SKIN IN THE GAME
Project Premise:
“Skin in the Game,” is designed to launch you into your Architectural Studies. Skin in the Game engages the notion of the built envelope: the shell, the surface, the skin upon which architectural intentions are etched. Building envelopes mediate between interior and exterior, providing the interface between open and closed conditions. Considering the composition of the building skin provides a first exercise in developing formal vocabulary for studying architecture. But the project is more than that. “Skin in the Game” also refers to a sense of personal responsibility, ownership, and risk that are inherent when we invest in something: in this case, investing in design. Skin in the Game, as a personal investigation, challenges you to work collaboratively, to respond to rapid deadlines, to take ownership of learning new skills, and to invest your time, energy, and creativity into the program. At the same time, Skin in the Game implies a sense of risk that is worth bearing – even if it exposes you to critique
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PARTNER:
KATELYNN ELLIOTT
PRECEDENT STUDIES
TROXELL HALL, IOWA STATE
TROXEL HALL AT IOWA STATE UNIVERSITY IS A HALL USED FOR ITS AUDITORIUM. TROXEL HALL HAS AN OVERHANGING ROOF AND LOUVERS INFRONT OF THE WINDOWS, THAT ALLOW FOR SHADE AND THE FILTERING OF LIGHT. THE BUILDING FACES SOUTH PROVIDING PLENTY OF SUNLIGHT. JOHNATHAN RAMSEY, WITH BNIM ARCHITECTS OUT OF DES MOINES, IOWA, WAS THE ARCHITECT THAT DESIGNED
TROXEL HALL.
CHICAGO ART INSTITUTE
THE CHICAGO ART INSITUTE IS A 264,000 SQUARE FOOT ART MUSEUM THAT HOLDS 20TH TO 21ST CENTURY ART. IT IS THE SECOND LARGEST ART MUSEUM IN THE
UNITED STATES. IT INCLUDES: A DAY LIT COURT, EDUCATIONAL FACILITIES, A
GARDEN, AND ART EXHIBITIONS. IT IS BUILT ON A NORTH-SOUTH AND EAST-WEST AXES, MAKING IT PERFECTLY INTUNE WITH THE SUN. RENZO PIANO IS THE ITALIAN ARCHITECT WHO DESIGNED THE MODERN WING OF THE CHICAGO ART INSTITUTE.
TROXEL HALL ON IOWA STATE UNIVERSITY CAMPUS AND THE CHICAGO ART INSTITUTE BUILDING SHOW MANY ARCHITECTURAL THEMES AND ELEMENTS. THE ONES WE FELT WERE MOST PROMINENT WHERE ADDITIVE VS SUBTRACTIVE, HORIZONTAL VS VERTICAL, LIGHT VS SHADOW, AND WE ADDED PATTERN AND PLANES/DEPTH/LAYERS.
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WE FOUND MANY OF THESE THEMES OVERLAPPED EACH OTHER IN BOTH OF THE BUILDINGS. SHADOW VS LIGHT WAS SOMETHING WE EXPLORED A LARGE AMOUNT. WE FOUND MANY OF THE REASONINGS THE ARCHITECT DESIGNED THEY WAY THEY DID WAS BECAUSE OF LIGHT AND SHADOW. THE LOUVERS ON THE BUILDINGS CREATE ADDITIVE AND SUBTRACTIVE ELEMENTS AS WELL AS PATTERN, PLANES, DEPTH AND LAYERS. BUT, THEY WERE BUILT TO FILTER THE LIGHT, AND WHEN FILTERING THEY CREATED SHADOWS THAT PRESENTED PATTERN. THE OVERHANGS ON THE BUILDINGS ARE PLANES THAT HAVE PATTERN AND ARE ADDITIVE/SUBTRACTIVE. WITH ANYTHING THAT HAS THE ADDITIVE/SUBTRACTIVE ELEMENTS WILL CREATE PLANES, DEPTH, AND LAYERS WHICH WE FOUND A LOT THROUGHOUT OUR PROJECT. WE EXPLORED THESE THEMES THROUGH MAKING MODELS, DRAWINGS, AND OUR MONTAGES.
ARCHITECTURAL ELEMENTS STUDIES
ADDITIVE VS SUBTRACTIVE
PLANES, DEPTH, & LAYERS
PLANES, DEPTH, & LAYERS
HORIZONTAL VS VERTICAL
pattern
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ADDITIVE VS SUBRTRACTIVE
PLANES, DEPTH, LAYERS
LIGHT VS SHADOW
HORIZONTAL VS VERTICal
pattern
HORIZONTAL VS VERTICal
montages
These are my montage studies. I used the architectural elements that we learned about and made them into physical 3d montages.
this exercise helped me to think in 3d form and how that relates to buildings in the sense they are also drawings that become 3d physical objects.
20 40 60 80
this project exercised designing building façades. each elevation needed to have 20%, 40%, 60%, AND 80% WINDOW USE. THIS WAS MY FIRST ITERATION.
MY PARTNER AND I WANTED TO CHALLENGE OURSELVES OUTSIDE OF USING A SQUARE FOR THE BUILDING FORM. THIS IS WHAT WE CAME UP WITH AS OUR SECOND ITERATION. IT IMPLEMENTS THE ARCHITECTURAL ELEMENTS WE STUDIED PREVIOUSLY.
THE FINAL BRIEF WAS DESIGNING FOR AN ART MUSEUM, WHERE WE GOT TO CHOOSE THE KIND OF ART WE WERE EXHIBBITING. MY PARTNER AND I CHOOSE SCULTURES. FOR OUR BUILDING WE DECIDED TO DO HANGING SCULTURES, AND FOR OUR SITE WE DESIGNED AN ADVENTUROUS EXPIERENCE WHERE YOU FIND HIDDEN SCULPTURES.
THIS BUILDING DESIGN WAS MORE EFFECTIVE AS AN ART GALLERY SPACE THAN THE PREVIOUS DESIGN. THIS U-SHAPED BUILDING IS USED FOR CEILING HANGING SCULPTURES. THERE IS AN OVERHANGING ROOF TO HELP WITH SHADING LIGHT. THE HORIZONTAL AND VERTICAL WINDOWS ARE INSPIRED FROM THE CHICAGO ART INSTITUTE AND TROXEL, AS WELL AS OUR MONTAGES. ON THE LEFT OF THE SOUTH SIDE THERE IS THE ACCORDIAN DOOR TO ALLOW SCULPTURES TO BE MOVED IN AND OUT. THE LARGE WINDOW ON THE NORTH SIDE IS FOR AN AMAZING VIEW OF THE REFLECTIVE POND, AND A DOOR THAT LEAD TO IT. THE SUN LIGHT ON THE CEILING ALLOWS FOR MORE LIGHT. THE BUILDING IS FACING THE SOUTH, DUE TO THE LARGE WINDOW ON THE NORTH, MAKING SURE THERE ISNT TOO MUCH BLINDING LIGHT. overall we wanted a simple but interesting building design. we were inspired to create a space that allowed visitors to explore and find beautiful pieces of work as the journey through the space.
THE FINAL SITE INCLUDES A REFLECTION POOL LOCATED BEHIND THE BUILDING HIDDEN BEHIND A LARGE WALL MADE OF TEXTURED WHITE CONCRETE. IT HAS SIX L-SHAPED WALLS THAT ALLOW FOR SCULPTURES TO “HIDE” IN UNTIL YOU REACH THEM. THESE WALLS ARE ONE WAY GLASS SO WHEN YOU DO REACH THE SCULPTURES YOU CAN SEE SCULPTURES THAT ARE HIDDEN IN THE TREES. THE LAND IS ELEVATED IN THE FRONT CORNERS AND BACK.
THESE ARE PERSPECTIVE DRAWINGS
