Grasso phillip sample_booklet

NJIT_COAD | 504G-506G COMPREHENSIVE DESIGN STUDIO | SPRING 2015

COLUMN LIKE I SEE ‘EM

An Artist Retreat :Live, Work, Show.

PHILLIP GRASSO

Design Narrative

Architectural Concept

Architectural DrawingsBuilding Plans

Building SectionsWall Sections

DetailsExterior and Interior Views

Model

Index


4-5

6-13

14-1516-1920-2122-23

24-2728-29

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Preliminary investigation for the Artist retreat began with a precedent study of The Palladian Villa. Villa Cornaro was built in 1553, by Andrea Palladio and is located about 30 km from Venice. What I found most interesting was Palladio’s use of exterior columns on the interior, to define a space so the proportional consistency remained flawless. Within the main Sala, are four columns placed in line with exterior columns in the front and rear. The spacing of these columns define the proportion of the space, meaning, the interior face of the

columns determines the height and width, of the physical inhabitable space. The overall space of the Sala is configured by an additional column width on each side, which in plan measure perfectly “2x” the standard proportion of the building logic (16’ x 27’). This skews the logic because the felt condition is not the same as the drawn logic of the geometry. How they coexist creates a much more interest-ing relationship, especially between boundary and structure.

1 {3D}

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In this diagram you see the columns in line with the exterior and the center sala, with the supporting beams cantilevering to meet the enclosure/bearing walls.

Precedent Study

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The organization of structural components dictate the programmable space in plan, and define these “pockets” as being a justifiable programmable space. What became most interesting, was finding a logic that exists through manipulating a simple column grid by following very simple, but effective, set of rules to achieve the most compatible and integrated space.

These analyses became a driving force in determing what quantified the space. These specific

moves became the foundation for understanding how this grid can be manipulated. There were two main concepts that controlled each version. (1) Were the components or “nodes” connecting to one another as though they exist in a mangetic field of positive and negative attractions pushing and pulling one another. (2) Were the components dissolving becoming more invisible and diminishing in numbers.

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DESIGN NARRATIVE

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When the max field condition for the nodes or cluster of nodes was reached, boundary/enclosure became a primary concern for determining the relative size of each space. The system allowed each node to exist within a larger network of nodes, predetermined by a radius signifiying a maximum spatial condition given to each node or cluster of nodes.

1(node) = 3’ 4 = 12’2 = 6’ 5 = 15’3 = 9’ 6 = 18’ 7 = 21’

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The dividing system determines the boundary for the artist to manipulate as he/her chooses. These heavy duty canvas dividers range in opacity and translucency. Ease of installation with a sophisticated structural logicfacilitates enless variations in program and organization.

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maximum -> minumum dividing conditions

N

1’

SECTION A:A

SECTION B:B

SECTION C:C

SECTION D:D

10’

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Artists could comfortably live in any manner they choose. With a completely integrated and open floor plan the ease of creating privacy and coordinating thoseprivate spaces with the most public spaces will be extremely useful. The artists have the ability to live, work, and show that work in any manner they choose; where there are no programmable boundaries that cannot be manipulated within the building envelope.

N

1’

SECTION A:A

SECTION B:B

SECTION C:C

SECTION D:D

10’

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BUILDING PLAN

SECTION C:C

1’ 10’

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The nodes should appear and disappear during the journey through the spaces. The sleekness of there design along with light coming through clerestory operable louvers will provide open and less obstructive views

SECTION D:D

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Interior garden conditions are accessi-ble through frosted sliding polycarbon-ate glazing which provide secondary views and circulation paths.

BUILDING SECTION C:C / D:D

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BUILDING ELEVATION / SECTION A:A

1

2

3

4

5

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SECTION B:B

.5’ 5’

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1. 7.675” X 7.675” X 7.75“ WHITE GLAZED INSULATED CERAMIC C.M.U

2.7.675” X 7.675” X 7.75” SOLID GLASS BRICK

3.6” X 24” VERTICAL OPERABLE GLASS LOUVERS

4.RIGHT ANGLE MOUNTING BRACKET AND C- CHANNEL

5.WHITE PTD. ALUMINUM FACIA

6. 2” CONT. RIGID FOAM INSULATION

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2

3

4

5

6

SECTION B:B

.5’ 5’

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WALL SECTION

1 5

3”=1’ 0”

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2

3

4

5

6

7

8

9

1011 12

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6”

COLUMN SECTION 1. 2’ CONTINUOUS RAFT FDN.2. IGLU SUPPORT SYSTEM FOR MECHANICAL AND PLUMBING PLENUM3. MOUNTING PLATE FOR PREFABRICATED COLUMN4. CONTINUOUS RIGID FOAM INSULATION 5. 6” CONCRETE SLAB WITH A POLISHED CONCRTE FINISH6. RADIANT HEATING TUBES7. 1.5” X 1.5” SOLID STEEL COLUMN COMPONENT8. 1” CUSTOM WELDED MOUNTING PLATE9. OPERABLE CANVAS DIVIDING SCREENS10. .5” G.W.B11.12. 1” X 2” FURRING13. WIRE HANGERS14. 12” X 6” STEEL I-BEAM15. 10” X 5” STEEL I-BEAM16. .5” CORRUGATED METAL DECKING17. 4” RIGID FOAM INSULATION18. BITUMINOUS ROOFING MEMBRANE 19. 3/8 WHIT GRAVEL ROOF TOPPING

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DOORS CLOSED

DOORS OPEN

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Sliding doors can open interior spaces to the exterior while also providing a means of circulation and viewing to dif-ferent parts of the building

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Views looking in and through the open glazed doors located at each end of the building.

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SECTION PERSPECTIVE

Grasso phillip sample_booklet

Design

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