_Phase Discover
SITE: NESTED WITHIN A SERIES OF HIGHWAYS IN CULVER CITY
The network of highways create a natural center to the city that could be utilized as a place of connection and experimentation. The exploration of this concept can be seen in my deep investigation of circulation throughout the site. I aimed to encourage dynamic movement that could increase opportunity of visual or physical connection between groups.
Here you can see my iterative design process to determine how people would move throughout this complex site. Parts of this process included diagramming access points, greenery locations, wind direction, among other elements. This circulation study ultimately helped me to determine both my narrative to connect people together form all over the city as well as bring forward the appropriate architectural form.
_Phase Define
PURPOSE, NARRATIVE, EXPERIENCE, TYPOLOGY
Between the 90 and the 405 is an experimental narrative towards the disconnect from those who live in the city, and the homeless. The exploration of this concept can be seen in my deep investigation of circulation throughout the site. I aimed to encourage dynamic movement that could increase opportunity of visual or physical connection between groups. In an effort to study biomimicry, I became most interested in the structure of a dragonfly’s wings as the complex web of structural veins in a wing reflected the complex network of the highways. The result is a systematic, closed-loop, network of circulation that parasitically weaves through an existing network of roads while weaving together groups of people from all different strings of life. This concept felt appropriate for a place as diverse and progressive as downtown Los Angeles.
As a part of our learning process was to understand architecture through nature. In an effort to study biomickery, I became most interested in the structure of a dragonfly’s wings as the complex web of structural veins in a wing reflected the complex network of highways in which our site is placed. Due to their remarkable similarities, I sought to apply both, conceptually and structurally, a systematic, closed-loop, network of circulation that parasitically weaves through an existing network of roads while weaving together groups of people from all different strings of life. This concept felt appropriate for a place as diverse and progressive as downtown Los Angeles.
As a part of our learning process was to understand architecture through nature. In an effort to study biomickery, I became most interested in the structure of a dragonfly’s wings as the complex web of structural veins in a wing reflected the complex network of highways in which our site is placed. Due to their remarkable similarities, I sought to apply both, conceptually and structurally, a systematic, closed-loop, network of circulation that parasitically weaves through an existing network of roads while weaving together groups of people from all different strings of life. This concept felt appropriate for a place as diverse and progressive as downtown Los Angeles.
After defining my narrative and purpose for this project and completing thorough site analysis, the form came together through a series of circulatory tubes weaving together pieces of programs as created by the “in between” space of the highway. Below is an exploded diagram representing the layers of components and how they come together.
10 WEEK VISUAL TIMELINE OF THE PROJECT
_Phase Develop
FORM, STRUCTURE, MATERIAL
In an effort to better understand the actual kit of parts of my building, I did a 3 dimensional paper facade study. The dragonfly lattice represents the outermost skin and glazing of the building with the inner rungs that support the floor plates acting as beams and columns.
_Phase Deliver
2 DIMENSIONAL REPRESENTATION: SECTIONS, RENDERS, SECTIONS, CONSTRUCTION
Like any successful design project, 2 dimensional drawings are used to better understand parts within our project at the human scale. The project become misunderstood by others through section, plan, and rendering.
In crafting our floor plans, Emma and I thought about which spaces would be best suited for particular programs or pieces of art. For example, on the long curved walls, El Anatusi's textile quilts were best suited for those spaces as Nenguidi's tensile installations were best suited in our double height gallery space as well as in our structural pit located east of the project. The project contains multiple gallery spaces, a cafe, and educational space on black art and cultural history in the San Luis Obispo area and beyond. Users wander and curve through spaces being led from one part to another by the form, light, and the artwork.
