068'-7"

V

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

COURTYARD-WALL 061'-0"

U

Musée Romain de Lausanne-Vidy

A

COURTYARD-WALL 061'-0"

TOP-OF-ROOF 049'-0"

FINISH-FLOOR 031'-0" GROUND-LEVEL 025'-0" BOTTOM-FOUNDATION 018'-8"

LAUSANNE, SWITZERLAND WATER + MEMORIES

WEST ELEVATION 1/16" = 1'

MAY 21, 2020 1

2

3

4

TOP-OF-COLONNADE 068'-7"

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

SCALE: 1/16”

COURTYARD-WALL 061'-0"

TOP-OF-ROOF 049'-0"

FINISH-FLOOR 031'-0" GROUND-LEVEL 025'-0" BOTTOM-FOUNDATION 018'-8"

EAST ELEVATION 1/16" = 1'

A1-03

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

A

B

E

D

C

F

H

G

I

J

K

L

M

N

P

O

R

Q

T

S

U

V

SPRING 2020 ROBERTO VIOLA-OCHOA

SKYLER MONCADA TOP-OF-COLONNADE 068'-7" COURTYARD-WALL 061'-0"

FINISH-FLOOR 031'-0" GROUND-LEVEL 025'-0"

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

ADMINISTRATION 122 MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

WORKROOM 107A MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

COURTYARD MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

MULTIFUNCTION

01

COURTYARD

102

LOBBY

02

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

COURTYARD

119

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

03

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

GALLERY-A

GALLERY-B

GALLERY-C

COURTYARD

110

111

112

04

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

RESTORATION

RECEIVING

114

116

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

NORTH-SOUTH SECTION 1/16" = 1'

1

4

3

2

5

6

7

8

9

10

11

TOP-OF-COLONNADE 068'-7" COURTYARD-WALL 061'-0"

TOP-OF-ROOF 049'-0"

12

13

14

15

16

17

18

19

20

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

BOTTOM-FOUNDATION 018'-8"

Musée Romain de Lausanne-Vidy

TOP-OF-ROOF 049'-0"

FINISH-FLOOR 031'-0" GROUND-LEVEL 025'-0"

COURTYARD

COURTYARD

01

01

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

WORKROOM 107D MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

BOTTOM-FOUNDATION 018'-8"

LAUSANNE, SWITZERLAND WATER + MEMORIES

300' DEEP BOREHOLES @ 21' O.C.

MAY 21, 2020 EAST-WEST SECTION 1/16" = 1'

SCALE: 1/16”

A2-01

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

LAUSANNE, SWITZERLAND WATER + MEMORIES

GALLERY-C

COURTYARD

112

04

MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

RESTORATION

MAY 21, 2020

114 MECHANICAL DUCT REFER TO MECHANICAL DRAWINGS

SCALE: 1/8”

A2-02

PRODUCED BY AN AUTODESK STUDENT VERSION

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

7'-7"

TOP-OF-COLONNADE 068'-7"

SPRING 2020 ROBERTO VIOLA-OCHOA

12'-0"

COURTYARD-WALL 061'-0"

SKYLER MONCADA

18'-0" 6'-0"

FINISH-FLOOR 031'-0"

6'-4"

PRODUCED BY AN AUTODESK STUDENT VERSION

GROUND-LEVEL 025'-0"

BOTTOM-FOUNDATION 018'-8"

1

WALL ASSEMBLY 1/4" = 1'

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: VARIES

1

ELEVATION 1/4" = 1'

1

PLAN 1/4" = 1'

A3-01

PRODUCED BY AN AUTODESK STUDENT VERSION

Musée Romain de Lausanne-Vidy

TOP-OF-ROOF 049'-0"

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

A

B

D

C

25'-0"

25'-0"

25'-0"

E

25'-0"

F

H

G

25'-0"

25'-0"

I

25'-0"

25'-0"

J

25'-0"

K

L

25'-0"

M

25'-0"

25'-0"

N

25'-0"

P

O

25'-0"

25'-0"

R

Q

25'-0"

25'-0"

T

S

25'-0"

25'-0"

U

25'-0"

1

25'-0"

VAV BOX

VAV BOX

VAV BOX

SUPPLY

VAV BOX

SUPPLY

VAV BOX

VAV BOX

VAV BOX

VAV BOX

VAV BOX

VAV BOX

VAV BOX

SUPPLY

VAV BOX

SUPPLY

SUPPLY

25'-0"

RETURN

RETURN

AIR HANDLING UNIT 2 MAIN SUPPLY 4'-6" x 2'-0"

3

RETURN

25'-0"

AIR HANDLING UNIT 2

AIR HANDLING UNIT 1 MAIN SUPPLY 4'-3" X 2'-0"

AIR HANDLING UNIT 2 MAIN RETURN 4'-0" x 2'-6"

AIR HANDLING UNIT 1 MAIN RETURN 4'-3" X 2'-0"

4

AIR HANDLING UNIT 1

25'-0"

PRODUCED BY AN AUTODESK STUDENT VERSION

RETURN

HEAT PUMP 1

AIR HANDLING UNIT 1 FRESH AIR INTAKE 5'-0" X 6'-0"

5

AIR HANDLING UNIT 1 EXHAUST 4'-0" X 6'-0"

HEAT PUMP 2

HEAT PUMP 3

AIR HANDLING UNIT 2 FRESH AIR INTAKE 7'-3" X 7'-0"

AIR HANDLING UNIT 2 EXHAUST 8'-0" X 4'-0"

RETURN

RETURN

PRODUCED BY AN AUTODESK STUDENT VERSION

2

V

25'-0"

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

M1-01

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

25'-0"

11"Run x 5.5"Rise, 6' Dif. MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

2

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

25'-0"

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

25'-0"

3

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL SUPPLY REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

MECHANICAL RETURN REFER TO MECHANICAL DRAWINGS

25'-0"

4

1:23 Slope, 3' Difference

1:23 Slope, 3' Difference

5 AHU 1 EXHAUST VENT REFER TO MECHANICAL DRAWINGS

AHU 2 FRESH AIR INTAKE REFER TO MECHANICAL DRAWINGS

25'-0"

A

25'-0"

B

25'-0"

C

25'-0"

D

25'-0"

E

25'-0"

F

25'-0"

G

25'-0"

H

25'-0"

I

AHU 2 EXHAUST VENT REFER TO MECHANICAL DRAWINGS

25'-0"

J

25'-0"

K

25'-0"

L

25'-0"

M

25'-0"

N

25'-0"

O

25'-0"

P

25'-0"

Q

25'-0"

R

25'-0"

S

25'-0"

T

25'-0"

U

V

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

PRODUCED BY AN AUTODESK STUDENT VERSION

AHU 1 FRESH AIR INTAKE REFER TO MECHANICAL DRAWINGS

Musée Romain de Lausanne-Vidy

1

M1-02

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

SKYLER MONCADA

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

25'-0"

11"Run x 5.5"Rise, 6' Dif.

25'-0"

2

25'-0"

3

25'-0"

4

1:23 Slope, 3' Difference

1:23 Slope, 3' Difference

5

A

25'-0"

B

25'-0"

C

25'-0"

D

25'-0"

E

25'-0"

F

25'-0"

G

25'-0"

H

25'-0"

I

25'-0"

J

25'-0"

K

25'-0"

L

25'-0"

M

25'-0"

N

25'-0"

O

25'-0"

P

25'-0"

Q

25'-0"

R

25'-0"

S

25'-0"

T

25'-0"

U

V

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

PRODUCED BY AN AUTODESK STUDENT VERSION

25'-0"

Musée Romain de Lausanne-Vidy

1

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

SKYLER MONCADA

M1-03

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

SCALE: 1/16”

M1-04

A

B

25'-0"

D

C

25'-0"

25'-0"

E

25'-0"

F

25'-0"

H

G

25'-0"

25'-0"

I

25'-0"

J

25'-0"

K

25'-0"

L

25'-0"

M

25'-0"

N

25'-0"

P

O

25'-0"

25'-0"

R

Q

25'-0"

25'-0"

U

T

S

25'-0"

25'-0"

25'-0"

V

ROGER WILLIAMS UNIVERSITY

25'-0"

1

25'-0"

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

25'-0"

2

3

25'-0"

SPRING 2020 ROBERTO VIOLA-OCHOA

25'-0"

4

SKYLER MONCADA

5

A

B

25'-0"

D

C

25'-0"

25'-0"

E

F

25'-0"

25'-0"

H

G

25'-0"

25'-0"

I

25'-0"

J

25'-0"

K

25'-0"

L

25'-0"

M

25'-0"

N

25'-0"

P

O

25'-0"

25'-0"

R

Q

25'-0"

25'-0"

T

S

25'-0"

25'-0"

U

25'-0"

V

25'-0"

25'-0"

2

25'-0"

3

25'-0"

4

5

GROUND FLOOR PLAN 1/16" = 1'

A

B

25'-0"

D

C

25'-0"

25'-0"

E

25'-0"

F

25'-0"

H

G

25'-0"

25'-0"

I

25'-0"

K

J

25'-0"

25'-0"

L

25'-0"

M

25'-0"

N

25'-0"

P

O

25'-0"

25'-0"

R

Q

25'-0"

25'-0"

U

T

S

25'-0"

25'-0"

25'-0"

V

25'-0"

1

25'-0"

LAUSANNE, SWITZERLAND WATER + MEMORIES

25'-0"

2

MAY 21, 2020 25'-0"

3

SCALE: 1/16” 25'-0"

4

5

S1-01

BASEMENT PLAN 1/16" = 1'

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

25'-0"

1

Musée Romain de Lausanne-Vidy

ROOF PLAN 1/16" = 1'

PRODUCED BY AN AUTODESK STUDENT VERSION

ROGER WILLIAMS UNIVERSITY

ARCH 513: GRADUATE INTEGRATED DESIGN STUDIO

SPRING 2020 ROBERTO VIOLA-OCHOA

1

MAT SLAB + FOUNDATION WALL

2

BASEMENT COLUMNS

3

GROUND FLOOR FLAT SLAB

Musée Romain de Lausanne-Vidy

SKYLER MONCADA

LAUSANNE, SWITZERLAND WATER + MEMORIES

MAY 21, 2020

4

STRUCTURAL CONCRETE FACADE

5

GROUND FLOOR COLUMNS + COLONNADE

6

ROOF FLAT SLAB

SCALE: 1/16”

S1-02