If you notice, I have included You Tube videos of the Sendai Mediatheque and the Galerie La Fayette in Berlin on this blog as examples of the fourth dimension for vertical volumes.
I have designed the vertical travel up the store, made modifications to my previous ground interventions (Some of the knolls have shifted and some have been added). Some seating configurations have been added and retought as recommended by Ted.
Two more items I will be testing are knolls/mounds inside the central stage at ground level and casual seating areas within the elevated podium as recommended. I am still trying to digest the angled columns, I am going to sleep on that one, I don't know if a regular vertical column is the best option.
The elevations don't have labels as they are in progress, they are only for testing scale, proportions, language, etc. I will be finesing those in Photoshop as I study the fourth dimension with the Genius Bar.
During my elevation I started to study in the Genius Bar the relationship between level heights within the Genius tower itself, ie: If I am at level 3 of the G-Bar then only a 5'6" person will be able to peek inside the harvesting level, and if you are at level 4 of the G-bar then you are still not fully out. It probably sounds like nonsense, and therefore I will probably try to explaining with a quick section, if worth it.
Any comments or thoughts?
PLAZA SITE PLAN
GROUND LEVEL - FLOOR PLAN
MEZZANINE LEVEL - FLOOR PLAN
HARVESTING LEVEL - FLOOR PLAN
RETAIL EXPERIENCE - FLOOR PLAN
ROOFSCAPE PLAN
SOUTH ELEVATION -
OPEN DOORS
SOUTH ELEVATION -
CLOSED DOORS
WEST ELEVATION - OPEN DOORS
WEST ELEVATION - CLOSE DOORS
CROSS SECTION AA
CROSS SECTION AA 
LONGITUDINAL SECTION BB - POSTED ON 09-15-07
4 comments:
Eddie,
Your project looks great and is coming along nicely. The angled columns seem to work for me. They offer a level of uncertainty in an otherwise certain proposal. They push against the grain and bring a kind of depth to the project.
On the interior I find the spatial organization a constant process of disorienting / re-orienting, and think it is successful in this execution. Both actors and audience change roles constantly. As a result, one knows they are watching while the other finds their way. The process inverts iteslf once one finds stable ground.
I have two issues that you might think about.
I have been wondering if the glass rail at the roof line shouldn't respond similarly to the glass wall at street level. The lower wall is dynamic when the place is open and speaks volumes about inhabitation. The roof scape is rather mute. Similarly, the elevations are a bit too quite, though the columns help. Is there a way to adjust / light / bend / fold / the glass wall as it meets the sky? The proportion of the retail floor window was always so graceful, but is being overpowered by the full glass front and side. THe proportions are not as elegant as they once were.
My other beef is the G bar tube. Why isn't this simply the corner of the building? What gave it away for me was how the glass panels change to open differently at the street level. ALl the others open up to form a canopy, these two open out to reveal the G bar. What if the round tube went away and became a square tube that didn't pussy foot about being the corner? The glass could open similarly to the rest of the street wal, but its occupancy would be very different. The glass might not open the same, but similar to the rest. It might also not be a square but more a parallellogram. Stil, this might be set back from the corner just enough to allow traffic to pass, but visually interject itself a bit.
The Euclidean geometry of the tube seems a vestige of your original scheme. The rest has evolved so far, that I fear it is not as strong as we once beleived.
Thank you! I think is great that the project is speaking and revealing that areas are clear and that I am still not comfortable with some. The roofscape is something I feel has yet to be a destination, it felt to me as whatever space. Is good to post and then think about it at different times in the day, go online and think about it some more. Unfortunely, time is of the essence I have to tackle all the areas you are talking about before we finish.
The glass skin at the upper level is rather flat and at one point I thought I should introduce a system like the NANAWALL. Don't panic! I won't be so commercial and promise to study the skin with a metaphor of a curtain or veil we discussed during the intensive. A glass veil or curtain that bends and ruffles to reveal the inside I think could create skin, level of transparency, and tectonics. Perhaps I'll put together a sketch tomorrow.
For the Cilynder I always thought that if it remain in its true shape and I represented its supporting structure as a web, that it could still be successful, sort of like the verticals at the Sendai Mediatheque by Toyo Ito. However, I think your point about this corner being less pussy foot and more bolt of lightning will be more dramatic and something to be seen!
Eddie,
I like the new drawings you have posted. I see your concept developing into a very descriptive set of documents! I think the angled columns give your building intersting contrast to the, what I see as, 3 main verticle elements, each side of the main space and the G bar. Should there be more, less... I can't wait to see the next studies!
Eddie,
very well planned project and lots of very good ideas in there! you did a very respectful job.
The only thing that I WOULD LOVE to wonder about are these beautiful trees in the plans on the (sidewalk) that never show up in elevations!
The trees look great in plans, but you're right these trees cant be in elevations,
why?
Are these trees could be visual barriers?
I wonder if trees work well for you here?
if yes,what kind of tree should be here? what height? olive tree? apple tree?
I respect so much your metaphors and that you are not sooo commercial.( your Nana wall comment )! but aren't we designing a commercial place? there is no commercial metaphors??? are commercial and metaphor opposites?!
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