LAYI

NG

TRA

CKS

ARC

HIT

ECTU

RAL

DES

IGN

TW

O /

AN

Y PL

ACE

/ CAT

HY

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OO

D /

s090

4930

SITE

PARTI

DESIGN DEVELOPMENT

READING SEMINAR

LAYING OF TRACKS

CORTEN DRAINAGE ROOF

CON

TEN

TS

1.

4.

5.

9.

12.

22.

1.

SITE

EL

CLO

T, B

ARC

ELO

NA

RAILWAY COVER, CARRER DE VALENCIA

LONG RECTANGULAR SITE BISECTED BY ROAD. STRONG FEELING OF DIRECTIONALITY ALONG THE SITE’S LENGTH, WITH MOUNTAINS AND CALATRAVA BRIDGE LYING TO THE NORTH AND JEAN NOUVEL’S TORRE AGBAR TO THE SOUTH.

RAIL LINES RUN DIRECTLY BELOW THE SITE AND BECOME OPEN AIR AT THE NORTH END OF THE SITE.

FURTHER ABSTRACT FORMS RUN ALONG THIS TRAJECTORY THROUGHOUT BARCELONA AS THE LAYING OF THE RAIL LINES AND OTHER DIAGONALS CAUSED A CUTTING OF THE REGULAR CERDA GRID. ABSTRACTLY SHAPED PLOTS OF LAND AND PARKS LIE ON THIS ROUTE.

CITY PLAN 1:100000

LOCATION PLAN 1:20000

2.

N

JAGNEFAITMILTON. A ROLLING MASTERPLAN.DONALD JUDD. MARFA TEXAS CONCRETE WORKS.HIGHLINE PARK. NEW YORK.

3.

PART

IEX

PLO

RIN

G R

AIL

LIN

ES

TRACING THE RAIL LINES THAT RUN DIRECTLY BELOW THE SITE. A CROSSING RAIL ON THE NORTERN HALF OF THE SITE CONNECTS THE TWO SETS OF TRACKS.THE LAYING OF TRAIN LINES HAS FORCED AN ABSTRACTION UPON THE GRID SYSTEM OF BARCELONA.SIMILARLY, THE SITE EXPERIENCES AN ABSTRACTION TO THE REGULAR PARALLEL TRACKS THAT RUN UNDER THE SITE BY THE CROSSING TRACK.

DESIGN

RAIL LINES THAT RUN BELOW THE SITE ARE PROJECTED UPWARDS.THESE LINES TAKE ON THE FORM OF CONCRETE WALLS IN LANDSCAPING THAT THEN ADAPT AND BECOME WHAT SHAPE THE ENTRANCE SEQUENCE AND SPACES.

CONCRETE WALLS FOLLOW RAILS DIRECTIONALITY, BUT BRICK MASSES PUSH IN AND OUT OF THESE TO PROVIDE STATIONARY PROGRAMMATIC SPACES.SOCIAL SPACE AND STUDIO SPACE ARRANGED AS TWO LONG STRIPS EMPHASISING THE DIRECTIONALITY OF THE SITE.INTEREST LIES IN THE CROSSING RAIL CREATING AN ABSTRACTION FROM THE PERFECTLY PARALLEL SITE LINEARITY.

4.

DES

IGN

DEV

ELO

PMEN

T

5.

6.

7.

CROSSING RAIL LINE FORMS THE MAIN CIRCULATION ROUTE AND DRAWS PEOPLE ACROSS.SLIGHT INCLINE ON THIS ROUTE ACCENTUATES ENTRANCE SEQUENCE AND CROSSING PATH.

ABSTRACT MOVEMENT CREATED BY STAIRCASES CAN CONTINUE TO STUDIO ONE.JUXTAPOSITION BETWEEN THE RAIL LINES RELATING TO THE SITE AND THE ANGLING OF STUDIO ONE MAKES AN EVENT SPACE.

8.

REA

DIN

G S

EMIN

AR

HO

LL &

ACC

ON

CI, S

TORE

FRO

NT

FOR

ART

& A

RCH

ITEC

TURE

9.

SITE

PLA

N 1

:500

IN 1992 STEVEN HOLL AND ARTIST VITO ACCONCI WERE COMMISIONED TO RENOVATE THE AGEING FACADE OF THE STOREFRONT FOR ART & ARCHITECTURE.SITUATED ON THE CORNER OF A BLOCK THAT MARKS THE INTERSECTION OF THREE DISTINCT NEW YORK CITY NEIGHBOURHOODS: CHINATOWN, LITTLE ITALY AND SOHO, THE EXTENT OF THE GALLERY IS A LIMITED NARROW WEDGE WITH A TRIANGULATED EXHIBITION INTERIOR. ITS DOMINANT FEATURE IS THE BUILDINGS LONG FACADE: A SERIES OF WALL PANELS THAT PIVOT VERTICALLY OR HORIZONTALLY, SO THAT THE ENTIRE LENGTH OF THE BUILDING CAN OPEN UP ONTO THE STREET. WHEN THE PANELS ARE LOCKED IN THEIR OPEN POSITION THE FACADE DISSOLVES AND THE INTERIOR SPACE OF THE GALLERY EXPANDS OUT ONTO THE PAVEMENT.

THE MOST DRAMATIC EFFECT OF THE DESIGN IS ITS RELATIONSHIP BETWEEN THE INTERIOR SPACE AND THE EXTERIOR NEW YORK CITY STREET. IT BLURS THE CONVENTIONAL INSIDE/OUTSIDE BOUNDARY. IT BECOMES AN EXTENSION OF THE ROAD INTO THE INTERIOR AND A SPILL OUT OF THE INTERIOR ONTO THE STREET. AN ATTEMPT TO PHYSICALLY INTEGRATE AN OFTEN CLOSED WORLD OF ART, OFTEN ONLY WELCOMING THOSE WHO EXIST WITHIN THAT WORLD, OUT ONTO THE STREET FOR ALL THE PUBLIC. THE FACADE CONVEYS A MESSAGE OF APPROACHABLE ART.

THE SAME SENSE OF BLURING OF BOUNDARY BETWEEN INSIDE AND OUTSIDE IS PRESENT IN THE DANCE CENTRE. THE ENTRANCE IS A LINEAR PROCESSION RATHER THAN AN ABRUPT POINT. THE LONGEST WALL GUIDES VISITORS OVER THE SITE TOWARDS TWO PATHS, ONE TO PASS THE RECEPTION, THE OTHER AS A QUICK ROUTE FOR REGULAR VISITORS AND STAFF. IN PLAN THE DOORS SEPARATING THESE ROUTES INSIDE FROM THE EXTERIOR ARE STAGGERED. THERE IS NOT A BLUNT CLEAR DIVIDE BETWEEN INTERIOR AND EXTERIOR.

REA

DIN

G S

EMIN

AR

HO

LL &

ACC

ON

CI, S

TORE

FRO

NT

FOR

ART

& A

RCH

ITEC

TURE

10.

FOLDING WALLS

WALLS SUBTLY FOLDING, DERAILING TO GUIDE CIRCULATION.

WALLS/ RAISED FINS

WALLS CUT INTO AND PUNCTURED BY BRICK MASSES SO THAT THEIR FORM BECOMES EXPRESSED AS RAISED FINS.

WALLS COMBINE

COMBINATION OF WALLS THAT JOIN AND ARE PUSHED OUT OFF THEIR RAIL LINES TO CREATE SPACE.

PART

I DIA

GRA

MS

1:50

0RA

IL L

INES

TAKE

A N

UM

BER

OF

DIF

FERE

NT

FORM

S

11.

LAYI

NG

OF

TRAC

KSG

ROU

ND

FLO

OR

PLA

N 1

:200

1

2

3

6

4

7

5

8

9

1. KITCHEN. PREPARED FOOD SENT DIRECTLY UP TO CAFE ABOVE VIA FOOD HATCH.SERVICE ACCESS TO KITCHEN THROUGH DOOR ON LEFT.

2. FEMALE CHANGING ROOM.

3. OFFICE SPACE.

4. LIFT.PROVIDES ACCESS TO CAFE ABOVE.

5. WARM UP/INFORMAL SPACE FOR DANCERS.

6. MALE CHANGING ROOMS.

7. TOILETS.

8. STUDIO TWO.

9. STORAGE SPACE.

10. RECEPTION.

10

12.

FIRS

T FL

OO

R PL

AN

1:2

00

1

2

3

1. CAFE.

2. STUDIO ONE.

3. STORAGE SPACE.

13.

ROO

F PL

AN

1:2

00

1

2

3

4

1. CORTEN ROOF.

2. ROOFLIGHTS.

3. CONCRETE CANOPY.CURVES OVER FROM VERTICAL CONCRETE WALL.

4. ROOFLIGHT FOLLOWS CIRCULATION ROUTE.

1

2

3

14.

CRANKED LONG SECTION A-A 1:100

A

A

B B

16.

SECTION B-B THROUGH STUDIO ONE1:50

18.

CORTEN STEEL DRAINAGE GULLEYS

ENCLOSING ROOF AND CONCRETE FINS

BRICK PARTSSTUDIOSRECEPTION

CIRCULATIONDANCER ROUTE IN REDPUBLIC IN CONCRETE

CONCRETE PARTSENTRANCE AND CIRCULATION WALLSCHANGING ROOMS AND STORAGE

EXPLOSIONTEXTURE APPLIES TO ALL SURFACES WITHIN A PART.

19.

PERSPECTIVE SECTION THROUGH STUDIO TWO

20.

CORT

EN D

RAIN

AGE

ROO

FEX

PRES

SIO

N O

F D

IREC

TIO

NA

LITY

, LIN

KS S

TUD

IO S

PACE

S

21.

ROOF DETAIL DRAINAGE SYSTEM CORTEN STEEL, STRUCTURAL CONCRETE FINS & INSULATION

1:20

THE CONCRETE FINS OF STUDIO ONE SUPPORT A CORTEN STEEL ROOF THAT FALLS DOWN THE FACADE OVER STUDIO TWO TO SHAPE THE ROOF.

IT ACTS AS A CONTINUOUS GUTTER FROM BACK OF DANCE CENTRE TO FRONT, WATER COLLECTS IN A SMALL POOL ON GROUND LEVEL AT FRONT.

ARTICULATES THE STUDIOS AS SOMETHING SPECIAL AND WORKS TO ENCLOSE THEM AS ONE FORM.

EXPR

ESSI

ON

OF

DIR

ECTI

ON

ALI

TY, L

INKS

STU

DIO

SPA

CES

22.

23.