Comprehensive Documentation Portfolio 2015

#TEAMOOZYX

ELIZABETH COONEY + ALEXANDRA MCCARTHEYCLEMSON UNIVERSITY SCHOOL OF ARCHITECTURECOMPREHENSIVE STUDIO | MAY 2015

#TEAMOOZYX

F R A X E L digital performance theater

COONEY + MCCARTHEY | CLEMSON UNIVERSITY SCHOOL OF ARCHITECTURE4

Table of Contents

PG. 50-49

FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX 5

Meet the Team

Site + Project Overview

The Concept

The Process

The Proposal

Technical Resolution

PG. 8-13

PG. 6-7

PG. 14-17

PG. 18-25

PG. 50-49

PG. 50-59


Meet the TeamClemson University School of Architecture Graduates of 2015


Elizabeth Cooney

Master of Architecture (with Certificate in Digital Ecologies) - Clemson University 2015Bachelor of Arts in Architecture - Clemson University 2012

Recipient of Henry Adams Medal for Clemson University, class of 2015.

Alexandra McCarthey

Master of Architecture ( with Certificate in Architecture + Community Build) - Clemson University 2015Bachelor of Arts in Architecture - Miami University 2013

Finalist for Henry Adams Medal for Clemson University, class of 2015.


THE SITE + PROJECT OVERVIEWFREEDOM PARKWAY OVERPASS | ATLANTA, GEORGIA

WHAT IS THIS ALL ABOUT?In being charged with designing a digitally inspired theater, we saw a unique opportunity to push the envelope in a new type of performance architecture, one that is non-traditional and embraces ideas of movement and verticality as it simultaneously addresses the challenges of the site in Atlanta. Coming from differing performance backgrounds, dance and figure skating, we sought to incorporate these with the more digital aspects of the theater’s missions to create a combination of unique performance type. The theoretical client being Georgia Tech’s digital media studies, the intent of the theater complex is to bring

together talented performers and digitally focused students to jointly create these non-traditional performances, studying the interaction between the real and virtual. The architecture intended to house these missions needed to effectively represent both the students and performers themselves while still addressing the site issues of fragmentation and tension. Additionally to the theater program, the site contains studio rehearsal spaces and laboratories for digital studies, as well as dorms for the performers and students to live together while working together.


UNIQUE SITE CONDITIONSThe Freedom Parkway Overpass is a unique site condition within the context of Atlanta, Georgia. This concrete intervention was built at this point along the freeway to protect cars from falling icicles that may form on the adjacently-located 1000’ tall cellular tower. The topography varies greatly along the transverse axis of the overpass, and the freeway itself spans over a highly active pedestrian highway. Pedestrian trails also run parallel to the road, and nearby skate parks attract athletes of varying ages. As such, it was important to integrate the Digital Performance Complex across the length of the site to emphasize the existing pedestrian

activation of the site and encourage healthy living by breaking up the proposal into programmatic nodes. The site has multiple points of access from the ground, and parking is available on either side of the infrastructure. Service vehicles may pull up to the ground level of the vertical core for every building. Handicap Accessible parking is available close to the main ramp entrance of the complex, as well. The plinth denotes these multiple entrances through the use of fiber-optic concrete parquet, and uses illuminating technology as a means of way-finding and connection.

FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX 11AERIAL IMAGE: CITY-SCALE SITE

FREEDOM PARKWAY OVERPASS

DOWNTOWN ATLANTA

FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX 13MAPPING: CITY-SCALE NODES


THE CONCEPTTENSION + FRAGMENTATION


CONCEPT

MONOLITH STACKED BOX SCATTERED COMPLEX

In developing the concept for our digital performance theater, we instantly knew it would be important to address the issues of tension, fragmentation, and movement across the site. Our schematic explorations studied varying levels of fragmentation, and then critically considered for how each scheme would integrate into the site. The highest level of fragmentation literally disconnected portions of program, and scattered these pieces across the site. The pieces are simple translucent beacons that push through the ground and connect to the concrete plinth. The pieces encourage activation across the plinth and utilize what is

currently a barren landscape. As a natural point of tension with vehicular and pedestrian traffic, the Digital Performance Theater Complex takes advantage of natural forces pulling people towards it and connects communities across the city.

FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX 17SITE TENSION PARTI DIAGRAM


THE PROCESSGOOD DESIGN MANIFESTO + DESIGN RULES


DESIGN RULES To create a compelling system that changes the relationship between architecture, performance, and audience, we created a series of ‘design rules’ to guide our decisions and embody our views on integrative design. These rules determined the aesthetic, spatial, and functional qualities we felt presented the nature of the center and its connection to the city and the site.

Rule #1: Nodes as translucent shards. Good Design is rooted in place from the dimensions of the surrounding landscape, culture, and built density. The intersection of these dimensions as they occur in the site, as well as with the people who populate them, form the basis for creating integrated architecture.

Rule #2: Fissure connection as light. Good Design ensures that it is the performances, building uses, and existing conditions that create the form and sequence of experiences, rather than the other way around. These forces to create the hierarchy of space that people experience through the building at a human scale. Space should always be manipulated to its most efficient form, avoiding excess.

Rule #3: Horizontal movement as digital. Construction and material strategies should continue to challenge traditional use, as ar-chitectural form can challenge its setting. These components should active the users’ senses and feel relatable, whether or not the choices are conventional.

Rule #4: Vertical movement as vegetation. [Good Design - Details + Articulation] Good Design manipulates detail in a manner that teaches the user the meaning behind the architecture and enhances user experience. Choices of articulation of details are meticu-lously thought out and enhance the architecture’s relationship to its theory and place.

Rule #5: Circulation as complete system. Pace can be articulated in the same sense that structure may be articulated in a building; the dynamics created by these transitions of speed can directly impact the psychological experience of the users of the space.


1NODES AS TRANSLUCENT FRAGMENTS

Good design as it relates to site and place.


2

Good design as it relates to form.

FISSURE CONNECTION AS LIGHT


3

Good Design as it relates to construction and materials.

CIRCULATION AS NESTED CORE


4

Good design as it relates to details and sustainability

NODE ROOFS AS GREEN SURFACES


Good design as it relates to movement.

PLINTH AS DIGITAL SURFACE


THE PROPOSALSITE INTERVENTION + DESIGN DEVELOPMENT


Looking in depth at Atlanta and the issues that could influence our site decisions, we noted that the city itself is organized in pods, connected by high volume and speed vehicular traffic ways. There is a distinct separation between vehicular movement and pedestrian movement that occurs both on a larger scale, and even on a smaller scale at our actual site. In connecting nodes of importance across the city (places of performance, venues, buildings, etc.), we noted that the overpass is at a tension point directly in the middle of a transfer between high density urban grid and a more organic sprawl. Pulling on these points of tension and fragmented nodes across the city, we drew them directly into our site, placing our own fragmented nodes

on the site, skewing the largest one to be in tension with the orthogonal grid and allowing the natural movement across the plinth to dictate these points of tension and fragmentation. Fiber optic embedded parquet across the site both on the plinth and off activates the public space to assist in way-finding and event spaces. Because of the existing pedestrian systems integrated into the area, there are two main entrances to the complex; one entrance is a long, acropolis type ramp that branches off the existing walkways through the studio node and onto the plinth. For a more immediate vertical transition, the theater node touches down to the shorter entrance area to pull users directly up and into the architecture.

Site PlanDistributed Access + Integration

FRAXEL DIGITAL PERFORMANCE THEATER COMPLEX 29SITE PLAN: LANDSCAPE DESIGN


LEVEL 01Dorm Node: Lobby

Lobby / ReceptionMen’s RestroomWomen’s Restroom

123

Proscenium Node: Shop EntryEntry Lobby Men’s RestroomSet Shop Women’s RestroomCostume Shop Mechanical (Elevator)

1 52 63 7


LEVEL 02Studio Node: Mechanical

Mechanical (Plinth)Mechanical (Elevator)Pedestrian TrailService Access

1234

Dorm Node: Residence1-Bedroom ApartmentLoungeCommunal BathroomStorage

1234

Proscenium Node: ShopVestibuleBathroom + Vertical Circulation Core

Men’s Restroom

Set Shop Storage

Women’s Restroom

Costume Shop Storage

Storage

12

5

3

6

4

7

UP

UP

DN


UP

UP

DN


LEVEL 03Studio Node: Lobby

Lobby / ReceptionPublic Men’s RestroomPublic Women’s RestroomStorageEntry Ramp

12345

Dorm Node: Residence1-Bedroom ApartmentLoungeCommunal BathroomStorage

1234

Proscenium Node: Plaza12

Mid-Level PlazaDouble-Skin Cavity

UP

UP

UP

UP

UP


UP

UP

UP

UP

UP


LEVEL 04Studio Node: Residence

123456

2-Bed ApartmentMen’s RestroomWomen’s RestroomMen’s ShowersWomen’s ShowersData / Server

Dorm Node: Computer Lab1234

Computer LabMen’s RestroomWomen’s RestroomData / Server

Proscenium Node: Lobby123456

Lobby / ReceptionBox OfficeAdministrationDigital Art GalleryMen’s RestroomWomen’s Restroom

Black Box Node: Lobby1

5

2

6

3

7

4

8

Lobby

Kitchenette

Ticketing

Mens’ Restroom

Faculty Offices

Women’s Restroom

Collaborative Office

Mechanical (Elevator)

UP

UP

UP

UP


UP

UP

UP

UP


LEVEL 05

Proscenium Node: Mechanical12

Performer SupportStage Support + Mechanical

Dorm Node: Mezzanine123

Computer Lab MezzanineQuite Study SpaceStorage

Studio Node: Studio123

54

StudioOpen Rehearsal SpaceMen’s Restroom + Showers

StorageWomen’s Restroom + Showers

Black Box Node: Support1234

Performer SupportStage SupportMen’s RestroomWomen’s Restroom

UP

UP

UP

UP


UP

UP

UP

UP


Proscenium Node: Theater123

Proscenium TheaterMen’s RestroomWomen’s Restroom

Black Box Node: Theater123

Black Box TheaterMen’s RestroomWomen’s Restroom

Studio Node: Cafe + Lounge12345

CafeCafe StorageLoungeMens’ RestroomWomen’s Restroom

LEVEL 06 DN

UP

UP

UP


DN

UP

UP

UP


LEVEL 07Proscenium Node: Technical

1234

Catwalk SystemLight BoothSound BoothServer / Data

Black Box Node: Technical123456

CatwalksTension GridSound BoothLight BoothMen’s RestroomWomen’s Restroom

UP

UP

DN


UP

UP

DN

In activating the overpass and emphasizing the play between material types, we chose to use the platform line in elevation as a datum, to give a distinct boundary at which the aesthetic movements of the skin would change. Above the datum is a translucent skin with thick mullion boxes that pierce the skin and frame the significant activities in each space. Below the datum line is a transparency that fully reveals the building activities. This also gives the nodes an even lighter presence on site, creating floating beacons especially during the night time.

ElevationLongitudinal, South-facing


From our original concept of fragmentation and how that affected the splitting of building programs into four nodes across the site, a connective element was formed that would become a visual and implied tie between the buildings. Though not connected across the buildings, this ‘fissure’ is a dynamically flowing armature that leaves a memory imprint as one travels between buildings, and acts as the common element of acoustical and lighting control. Though not visible from the exterior, because of the translucency of the nodes at night time, the fissure is represented through

light which can be seen slashing through the buildings. In the proscenium node, the fissure also becomes a kinetic element that can transform and move to accommodate different seating and performance needs.

Site SectionLongitudinal, South-facing



TECHNICAL RESOLUTIONDETAILS + SYSTEMS

Integrative design for us means to touch on all these aforementioned qualities simultaneously at every stage in the design process. In order to move forward in creating a system that works in harmony and makes a fluid experience for the user, all aspects of structure, form, system, etc. be touched upon from the beginning. Being able to develop these building qualities simultaneously allows them develop in action and response to each other. Especially in regards to the experience moving through the complex, these choices create a system that considers social and sustainable issues – e.g. natural lighting abilities in all

spaces through use of translucent or transparent material, and connections between complexes to foster integration of all users and activities. Intervention and site activation for us became the moves between horizontal and vertical, with all circulation being pulled out of the conditioned envelope. Digital intervention takes place on the horizontal level with embedded fiber optics and projection assisting in way-finding, where vertical takes advantage of landscape and brings vegetation into and up the circulation spaces.

INTEGRATIVE DESIGN

TRANSVERSE BUILDING SECTION

PLATFORM LEVEL0' - 0"

LOBBY LEVEL12' - 0"

THEATER LEVEL24' - 0"

SKY LEVEL74' - 0"

GROUND LEVEL2.0

-15' - 0"

GROUND LEVEL-39' - 0"

STORAGE LEVEL-27' - 0"

ROOF LEVEL86' - 0"

MECH LEVEL36' - 0"

RIGID INSULATIONUNDER GRADE BEAM

GRADE BEAM

RIGID INSULATION

RADIENT HEATING TUBES DRAINAGEGRAVEL

FOUNDATION

DRAINAGE PIPE

STRIP FOOTING

ANCHOR BOLTS

CONCRETEBLOCK

WIDE FLANGECOLUMN

COLUMNLEVELING BASE

DOUBLE SKINSPACE

EXTERIORCURTAIN WALL

STEEL FLOORSTRUCTURE

STEEL DECKING

STEEL ANGLECONNECTION

WIDE FLANGEBEAM

CONCRETESLAB

RIGIDINSULATION

RADIANTHEATINGIN CONCRETESLAB

ALUMINUMMULLION

MULLION TIE TOWALL

ALUMINUM BOX

DOUBLE PANEOPERABLE LOW-E WINDOW

INNER BOXMULLIONBEYOND

INSULATIONWRAPS INTOBOX

SPIDERMULLIONS

THE FISSURE

LED STRIPS

RIGID ACOUSTICMATERIAL

TIE BACK TOSTRUCTURE

CONTINUOUSINSULATION

ROOF CAP

GREEN/SOIL

GRAVEL

DRAINAGEBOARD

EPDMMEMBRANE

STEEL DECKING

STEELSTRUCTURE

TENSION GRID

BOX BRACINGWIDE FLANGE

ROOF DRAIN

LEVELINGMATERIAL

DRAINAGEBOARD

FIBER OPTICEMBEDDEDPARQUET

METAL GRATE


52

53

Detail A

Specifically, the stairs activate the connection between the human and the architecture. They are located between the inner and outer skins of the building, between which the structure is also embedded. This allows the users to experience a semi-conditioned space capitalizing on natural ventilation, light, vegetation, and structure while encouraging active movement through the height of each node.

THE STAIR CAVITY

Proscenium Node RTU units for supply and return are located on opposite

sides of roof

Return for Proscenium Theater and Mechanical Spaces is through the roof of the

Technical Floor

Proscenium Theater supply is forced through the floor

Mechanical Floor acts as a “super duct” that forces air

into the floors above

Lobby supply comes through the floor and returns through

the ceiling

Supply comes through the floor and returns through the ceiling


RTU units for supply and return are placed on opposite sides of

the roof. units service the storage and shop spaces below

only.

Service Level provides separate supply for Proscenium Theater

and Mechanical spaces

Passive Systems:Operable windowsCross VentilationVentingStack Effect

Active Systems: Variable Air Ventilation Energy Recovey Ventilator Dehumidification

01 GROUND

02 SHOP

03 ROOF

04 LOBBY

05 MECH

06 THEATER

07 TECH

08 ROOF

THEATER NODE

06.2 SERVICE

Mechanical SystemsProscenium Node: Plinth Half

LONGITUDINAL BUILDING SECTION

PLATFORM LEVEL0' - 0"

LOBBY LEVEL12' - 0"

THEATER LEVEL24' - 0"

SKY LEVEL74' - 0"

GROUND LEVEL2.0

-15' - 0"

GROUND LEVEL-39' - 0"

STORAGE LEVEL-27' - 0"

ROOF LEVEL86' - 0"

MECH LEVEL36' - 0"

CONCRETEBLOCK

RIGID INSULATIONUNDER GRADE BEAM

WIDE FLANGECOLUMN

INTERIORSOUND PANEL

INTERIORSHEATHING

SOUNDATTENTUATION

INSULATION

GRADE BEAMRIGID INSULATION

RADIENT HEATING TUBES

SUPPLY AIR VENTS

ALUMINUM BOX

DOUBLE PANEOPERABLE LOW-

E WINDOW

INNER BOXMULLIONBEYOND

INSULATIONWRAPS INTO

BOX

SPIDERMULLIONS

TRANSLUCENTPOLYCARBONATE

THE FISSURE

LED STRIPS

RIGID ACOUSTICMATERIAL

FIBER OPTICEMBEDDED PARQUET

TIE BACK TOSTRUCTURE

CONTINUOUSINSULATION

ROOF CAP GREEN/SOIL

GRAVEL

DRAINAGEBOARD

EPDMMEMBRANE

RIGIDINSULATION

STEEL DECKING

STEELSTRUCTURE

RETRACTABLECABLE MOTOR

TENSION GRID

BOX BRACINGWIDE FLANGE


STEEL DECKING

RIGIDINSULATION

CONCRETESLAB

RIGIDINSULATION

RADIANTHEATING

IN CONCRETESLAB

LINK LIFTSYSTEM

STEEL ANGLECONNECTION

WIDE FLANGEBEAM

ROOF DRAIN

DRAINAGEGRAVEL

RIGID INSULATION

FOUNDATION

DRAINAGE PIPE

STRIP FOOTING

ANCHOR BOLTS

COLUMNLEVELING BASE

ALUMNIUMPANELING

DOUBLE SKINSPACE

EXTERIORCURTAIN WALL

EXISTINGOVERPASS

STRUCTURE

LEVELINGMATERIAL

DRAINAGEBOARD

FIBER OPTICEMBEDDED

PARQUET

ALUMINUMMULLION

MULLION TIE TOWALL

54


Another highly vertical component in the buildings is their core – all active systems are located in this area and are readily accessible, branching out underneath and through the floor slabs to maximize their efficiency and compatibility with their fellow built strategies.

VERTICAL CORES

Detail BProscenium Node

Mechanical SystemsProscenium Node: Ground Half

RTU units for supply and return are located on opposite

sides of roof

Return for Proscenium Theater and Mechanical Spaces is through the roof of the

Technical Floor

Proscenium Theater supply is forced through the floor

Mechanical Floor acts as a “super duct” that forces air

into the floors above

Lobby supply comes through the floor and returns through

the ceiling



RTU units for supply and return are placed on opposite sides of

the roof. units service the storage and shop spaces below

only.

Service Level provides separate supply for Proscenium Theater

and Mechanical spaces

Passive Systems:Operable windowsCross VentilationVentingStack Effect

Active Systems: Variable Air Ventilation Energy Recovey Ventilator Dehumidification

01 GROUND

02 SHOP

03 ROOF

04 LOBBY

05 MECH

06 THEATER

07 TECH

08 ROOF

THEATER NODE

06.2 SERVICE

56

Typical Structural Systems

STRUCTURAL LOAD TRACING DIAGRAM

Proscenium Node

57

1ROOF SPAN3’ Deep TrussesWide-flange joists

2 20’ X 20’ GridSteel Frame Construction

PRIMARY STRUCTURE

3 10’ Joist Spacing Steel Frame Construction

SECONDARY STRUCTURE

4 Steel Cross Bracing Over-under Cable Bracing

LATERAL BRACING

5 Cast in place concrete

RETAINING WALL

6 Continuous strip footing

FOUNDATIONS


Our team had incredibly ambitious intentions in creating these performance spaces that activated many facets of what was seemingly simple about the concept of ‘digital performance.’ In the end, visions of verticality, tension, fragmentation, dance, digital, nodes, translucency, light, and all the other integrated concepts came to fruition in the Fraxel Digital Performance Center, a unique venue connecting the city and thrusting it into the new era of the digital. Just as we are combining performing and digital arts, architecture is a combination of art and science. Do it for science!

CONCLUSION

#TEAM OOZYX

Comprehensive Documentation Portfolio 2015

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