Justin Ford: Five Projects in Texas and Chile

j u s t i n f o r d

f i v e p r o j e c t s i n t e x a s a n d c h i l e

Chelín Island Belltowerchelín island

Menil Drawing Institutehouston

West Mall Fountainaustin

New Life Lutheran Churchdripping springs

Palacios Waterfrontpalacios

This project addresses the following question: How does a new museum (the individual) fit within the existing museum campus (the collective)?

The Menil Collection, the Cy Twombly Gallery, the Rothko Chapel, and the Dan Flavin Installation constitute the aforementioned museum campus. Typologically speaking, they are similar (i.e., they are all museums). However, they differ in terms of their material character, in terms of a visitor’s experience of these institutions, in terms of the atmospheric quality of their respective galleries, and in terms of the content of their galleries. Understanding the campus and its constituent museums within this framework gives rise to the notion of the individual and the collective. The new Menil Drawing Institute sustains this extant conceptual condition of the individual and the collective; it does so at the immediate urban scale and at the scale of the museum itself.

The museum consists of four rectangular “buildings” (whose long axes run north south) overlaid by seven gable roofs. These roofs are a morphological response to the museum’s site: a neighborhood constituted by bungalow-style residences. The intent here is not to replicate the appearance of a house. Consequently, the roof peaks are all at the same height and the roof pitches are identical (42 degrees). The Drawing Institute is decidedly individual as a singular building, yet at the same time it engages in a dialogue with its context that says something about its place in the neighborhood, in Houston, and in Texas.

The roofs and the exterior walls are clad with white, standing seam zinc panels. This endows the museum with a monolithic quality, which further distinguishes it from the nearby bungalows and other residential buildings. The monolithic character of the exterior is discontinued inside the museum. The ceiling, walls, and floor are wood, plaster, and concrete, respectively. Consequently, from a material standpoint, a transition from exterior to interior represents a transition from the collective to the individual.

Menil Drawing Institutehouston, texas

spring 2013 - vertical studio, utsoainstructor: joyce rosner

right musuem site model

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menil drawing institute

Branard St.

Sul Ross St.

W. Main St.

Colquitt St.

Richmond Ave.

Mandell St.

Yupon St.

Mulberry St.

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Site Plan Key

1. Menil Collection2. Cy Twombly Gallery3. Rothko Chapel4. Dan Flavin Installation5. Menil Drawing Institute

Site Plan1/64” = 1’0”01

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left study models

Study models exploring massing, form, courtyard strategies, and relationship to adjacent bungalows and Cy Twombly Gallery.

site plan key

1 menil collection2 rothko chapel3 cy twombly gallery4 dan flavin installation5 menil drawing institute

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above concept diagrams

public | private

roof | building

art circulation

interior | exterior

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West Elevation1/16” = 1’0”01

Section A-A1/16” = 1’0”02

Section Key

1. Restrooms2. Conference Room/Library3. Entry Courtyard4. Gallery5. Administration6. Storage

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top roof plan and building planbottom south elevation and south section

The museum’s gabled roofs reference the adjacent bungalow-style homes. Formally, the roofs are similar, yet they are otherwise dissimilar in length and do not conform to the regular nature of the museum plan. This speaks to the conceptual notion of the collective and the individual.

A02

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Plan Key

1. Courtyard2. Lobby3. Restrooms4. Conference Room/Library5. Gallery6. Kitchen and Break Room7. Copy8. Administration9. File Room10. Office11. Matting and Fitting 12. Lab13. Art Storage 14. Loading Dock15. Staff Entry

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above museum plan

The museum is punctuated by three courtyards: one serves as an entry court while the other two are planted with crepe myrtles to enliven the views from the staff workspaces. Furthermore, these courtyards evoke the courtyard spaces found at the Menil Collection.

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1 courtyard entry2 courtyard3 museum entry4 lobby

5 restroom6 library7 gallery8 to administration wing

9 to public wing10 kitchen11 administration12 matting and fitting

13 staff entry14 conservation lab15 art storage16 loading dock

A02

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05/08/1304/15/13

Plan Key

1. Courtyard2. Lobby3. Restrooms4. Conference Room/Library5. Gallery6. Kitchen and Break Room7. Copy8. Administration9. File Room10. Office11. Matting and Fitting 12. Lab13. Art Storage 14. Loading Dock15. Staff Entry9

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museum plan key

When the gable end of a roof abuts another roof with a perpendicular ridge, the gable end is pulled back.

This creates a sliver of light that defines a threshold between the spaces beneath the two roofs.

In certain cases, the gable end is pulled back to illuminate the wall below.

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The ceilings of the corridors that allow visitors and staff to circulate between the four buildings that constitute the Menil Drawing Institute are dropped to a height of 10'-0" AFF.

This threshold condition engenders a heightened sense of passage between the lobby and the galleries, between the galleries themselves, and between public and private spaces.

A translucent window caps the south gable end of the gallery roof. this serves as a source of diffuse light within the gallery.

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view from entry courtyard

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The West Mall Fountain should re-emerge as a place for quiet contemplation, as an area of respite for students between classes, as a place to meet a friend or a stranger, and as a waypoint for students, faculty and visitors on campus. No attempts have been made to establish this fountain as a new “icon” for the campus, as the nearby, visible, and eminent Main Building tower achieves this function. The new fountain is composed of a series of concentric rings: The outermost ring serves as a bench; the inner fountain ring functions as a wall of water; a third ring offset from the previous ring functions as a waterfall.

The inner fountain ring slopes west to east from a top elevation of 5’-4” to its lowest point 1’-6” above the floor of the mall (see section drawing on the follow page). Depending on one’s ever-changing physical relationship to the fountain, the sloping characteristic of this ring obfuscates and reveals elements of the surrounding campus buildings and landscape. Consequently, this engenders a heightened sense of awareness of one’s position relative to the West Mall, the campus, and the world.

A group of cattails (typha latifolia) are planted in the center of the fountain. The cattails sway and rustle in deference to the movement of the wind traveling through West Mall, thereby endowing the fountain with an ephemeral kinetic quality.

West Mall Fountainaustin, texas

spring 2013 - west mall fountain redesign competitionfirst place entry

right view from guadalupe street

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west mall fountain

section key

1 recessed uplight 2 inner fountain ring-wall3 pressure pipe4 existing fountain basin line5 cover grating6 submersible pump7 soil8 cantilevered waterfall channel9 bench: 1/4” deep steel tray filled with 1/4” deep concrete 10 led strip light under bench11 drain pipe (slope to nearby area drain)

1 2 3 4 5to guadalupe st.

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plan key

A cattail (typha latifolia)B benchC inner fountain ringD cantilevered waterfall channel

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to west mall

t.o. bench

t.o. fountain

+ 0'-0"

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west mall fountain

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west mall fountain

left view from west mall

The fountain opens toward campus and serves as an entry/exit landmark for the West Mall - an area of high-volume pedestrian activity.

The essence of New Life Lutheran Church can be expressed in three words: community, worship, and nature. In this project, both site and architecture work together to enhance these three concepts.

This project questions how architecture can mediate one’s experience of nature and reconcile notions of nature, spirituality, and community. Furthermore, this project challenges the perceived exclusiveness of non-secular institutions by providing areas where both the religious community and the greater community can jointly assemble.

The site is organized in such a way to facilitate a series of transitions between the everyday and the sacred, the individual and the communal, and from public to private. A community garden near the center of the site serves as a place where both the New Life religious community and the greater community can come together to engage in shared activity. The church itself acts a threshold between the more public-oriented area of the site and the more private, oak tree cluster, which is currently used and would continue to be used as an outdoor chapel.

In response to the Church’s limited budget, the following two strategies have been implemented: (1) rainwater collection, and (2) construction phasing. The Church’s large roof would collect rainwater to supply both the building and the community garden down-site. The Church and site would be constructed in phases, starting with the outdoor sanctuary and roof, thereby allowing the building to grow in step with the growth and the evolving needs of the New Life congregation.

The architecture of the Church is modest and unpretentious; it works with the surrounding landscape rather than declare its superiority over nature. This eases the passage between the world of the mundane and the world of the sacred and allows one to contemplate the role of the sacred in the everyday. The sanctuary's unmediated immersion in its site encourages a greater sense of unity between worship and nature. Rather than separate itself from its surroundings, the church invites the world in and encourages an awareness of one's place in the realms of the earthbound and the heavenly.

New Life Lutheran Churchdripping springs, texas

fall 2013 - tech comm studio, utsoainstructor: vince snyderin collaboration with elizabeth de regt

right sanctuary ramp

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new life lutheran church

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site plan key

1 church2 parking3 water collection cistern

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right climate diagrams

The site is adjacent to several noise-producing entities: a housing development, a medium-volume road, and a livestock event arena. Understanding the aural impact of these entities became an important factor in determining the siting of the church itself.

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6 pm solar angle: 6°

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noise intensit

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sun path

surrounding noise intensity & wind

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1 outdoor dining & porch2 barbecue3 barbecue preparation area4 restroom5 kitchen6 storage

7 interior worship8 meeting room9 entry10 pastor's office11 sanctuary12 labyrinth

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church plan key

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interior worship s

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interior worship s

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level 1

level 1

b.o. roof

b.o. roof

+ 1202'-0"

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+ 1211'-0"

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above church approach

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building pad pouredsanctuary roof structure installedsanctuary screen added

road clearedbike path created

remaining roof structure erectedremaining stairs installed

road definedcistern added

building block constructed

retaining walls addedsite gradedapproach paths created

labyrinths createdscreens installed

garden plantedpaths definedchapel built

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Road clearedBike path created

church

Building pad pouredSanctuary roof structure installedSanctuary screen added

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Road definedCistern added

church

Remaining roof structure erectedRemaining stairs installed

above construction phase diagrams

Both the church and the site are designed to be constructed in phases to accommodate the church’s current limited budget while anticipating future growth in membership.

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retaining walls addedSite gradedApproach paths created

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Labyrinths createdScreens installed

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roof constructionsingle-ply roofing membrane1" rigid insulation1" steel deck

ceiling height varies

2x6 wood purlin @ 4'-0" o.c.

(2) MC18x45.8 @ 8'-0" o.c.

wall construction1x6 and 2x6 t&g wood sidingmoisture barrier1/2" sheathing2x6 stud wall2" air space2x4 stud wall

+8'-6" a.f.f.b.o. ceiling

+7'-0" a.f.fwindow head

pastor'soffice

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roof construction1" steel deck1" rigid insulationsingle-ply roofing membranerigid insulation

line of purlin in background

flashing

spray foam insulation

(2) MC18x45.8 @ 8'-0" o.c.

flashing

neoprene spacer

wall construction1x6 and 2x6 t&g wood sidingmoisture barrier1/2" sheathing2x6 stud wall2" air space2x4 stud wall1/2" gwb

wall construction1x6 and 2x6 t&g wood sidingmoisture barrier1/2" sheathing2x6 stud wall1/2" gwb

+8'-6" a.f.f.b.o. ceiling

+7'-0" a.f.f.

+3'-6" a.f.f.

2x8 wood header

window assembly

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above church model

The expansive roof is an integral component of the church's rainwater harvesting and reuse strategy.

Palacios Waterfrontpalacios, texas

fall 2012 - vertical studio, utsoainstructor: francisco gomes

right dance hall elevation and plan

42 A new architectural/urban intervention in Palacios must take into account the cultural affinity the town shares with Tres Palacios Bay and various maritime industries. Consequently, the land/water edge emerges as an auspicious zone to express this affinity.

The overarching intent of this project is to redefine Palacios’ land/water edge in an effort to strengthen its civic identity as a coastal town. This project does not represent an interest in architectural gestures that attempt to reconcile downtown Palacios with the coastal condition. Rather, this project places an emphasis on a direct experience of the edge. Elements of the program, recreational and civic in typology, are brought to this edge, thereby allowing visitors to engage the waterfront.

To increase the amount of edge between water and land, a corrugation of the existing waterfront occurs. This strategy works to define a series of spaces that vary in scale and in use. This refined treatment of the waterfront is present in numerous towns and cities along the Texas coast. Therefore, the edge propsed here, while bold in the way it penetrates the existing landscape, is not without precedent.

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palacios waterfront

site plan key

1 luther hotel (existing) 2 tennis court3 basketball court4 bocce court5 bath house6 community center7 dance hall8 palacios history museum

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palacios waterfront

left study models

Study models exploring form and coastline architecture strategies.

site plan key

1 basketball court2 bath house3 community room4 community center administration5 dance hall6 palacios history museum

see pages 52-53

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See pages 54-55

See pages 48-49

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palacios waterfront

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luther hotel

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palacios waterfront

dance hallcommunity center

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above waterfront path images

The waterfront edge during normal and flood conditions.

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palacios waterfront

+ 42'-1"

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channel glass

served & service

ramps

bath

retaining walls

concrete columnar structure

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palacios waterfront

right bath house axonometrictop left bath house perspectivebottom left bath house sections and elevation

The bath house consists of two levels: the upper level is supported by a concrete columnar structure and houses the reception area, changing rooms, bathrooms, support areas, and private treatment rooms; the lower level is devoted entirely to the bath.

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right museum entry

The Palacios History Museum is organized around a central core that houses the reception desk, restrooms, storage, and a small room for rotating exhibits. Visitors circulate around this core to view artifacts relevant to Palacios’ history, which are organized by decade.

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palacios waterfront

Chelín Island Belltowerchelín island, chilo�

This project explores the construction of an isolated artifact in nature: a belltower; a singular, timber-made, sacred vessel carefully placed on Chelín Island – a small, almost unpopulated island located in the Chiloé Archipelago in southern Chile.

The bell tower is situated on the highest point of Chelín Island. An arc of trees around the tower defines the bounds of a plaza where residents of the island can gather to celebrate both religious and secular events. The trees are planted in an arc that corresponds to the length and path of the shadow of the belltower during the spring and fall equinoxes.

The belltower houses two bells: the lower bell is rung daily and during other religious and secular events; the upper bell is rung once a year on August 30 – the feast day of the patron saint of the Church of Chelín, Our Lady of the Rosary.

Timber construction dominates the indigenous architecture of the Chiloé Archipelago. In this project, timber construction and joinery techniques inspired by local building practices and by contemporary construction methods are taken into consideration. In this sense, the belltower is a hybrid of both the old and the new, of convention and of innovation. Much of the structure of the belltower comprises only five timber components, which are repeated throughout the tower and all of which can be cut and prefabricated off site.

spring 2014 - advanced studio, utsoainstructor: mauricio pezo, sofia von ellrichshausen

right site model

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chelin island belltower

chiloé island 1 chelín island 2

belltower 320 mi. 1 mi.

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BELLTOWER PLANS 1:75

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left belltower plansabove belltower axonometric

The belltower houses two bells: the lower bell is rung daily and during other religious and secular events; the upper bell is rung once a year on August 30 – the feast day of the patron saint of the Church of Chelín, Our Lady of the Rosary.


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left ground floor planabove belltower interior

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above detail modelright axonometric details

The stairs act structurally as lateral bracing members between the outer and inner tower cores.

detail at stair tread and belltower foundation

detail at landing and bell room threshold

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© 2014 justin ford

Justin Ford

1987

Born in Newton, Massachusetts

1987 - 2000

Resident of Holliston, Massachusetts

2000 - 2006

Resident of Fountain Hills, Arizona

2006

Arizona State University,Tempe, Arizona

2009

Sean Murphy Prize; Travel to Poland, Germany

2010

Joan Frazer Memorial Award in the Arts

2010

Bachelor of Science in Design, Magna Cum Laude, Arizona State University

2010 - 2011

Project Engineer, The Construction Zone, Ltd.North Sioux City, South Dakota

2012

Architectual Designer, Hayes Architecture and InteriorsPhoenix, Arizona

2012

The University of Texas at Austin,Austin, Texas

2013

Designer, Gomes + Staub,Austin, Texas

2014

Teaching Assistant, Design I, The University of Texas at AustinProfessor Michael Benedikt

2014

Design Assistant, MF Architecture,Austin, Texas

[email protected]

phone480.399.7748

Justin Ford: Five Projects in Texas and Chile

Documents

Transcript of Justin Ford: Five Projects in Texas and Chile