Post on 21-May-2017
brendan d.joanne gohsteven phankenneth laijean-luc tattofiona chiang
seattle’s film + community resourceFILMMAKERS BUILDING
THE FOUNDATIONbig ideas + considerations behind our project
The team set out to create a pavilion that encourages dialogue between filmmakers and the public, while providing high quality living and working spaces for filmmakers. The building focuses on creating open areas, using indoor and outdoor structure, that afford discussion, group work and sharing.
The Project Target AudienceThe Site Design ProcessParti Design Ideas ProgramCross SectionsFinal Statement
{
THE PROJECTconstraints and opportunities
The assigned task was to design a space that fit a selected program on one of three sites in Seattle’s Olympic Sculpture Park. The building created was to include a number of parts including a stand up café, private cafeteria, sleeping area, and working space among others.
An important focus of the project was on the quality of design decisions. Everything choice like the site, parti, materials, space planning, fixtures and scale people had to be made as an informed decision. Wherever possible precedents were used to give the team guidance, and show how similar ideas had worked well in the past.
FILMMAKERSmeeting the needs of our target audience
A space where independent filmmakers can work, board, interact with each other and gain exposure to the public
Potential for the public to share ideas, critique, and have discussion with Seattle’s filmmaking community
A center for networking and conversation
Access from Broad Street provides separate entrance for nighttime events
Separate entrance grants filmmakers to access their dorms at night
Seattle Film Institute located 12 minutes from the site, and the Seattle Film Festival is held just 3 minutes awayDENNY WAY
SEATTLEFILM FESTIVAL
SEATTLEFILM
INSTITUTEOLYMPICSCULPTUREPARK
12MIN AWAY
3MIN AWAY
NORTH
EA
ST 2
3R
D A
VE
E
OUR SITE
DESIGN PROCESSwhere the building started and how far its come
INITIAL CONCEPT Prepared in Seattle, the “Vacuum Monster” was a lateral form that slid down the slope of our site. It helped us establish a parti and program that we could build upon in later iterations.
POST-SEATTLE A rethinking of our original form, this iteration did away with thin form and triangular volumes. It was an improvment, but remained boxy, had a redundant entrance, and its cantilevers were short.
DYNAMIC FORMThis iteration focused on creating open spaces indoors and out, as well as easing divisions between parts of the building. This one was close, but we found that the cantilevers and “bite” needed a little work.
FINAL FORM
SOUTH CORNERView of the building from Elliot Avenue, facing north
NORTH CORNERView of the building facing south, from the path west of the Paccar Pavilion
BLOCK PROCESSputting the parts together, moving volumes around
“Beauty is due more to harmonious relationships among the elements of a composition than to the elements themselves.” -Frederick #51
MVRDV INSPIRATION added wozoco to toolbox to help build inspring form
The many small parts that make up the building work as one to create space. We use a collection of rectilinear shapes to build areas that encourage interaction throughout our building.
“It’s the dialogue of the pieces, not the pieces themselves, that creates aesthetic success.” -Frederick
“Create architectural richness through informed simplicty...” - Frederick #46
Blending parts of the greater program
Change in ceiling heights to define space
ROOF ON THE HILLby alphaville, in japan
This building by Pasel Kuenzel Architects gave us direction for some of our exterior form and materials. We also like the kitchen space they created. The use of rectilinear shapes and bright lighting make better use of a small space.
V12K0102materials and interior planning
Solid-void theory helps us to shape space in and around our building. We use elements like celing heights, walls and stairs to help define boundaries where one space ends and the next begins.
“A three-dimensional space is considered a positive space if it has a defined shape and a sense of boundary.” - Frederick #5
Solid-void theory helps us to shape space in and around our building. We use elements like celing heights, walls and stairs to help define boundaries where one space ends and the next begins.
“A three-dimensional space is considered a positive space if it has a defined shape and a sense of boundary.” - Frederick #5
NORTH FACEby element
“The Hub”
dormitories
entrance to dorms
observing deck
private cafe
public cafe
open space
reception/lobby
PROGRAMfront and back isometric views
references
Design Boom. (n.d.). Architecture: Tadao Ando . Retrieved fromhttp://www.designboom.com/eng/interview/ando.html
Design Boom. (n.d). Design: Naoto Fukasawa . Retrieved fromhttp://www.designboom.com/eng/interview/fukasawa.html
Dezeen. (2012). North Face by Element . Retrieved fromhttp://www.dezeen.com/2012/04/01/northface-by-element/
Dezeen. (2012). Pazo Dos Deportes De Artexio . Retrieved fromhttp://www.dezeen.com/2012/04/02/pazo-dos-deportes-de-arteixo-byjose-ramon-garitaonaindia-de-vera/
Kibisi. (n.d.). Work: Chairs . Retrieved from http://www.kibisi.com/projects
Matt Gagnon Studios. (2012). Projects . Retrieved from http://www.mattstudio.com/category/projects/
Ross Lovegrove. (2012). Product: Physics . Retrieved fromhttp://www.rosslovegrove.com/
Starck. (2012). Design: Categories . Retrieved from http://www.starck.com/en/
TED. (n.d.). Speakers: Bjarke Ingles . Architecture. Retrieved from http://www.lib.sfu.ca/help/writing/apa#onlinearticles
French, Hilary. (2006). New Urban Housing. P 182-185. Yale University Press.
MVRDV. (2012). MVRDV:Projects. Retrieved from http://www.mvrdv.nl/#/projects/015wozoco
DeZeen. (2011). Pasel Kuenzel Architects. Retrieved from http://www.dezeen.com/2011/09/06/v12k0102-by-pasel-kuenzel-architects/
Zaha Hadid. (n.d.). Capital Hill Residence. Retrieved from http://www.zaha-hadid.com/architecture/capital-hill-residence/