faceting book jacqueline rowe 4 30

COPYRIGHT JACQUELINE ROWE 2015

All Rights Reserved ©

FACETINGFIELD OF

ARTIST HOUSING FOR WRITERS

This publication is a documentation of the fulfillment of Florida International University’s Accelerated Masters Degree of

Architecture Program

JACQUELINE ROWE

FIU SPRING 2015MASTER THESISPROFESSOR ALFREDO ANDIA

MASTERS THESIS PROJECTSPRING 2015

MIAMI, FL

A master’s project is a design proposal developed and defended by the student that is an original contribution to the field. In the School of Architecture, a master’s project is a two-semester, creative exploration of a question relevant to the field, developed in research and design. Students in their final year must complete a Master’s Project governed by the School of Architecture.

The Master of Arts in Architecture is a post- professional degree program that enables students to pursue advanced studies in three areas: theory, applied research and special topics in practice. Individual areas of concentration are pursued through course work and independent study and may include the philosophy and history of design, digital technologies and visualization, mapping, technology, sustainability, neuroscience and architecture, furniture and industrial design, advanced topics in design and sustainable development. These concentration areas are supported by focus topics in the FIU SOA curriculum and allow students to pursue advanced research combining cross-disciplinary course work with faculty areas of specialization.

MASTERS THESIS PROJECT SPRING 2015

FAC-ET-NIG v.

1. a small plane surface (as on a cut gem)2. to cut facets on3. a similar surface cut on a fragment of rock by the action of water, windblown sand, etc.4. any of the definable aspects that make up a subject (as of contem-plation) or an object (as of consideration)

/FELD/ OF FAC-ET-NIG n.

1. a flat planar surface cut on a volume, clustered together and dissolved on a gradiant

In the past decade a large number of critical design practices have began to use the genre of “architectural installation” to explore the more suggestive and experi-mental part of architecture. These works are freed from function, clients, and code regulations.

They remove the idea that architecture is exclusively about functionality, comfort, and shelter. These installa-tions have become central to emerging practices. They have allowed for the exploration of the core architectural thinking of the authors, advancing thelimits of the discipline.

INSTALLATION PROCESS

INSTALLATION FORMULA

INSTALLATION EXPERIMENTS

INSTALLATION OPERATIONS

INSTALLATION FORM OPTIMIZATION

INSTALLATION IMAGES

INSTALLATION IMAGE

1. Add centroid points to rectangular surface


2. Create irregular shapes of varying sizes around irregualr shapes


3. Create and elevate smaller irregular aperature sizes inside each larger shape at varying heights and sizes


4. Connect Aperature edges to large shape edges


5. Distort volumes by cutting facets in surfaces, repeat, creating a disolving gradient


6. Create cracks and break apart faceting volumes


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INSTALLATION ELEVATION

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INSTALLATION ELEVATION

INSTALLATION PERSPECTIVE

INSTALLATION KIT-OF-PARTS ASSEMBLY

PRECEDENTS

PRECEDENTS- CLUSTERING

PRECEDENTS- DISSOLVING

PRECEDENTS- CLUSTERING

PRECEDENTS- ARANDA LASCH

PRIMITIVES

PRIMITIVES


PRIMITIVES

PRECEDENTS- ELEMENTAL CASA OCHO


GROTTO

RULES OF SIX


PRIMITIVES

PRIMITIVES


FRACTAL POOLS

PROCESS

experiments

these series of experiments

use different combinations of

modules that change in height

and size opening to create a clustering pattern that accum

ulates and fades

experiments

these series of experiments use different combinations ofmodules that change in heightand size opening to create a clustering pattern that accumulates and fades

PROCESS

experiments


expe

rimen

ts

thes

e se

ries

of e

xper

imen

ts

use

diffe

rent

com

bina

tions

of

mod

ules

that

cha

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in h

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tan

d si

ze o

peni

ng to

cre

ate

a cl

uste

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patt

ern

that

ac

cum

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es a

nd fa

des

PROCESS

experiments


experiments


PROCESS

PROCESS- INSTALLATION MODEL

PROCESS

INSTALLATION TO ARCHITECTURE ELEVATION

APERTURE STUDY

APERATURE STUDY

HISTORY OF SITE

The Sutro Baths were a large, privately owned swimming pool complex near Seal Rock in San Francisco, California, built in the late 19th century. The facility was financially unprofitable and is now in ruins. Lands around the site have been integrated into the Golden Gate National Recreation Area. On March 14, 1896, the Sutro Baths were opened to the public as the world’s largest indoor swimming pool establish-ment. The baths were built on the western side of San Francisco by wealthy entrepreneur and former mayor of San Francisco (1894–1896) Adolph Sutro. Before it burned to the ground, the structure filled a small beach inlet below the Cliff House, also owned by Adolph Sutro at the time. Both the Cliff House and the former baths site are now a part of the Golden Gate National Recreation Area, operated by the United States National Park Service. The baths struggled for years, mostly due to the very high operating and maintenance costs. Shortly after closing, a fire in 1966 destroyed the building while it was in the process of being demolished. All that remains of the site are con-crete walls, blocked off stairs and passageways, and a tunnel with a deep crevice in the middle. During high tides, water would flow directly into the pools from the nearby ocean, recycling the two million US gallons (7,600 m³) of water in about an hour. During low tides, a powerful turbine water pump, built inside a cave at sea level, could be switched on from a control room and could fill the tanks at a rate of 6,000 US gallons a minute (380 L/s), recycling all the water in five hours.

Facilities included six saltwater pools and one freshwater pool equipped with 7 slides, 30 swinging rings, and 1 springboard; a museum displaying an extensive collection of stuffed and mounted animals, historic artifacts, and artwork; a 2700 seat amphitheater, and club rooms, 517 private dressing rooms, and an ice skating rink.

SUTRO BATHS- SAN FRANCISCO, CA

SUTRO BATHS- SWIMMING LIFESTYLE

SUTRO BATHS- HISTORY

CLIFF HOUSE- SAN FRANCISCO, CA

SUTRO BATHS- HISTORY

STUDIO NARRATIVE

The “Vestals” were sculptures of virgin priestesses that maintained the fire in ancient roman cities. The carved clothing, veils, and infula that dressed the vestal sculptures suspended the city of Rome from its infrastructure and sordidness. The effect of the Virgin Vestals have evolved dramatically since Rome. The projects developed in this Master Studio are the “Vestals of the Now.”. The consumption of Art has grown drastically in the past two decades. This boom has been escorted with the explosive expansion of major museums, art fairs, galleries, art collectors, and record breaking prices for art pieces. What about the artist?

This studio explores how architecture can say something fundamental about how humans live. The main human-space-tactic the students consider during their Master Project are based on field explorations they developed in one-to-one installations in the previous semester. These explorations are by its nature unequivocally “pure” and absolutely “useless.”

The explorations of the “useless” has been at the epicenter of architectural progress. Useless exercises such as the Barcelona Pavilion, the fish sculptures of Frank Gehry, and the sketches of the domino plan are a small array of examples of “non-useful” projects that have sparked significant architectural development in the discipline.

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SAN FRANCISCO POINT LOBOS, CA LOCATION MAP

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PRECEDENT- GROTTO LIGHTING

SUTRO BATHS- SITE IMAGES

NORTH VIEW

SOUTH VIEW


NORTH VIEW

NORTH VIEW

WEST VIEW

WEST VIEW


WEST VIEW


NORTHWEST VIEW

PROJECT RESULTS

“Cities need artists. This city lost a fortune of creative energy. Returning artists to San Francisco is like replanting native plants and reintroducing indigenous fauna, restoring a balance in the human biosphere.”

Housing is a major issue for artists in San Francisco. The city does well compared with others around the nation when it comes to funding artists’ work. But the city’s efforts to create affordable live/work spaces for artists haven’t panned out. Many local artists are now worrying the high cost of housing will force them to leave the city and abandon their creative community. The city’s arts and culture industry, pumps roughly $1.4 billion a year into the local economy.

“Art is part of the brand for San Francisco,” says Randy Cohen; an artist housing activist, “You know San Francisco has many positive attributes, but, globally, it’s thought of as a great cultural city,” he says. “If your artists are leaving town, you’re putting a key component of your brand at risk.”

While San Francisco searches for solutions to its housing crunch, less expensive cities like Seattle, Baltimore and Detroit are jumping on the opportunity to cultivate their own cultural brand, and they’re offering artists some enticing housing incentives.

Artist that live directly in San Francisco can no longer afford it and are moving to the neighboring more affordable such as Oakland. “Cities need artists. This city lost a fortune of creative energy. Returning artists to San Francisco is like replanting native plants and reintroduc-ing indigenous fauna, restoring a balance in the human biosphere.” Art that makes money tends to come only after many years of prac-tice and struggle, unlike other ways of money-making; and some art-forms that are not visual can have even more difficult monetary struggles. “The struggle to produce something marketable may take decades, while an artist matures and develops ideas,” Segal says. “San Francisco has no place left for the unfolding of creative genius, except for the genius of brilliant commercial commodities that make fortunes.”

The philosophy of this artist housing project is to provide a space with a live/work environment to serve as a retreat for writers, poets, journal-ist and other artist that combine art into the written word. The site is located in the ruins of the former Sutro baths of San Francisco, with Point Lobos to the North; the historic Cliff House to the South and the North Pacific Ocean to the West. The concept was to re-vitalize the ruins into not just a sightseeing landscape on the tourist travel guide, but a place for celebration and production of the culture that makes San Francisco the city it is. Inspired by the surrounding cliff faces and caves, the project called for an intervention that does not interrupt the characteristics and existing effect of the ruins but rather co-habitat with the environment and enhance it. The result is a faceted artificial and natural ground-scape that emerges into habitable space, building up towards the cliff’s edge and dissolving along the sea’s edge. The habitable space takes the form of a barnacle from the sea, scaled to the size of a cave-like structure similar to existing grottos along the sea edge.

The grotto is an artificial structure or excavation made to resemble a cave. Since the structural unit of a grotto are rocks of the natural land-scape, the challenge of this project was to develop a set of modular boulders that combine in a way that defies a conventional sense of order. The solution uses a combination of unique faceted concrete rocks, joined along their edges to create an aggregation. The result is a wildly ordered three-dimensional pattern that never repeats the same way twice. As was common with eighteenth-century English gardens, this proposal continues the grotto’s traditional fea-tures inside; with lighting effects due to opening in the rocks, leaving its inhabitants while a sense of mysterious fantasy and poetic spatial relations.

CONCEPT IMAGES- FACETING BARNACLES

CONCEPT DIAGRAM- INTERACTION WITH FACETING FIELD

INITIAL DESIGN PERSPECTIVES

INITIAL DESIGN SKETCHES

ARTIST HOUSING LIVING

THINKING/ POOLS + SEATING

FLORR PLAN

ELEVATIONS

FACETINGARTIST HOUSING

SUTRO BATHS, SAN FRANCISCO, CA

3D VIEWS



FLORR PLAN

ELEVATIONS



3D VIEWS



FLORR PLAN

ELEVATIONS



3D VIEWS




FLORR PLAN

ELEVATIONS



3D VIEWS

INITIAL DESIGN PERSPECTIVES

Balcony

Oceanside- Rock gradient- Dissolve

Relax

Thinking Pools

Artist Housing- Writer’s Think Grotto

Cliff Edge

Seating

Lounging

Kitchen

SolariumLive/Work

SolariumLive/Work

SolariumLive/Work

Dining

Bath

DIAGRAM- MASSING + PROGRAM

Balcony

Oceanside- Rock gradient- Dissolve

Relax

Thinking Pools

Artist Housing- Writer’s Think Grotto

Cliff Edge

Seating

Lounging

Kitchen

SolariumLive/Work

SolariumLive/Work

SolariumLive/Work

Dining

Bath

AERIAL VIEW

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SITE PLAN

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RENDERED ROOF PLAN

APERTURE LOCATIONS

FLOOR PLAN

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WRITING/ THINKING GROTTO



BATHROOM

ARTIFICAL FACTED LANDSCAPE/ INSPIRATION POOLSENTRY/ LIVING SPACE

DINING

KITCHEN

PROGRAM




BATHROOM

ARTIFICAL FACTED LANDSCAPE/ INSPIRATION POOLSENTRY/ LIVING SPACE

DINING

KITCHEN

LAYERING OF SPACES

INTERNAL GLASS PORTALS

OVERALL

LAYERING OF SPACES- INTERNAL

LAYERING OF SPACES- GLASS PORTALS

LAYERING OF SPACES- OVERALL

ART

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ZOOMED IN PLAN- WRITING/ THINKING GROTTO

KITCHEN

DINING

WRITING/THINKING GROTTO

CL

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KITCHEN

DINING


CL

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HINK ING




UP

RENDERING PREVIEW

NORTH RENDERING

EAST RENDERING

AERIAL RENDERING

WEST RENDERING

WEST RENDERING- BALCONY VIEW

INTERIOR RENDERING - ENTRY LIVING SPACE

INTERIOR RENDERING- WRITING/ THINKING GROTTO

EXTERIOR RENDERING- ARTIFICAL FACETED ROCK LANDSCAPE

EVENING RENDERING- ARTIFICAL FACETED ROCK LANDSCAPE

MICRO RENDERING- ARTIFICAL FACETED ROCK LANDSCAPE

MICRO RENDERING- APERTURE LOOK-IN

ELEVATIONS

EAST ELEVATION

NORTH ELEVATION

ELEVATIONS

SOUTH ELEVATION

WEST ELEVATION

SECTIONAL PERSPECTIVE

UNDERSIDE RENDERING

KITCHEN

DINING




BATHROOM

ENTRY/ LIVING SPACE

ARTIFICAL FACTED LANDSCAPE/ INSPIRATION POOLS

KITCHEN

DINING




BATHROOM

ENTRY/ LIVING SPACE

ARTIFICAL FACTED LANDSCAPE/ INSPIRATION POOLS

SUPERJURY FINAL

SUPER JURY MASTER PROJECT FINAL REVIEW

MODEL IMAGES

MASTERS THESIS PROJECTSPRING 2015

JACQUELINE ROWE

faceting book jacqueline rowe 4 30

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