Thesis Proposal Research Book by Kazuki Daimo

Worldwide Headquarters for the Nature Conservancy

Thesis Proposal

Kazuki Daimo

B. Lowenthal & S. Falls660 Directed Thesis Research

December 17, 2012

Table of Contents

3

Thesis Topic/Problem Statement/Client Profile...................................................7

Case Study 1.........................................................................................................9

Case Study 2.......................................................................................................23

Case Study 3.......................................................................................................29

Visualiza on.......................................................................................................41

Introductory Essay..............................................................................................43

Supplemental Research: Abbreviated Case Study 1...........................................49

Supplemental Research: Abbreviated Case Study 2...........................................55

Supplemental Research: Ar cle 1.......................................................................61

Supplemental Research: Ar cle 2.......................................................................63

Codes and Guidelines.........................................................................................65

Poten al Sites.....................................................................................................81

Sta s cal Charts and Func onal Descrip ons...................................................93

Bubble Diagram..................................................................................................99

Stacking Diagram..............................................................................................101

Site Analysis.....................................................................................................109

Base Building Drawings....................................................................................117

Research......................................................................................................................5

Project Program.........................................................................................................91

Site Selec on and Documenta on..........................................................................107

Bibliography.............................................................................................................103

Research

My thesis topic is to design the Worldwide Headquarters for the Nature Conservancy that will serve as a mutual mee ng place for the various departments of the Nature Conservancy interna onally. The space will be used to collaborate and exchange ideas, as well as to provide public gathering and educa onal facili es on nature conserva on that can be applied to peoples’ everyday lives.

Thesis Topic

The various design problems this project will address are:

Design Problems

1. How can built environments and natural environments coexist in a way that is more effec ve than they have in the past? (Can they be more integrated within one another?)

2. How can natural elements be used in the design to create a sense of awareness toward the environment that can be felt throughout the building? (Through biomimicry? Symbio c rela onships of building and nature?)

3. How can a gathering space be designed to encourage the public to enter and interact with the space and with one another?

4. Can humans benefit from an interior environment that is more connected with nature in the same way they benefit from being outdoors?

5. Can the design of a space increase human-to-human interac on?

The client for my thesis topic is the Nature Conservancy (www.nature.org). The Nature Conservancy is the largest worldwide organiza on working to conserve ecologically significant bodies of land and water for people and nature. Founded in 1951, the Nature Conservancy has over 1 million members and has protected over 119 million acres of land and 5,000 miles of river worldwide. It is the largest environmental nonprofit organiza on in the U.S. with assets and revenue totaling over $5.64 billion as of 2009.

Client Profile

The Nature Conservancy’s president and CEO is Mark Tercek, an adjunct professor at New York University’s Stern School of Business and former managing director at Goldman Sachs. Their staff consists of over 550 scien sts dispersed throughout all 50 states of the U.S. and within 33 countries. The Conservancy believes human collabora on is an integral aspect of conserva on. Without the support of their partners ranging from individuals, businesses, and governments the organiza on would not be a func oning organiza on.

Thesis Topic/ Problem Statement/ Client Profile

7

Case Study 1

9

Name of Facility:

Overview

California Academy of Sciences by Renzo Piano

Loca on:

55 Music Concourse Drive Golden Gate Park San Francisco, CA 94118

Program:

Museum of natural history; Research and storage ins tute

The California Academy of Sciences operates primarily as a museum of natural history but also contains a research and collec on facility.

Image from rpbw.com

Image from ArchitectureWeek.com

N. T. S. Basement Plan_________________________________________________________________________

11


N. T. S. Ground Plan___________________________________________________________________________


N. T. S. Upper Level___________________________________________________________________________


N. T. S. Longitudinal Sec on____________________________________________________________________

13


N. T. S. Cross Sec on_________________________________________________________________________

Rainforest Biosphere Sec on Sketch: Planetarium Sec on:

Images from ArchitectureWeek.com

Rainforest Biosphere Sec on Sketch N. T. S. N. T. S.

Planetarium Sec on______________________


N. T. S. North Eleva on________________________________________________________________________

Image from rpbw.com

N. T. S. South Eleva on________________________________________________________________________

Image from rpbw.com

N. T. S. East Eleva on__________________________________________________________________________

Image from rpbw.com

N. T. S. West Eleva on_________________________________________________________________________

Primary User Groups:

User Groups

General Public

Although the building has dual-func onality, its primary func on is to educate the general public on the natural history of the earth. Therefore, the general public is the primary user group.

Secondary User Groups:

Researchers, Scien sts, Teachers, Field Associates, Fellows, Docents, Curators, Animal Care Takers, Engineers, Divers, Administra on, and Building Employees

The user groups who aid in carrying out the primary func on of the building (to educate the public) are the secondary user groups.

Ter ary User Groups:

Food Deliverers, Supply Deliverers, and Cleaners

The user groups who provide services to the building but do not have a direc on rela onship with the building’s func on are the food deliverers to the ground-level restaurant, the supply deliverers to the labs and administra on, and the building cleaners as the ter ary users.

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Organiza on:

Ac vity Areas Analysis

Research & Collec on Exhibit

Basement Level

Research & Collec on Exhibit Planetarium Rainforest

Piazza Main Concourse Museum Store Restaurant

Ground Floor

17

Research & Collec on Exhibit Planetarium

Rainforest Piazza Auditoriums

Upper Level

19

Primary Circula on:

Primary Corridor Secondary Corridor

RESEARCH ENTRY

MAIN ENTRY

Unique Requirements:

Image from rpbw.com

The California Academy of Sciences contains several systems of sustainable design. The iconic

curving green roof provides rainwater management in addi on to insula on and passive cooling. Within the green roof are operable skylights that allow for natural ven la on in addi on to direct sunlight. Concrete walls and sunshades contribute to passive cooling systems. Radiant flooring minimizes heat loss, and photovoltaic cells are used at the perimeter of the green roof for energy efficiency.

Square Footage:

Overall Total: 410,000 SF

Exhibi on: 209,250 SF (51%)

Research & Collec on: 116,160 SF (28%)

Administra on: 34,700 SF (8%)

Circula on, Concourse, and Other: 34,160 SF (8%)

Restaurant: 8,100 SF (2%)

Piazza: 3,500 SF (1%)

Auditoriums: 2,850 SF (0.7%)

Retail: 1,280 SF (0.3%)

Aesthe cs:

The building is primarily composed of glass, iron, and concrete, with photovoltaic cells and green roofing on the exterior, allowing for natural light and ven la on to fill the interiors of the building.

Piazza Skylight & Green Roof Piazza Interior Images from ArchitectureWeek.com

Main Exhibi on Space Rainforest Biosphere Images from ArchitectureWeek.com

The California Academy of Sciences (CAS) designed by Renzo Piano and completed in 2008 is a building that I find to be very successful and helpful to my thesis project objec ves. The design merges contemporary concepts and technology with the stylis cally classical influence of the original CAS building. Certain por ons of the original building such as the entrance to the African Hall were restored and incorporated into the new design.

Evalua on of Design

Although the building appears light from the exterior (the green roof almost appears to float), the interior is a completely new experience in museum design. Skylights and glazed par ons looking out to the park create an overall feeling of transparency and light within the museum’s main exhibi on areas that is atypical from tradi onal museum design. The environment is kept comfortable with green

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strategies of natural ven la on through the green roof’s operable windows, radiant hea ng, many skylights, and green materials such as reused denim insula on.

What I find par cularly inspiring about this building is its mul -func onality as a museum and research facility. Although the research area is kept within the northernmost por on of the building, it is not in any way treated as private program. The researchers do have a separate entrance on the north façade, but the transparency within the museum carries through to the research and lab areas of the academy. There is only a glazed par on separa ng the research ins tute from the general museum, and visitors can even look into lab windows to get a closer understanding of the research that takes place within the building. This strong idea of programma c transparency while maintaining clear program zones is a model that I think is interes ng and may become helpful to my thesis design.

Previous Building Image from ASLA.org

Building Axonometric Image by Bryan Chris e Design

Research-and-Storage Ins tute Image from California Academy of Sciences: Architecture in Harmony with Nature by Susan Wels

Case Study 2

23

Name of Facility:

Overview

590 Madison Avenue Public Atrium (formerly the IBM Building)

Loca on:

590 Madison Avenue (Madison Avenue between 56th & 57th Streets), New York, NY

Date of Visit:

September 28, 2012 and October 1, 2012

Program:

Public Sea ng Area; Covered Pedestrian Walkway

The atrium is a privately-owned public space opera ng between the hours of 8:00AM and 10:00PM. The actual building of 590 Madison Avenue is a commercial office building with 41 floors and retail frontage. The atrium was originally designed by Edward Larabee Barnes in 1982 for IBM, and was renovated by Robert A. M. Stern in 1995 when IBM sold the building to E. J. Minskoff Equi es.

Diagramma c Plan:

Image from Nyc.gov

Layout Sketch:

Obika

Sea ng Area

Walkway

Entry from

Street

Entry from

Street

Entry from

Street

590 Madison

Ave

Trump Tower

56th Street

Bamboo Planters

Approx. 84’

N

25

Typical Building Floor Plan:

Image from 590madison.com


User Groups

General Public

The space is intended mainly as sea ng for visitors. Since the loca on is in a primarily commercial area, the space is densely occupied during lunch hours on work days. When I visited on a Friday a ernoon around 1:00PM, I found that almost all the tables and chairs were occupied and it was difficult to even find a seat. Although there was not much foot traffic, through the atrium space itself, there is an adjacent covered walkway for pedestrian use as an alterna ve way to cut through the block. The space also is used as a sculpture park.


Food Vendor; Cleaners

There is a food stand within the atrium called Obika Mozzarella Bar that has sandwiches and other lunch-type foods. The secondary users would be the workers of Obika. Also, the daily cleaners of the space are secondary users.


Food Deliverers, Sculpture Movers

The ter ary users would be the deliverers to Obika, as well as the sculpture movers.

Atrium

Organiza on:


The Atrium is a double height ground-level space. Its triangular shape in plan is filled by 590 Madison Avenue’s wedge-shaped building. The building has 41 floors of commercial rental space. 590 Madison Avenue used the adjacent public atrium as a way to obtain more square footage in the building due to a 1961 zoning resolu on that replaced setback rules with a floor-to-area ra o requirement.

Primary Circula on:

The primary walkway connects 56th Street to 57th Street and also is adjacent to Trump Tower. Although the atrium is primarily sea ng, there is a trajectory along the adjacent building façade of 590 Madison in which most people within the atrium use to circulate into the space.


One of the atrium’s primary aesthe c elements are the bamboo tree planters within the space. The atrium contains 8 planters approximately 6’ x 6’ in dimension. Since the atrium has a glazed roof and exterior walls, the plants get adequate sunlight, although need watering. There are sprinklers within the planters for watering purposes.

Primary Walkway

N

56th Street

57th Street

Trump Tower

590 Madison

Walkway Thru Atrium

27

Bamboo Planters

Square Footage:

Total Overall: 7,500 SF (approximately)

Sea ng Area: 2,300 SF (31%)

Primary Walkway: 2000 SF (27%)

Obika: 250 SF (3%)

Aesthe cs:

Glass and steel roof and walls Primary Walkway/Atrium/590 Madison Interface

The structure is a glass and steel atrium with black granite planters and light gray granite floors. The space receives a large amount of direct light from its glass enclosure. 590 Madison Avenue’s building is gray green glass and polished granite.

The dense occupancy of the space speaks to some extent of the success of its design. Because I was curious if the building was used during the day aside from lunch me, I visited the space again on a Monday around 10:30AM. The space was much less populated during this me, with around 23 chairs full out of 110 chairs and 32 tables. Most people were si ng alone and on a computer or phone.

Evalua on of Design

The amount of natural light in the space and bamboo trees is what I feel contributes most to the space’s pleasant feeling. It is essen ally an oasis in New York—s ll somewhat a ached to the street yet far removed from the hustle and bustle associated with street-level spaces in New York. The tall bamboo camouflages the visual density of surrounding buildings and provides a natural element to the space. Even so, there is no ques on the space feels like it is s ll indoors. The hard floors and walls echo the voices within the atrium, although the space is insulated from sounds from the street.

Overall, I liked the feeling of this space. The 50’ (approximately) high ceiling and glass enclosure made the atrium feel open and airy. When entering the space, you immediately feel removed from the street—there are hardly any traffic noises—yet you s ll have a visual connec on to the street. This atrium design does make me curious to see how the addi on of more natural elements could alter the feeling of the space, and how this might affect visitors psychologically.

Case Study 3

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Name of Facility:

Overview

Crystal Bridges Museum of American Art by Moshe Safdie

Loca on:

660 Museum Way Bentonville, AR 72712

Program:

Art Museum

The Crystal Bridges Museum of American Art is a func oning art museum which includes (but it not limited to) spaces of exhibi on, library, lecture hall, classrooms, mee ng rooms, café, store, and offices. The museum has 3 objec ves: to exhibit its art collec on, to connect visitors to its natural se ng, and to create a community through educa on.

Image from ArchRecord.Construc on.com

Image from ArchitectureWeek.com Site Plan______________________________________________________________________________

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Image from ArchitectureWeek.com Main Floor Plan________________________________________________________________________

C

A

D

B

Image from Buildipedia.org

Sec on A_____________________________________________________________________________

Image from Buildipedia.org

Sec on B_____________________________________________________________________________


Par al Sec on B________________________________________________________________________

Image from ArchitectureWeek.com Par al Sec on D________________________________________________________________________


User Groups

Visitors; Students

According to the main objec ves of the Crystal Bridges Museum (stated in the program descrip on) the primary users are visitors who come to view the art collec on, as well as the students who come to take classes within the building’s educa onal facili es.


Curators; Educators; Administra on Employees; Museum Employees

The secondary users of the building are the people who help to facilitate the building’s objec ves.


Maintenance; Building Cleaners; Food Deliverers; Supply Deliverers

The ter ary users are the people who contribute to the building’s needs, but do not necessarily assist in the building’s main objec ves.

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Museum Café Image from ArchitectureWeek.com


Organiza on:

Image from CrystalBridges.org

A- East Entrance C- South Lobby E- Museum Store B- The Landing D- South Entrance F- Observa on Deck

Main Level:

1- Main Lobby 2- Gallery 3- Gallery 4- Gallery 5- Gallery 6- Gallery 7- Gallery 8- Museum Café 9- Gallery 10- Great Hall

2nd Level:

2- Mee ng Rooms 3- Educa on Rooms 8- Offices

3rd Level:

3- Museum Library

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Primary Circula on:



Primary Circula on

The building’s high-vaulted roofs require a unique tension cable system that pulls huge cables across concrete abutments and secures at either end of the bridges.

Images from CrystalBridges.org

The museum’s rela on to its natural surroundings is emphasized by a series of paths and bike trails which surround the premises of the building and meander into the surrounding woods. Certain trails display outdoor sculptures and an installa on by ar st James Turrell.

Images from ArchitectureWeek.com

Since the museum is sited on the perimeter of a tributary of McKissic Creek, certain requirements had to be met to maintain the environmental needs of the tributary. Brent Massey, the civil engineer on the project, discussed these concerns: “Due to the low flows of this tributary and the species present, it was determined that there was not a need for fish passage for this project. [The

37

project included] mi ga on of riparian plant materials and streambank protec on mi ga on, as well as flood mi ga on measures that were incorporated into the design of the dams using labyrinth weir structures.”

Square Footage:

112,600 SF on 120 acres of wooded land

The museum is considered to be 93,300 SF; although, with the inclusion of administra on the area is 112,500 SF. The en re complex spans 217,000 square feet including the outdoor gathering spaces and sculpture garden.

Lobbies: 4,000 SF (4%)

Galleries: 48,500 SF (43%)

Café: 3,300 SF (3%)

Administra on: 19,300 SF (17%)

Classrooms/Mee ng Rooms: 9,000 SF (8%)

Library: 19,300 SF (17%)

Community Showcase: 3,300 SF (3%)

Great Hall: 3,400 SF (3%)

Museum Store: 2,500 SF (2%)

Aesthe cs:

Gallery Museum Store Images from ArchitectureWeek.com

Bridge Gallery Gallery Images from ArchitectureWeek.com

The Crystal Bridges Museum is designed with its surrounding natural landscape as a major

design feature. Not only is the layout situated around its tributary, but the museum’s interior frames views outside to further connect the building with the outdoors. With this in mind, the architect implemented a design that features large glazed walls and a curved wood skylight system. The curved laminated beams create strips of skylight and ceiling allowing for natural light. This curved wood mo f is carried throughout the building; even in the museum’s store where there is no natural light available. The interiors implement concrete which is repeated in the outdoor gathering spaces. The overall feeling is bright and airy, with reference to the surrounding grounds. Interview:

I was fortunate enough to interview the Director of Communica ons, Laura Jacobs, on how she feels about the design of the Crystal Bridges Museum.

Kazuki Daimo: Do you enjoy working in this space? Why or why not?

Laura Jacobs: I believe the Crystal Bridges staff find it a pleasure to work in the museum. It is an interes ng and beau ful space in a gorgeous natural se ng.

KD: What is your favorite feature or space in the building?

LJ: Everyone will probably have their own favorite spaces, but I think many will say their favorite features are the bridge structures: the museum’s restaurant, and the early twen eth-century art gallery. The beau ful views outside and the drama c arched roofs make them unique and impressive. So much of our experience is outside of the building as well, with 3.5 miles of beau fully designed trails on a 120-acre park-like se ng.

KD: What feature or space do you find visitors gravita ng toward in the building?

LJ: Again, the bridges are the most striking areas and provide good views of the museum campus as a whole. The museum’s restaurant, Eleven, is located in one bridge, and is a popular gathering place for guests.

KD: Are there any design flaws that you have no ced, or anything that you think could be improved in the func onality of the design?

LJ: We find that the sheer uniqueness of the architecture can some mes be overwhelming to visitors at first. There are several different levels, and visitors must travel down three floors to reach the museum entrance. This is truly the opposite of how most museums—most public buildings in general, in fact—operate, and can confuse guests at first, simply because they have never experienced anything like it. It some mes takes a few minutes for first- me visitors to get oriented.

KD: In your opinion, how has the use of natural elements as a design feature impacted the feel of the building, posi vely or nega vely?

LJ: It is part of Crystal Bridges’ mission to unite the power of art with the beauty of landscape. The building’s design accomplishes that very well. Between each set of galleries are “reflec on areas” with large windows opening onto the natural landscape. Equipped with comfortable sea ng, these areas provide guests a chance to relax and enjoy the museum’s natural se ng in between art experiences. It enriches guests’ visits and encourages them to go outside to enjoy the museum’s extensive grounds and trails.

Reflec on Area Image from ArchitectureWeek.com

The design of the Crystal Bridges Museum of American Art is integrated in nature through both its exterior site planning and its interior spaces which connect to views of the outdoors. As discussed with the Director of Communica ons, Laura Jacobs, the museum’s natural se ng is most o en viewed as the most dynamic element of the design, and is enjoyed by visitors and workers alike.

Evalua on of Design

39

I have to agree that I believe the natural se ng is pleasant and emphasizes the beauty of the artwork within the museum. I par cularly find the nature paths and sculpture park to be a nice way to translate the interior func on of the building onto the outdoors and encourage visitors to experience nature during their visit. The skylights are an interes ng way to bring natural light into the galleries, and the bridges seem unique and fun.

There are some aspects of the design that I think could use improving. Many of the materials in the project are not necessarily “green” materials. The wood skylight arches use a local pine, yet are glulam and not sustainably manufactured. I also think in addi on to natural light that the use of natural ven la on could be a nice feature to further connect the interior spaces to the outdoors. Also, the fact that the pond in which the museum surrounds was created by damming McKissic Creek seems unnatural because it was not preexistent to the design. It seems to achieve a certain aesthe c, the architect decided to work against nature in some instances instead of working with nature to emphasize his design fully.

Visualiza on

41

Introductory Essay

43

Connec ng to Nature through Design

From the beginning of me, architects have struggled to find a balance between buildings and

nature. Architecture originated as a necessity to provide shelter for humans and separa on from nature,

yet as me and society progressed, the separa on between humans and nature grew. According to Bill

Millard in his ar cle “Designing the Building-Landscape Interface” (Architect Magazine, July 2011),

buildings and landscapes became disconnected in the second half of the 20th century. Nature was

viewed as unruly and was avoided at all costs. Yet there were a group of designers who recognized this

movement away from nature as a nega ve mo on and have worked to con nually revolu onize design

as a way to reintegrate nature back into our buildings, and thus into our lives.

There are virtually endless ways to incorporate nature into buildings. Use of materials, visual

and physical connec ons to the outdoors, and mimicking nature are methods that come to mind. An

effec ve way to understand the different strategies to bring nature into buildings is through

understanding some of the exis ng typologies of this design.

Green architecture is a term used frequently today. We associate the word green with being

environmentally conscious and quite frequently see various green strategies promoted in our daily lives.

Yet green architecture, as defined by James Wines in Green Architecture (Taschen: Italy, 2000)

incorporates 4 aspects: environmental technology, energy conserva on, sustainability, and ar s c

design. Wines believes the current environmental crisis is provoking a movement toward green

architecture, and that the current environmental crisis is our primary concern and responsibility as

humans—over any other social, poli cal, and scien fic issues today.

Wines and his colleagues believe humans should live in harmony with nature. He provides

various case studies which execute green architecture successfully, one of which is Thomas Herzog’s

House in Regensburg. Although it was designed in 1977, the House in Regensburg uses green

architecture strategies that are s ll applicable today. Herzog used a sloping glass roof that cascades

toward the ground and believes green architecture should “make necessary technical features visible.”

The house uses passive solar dwelling with its house-within-a-house intermediate temperature zones,

passive solar heat gains from the sloping glazed roof, radiant hea ng in its natural limestone floor les,

and construc on materials that blend with the surrounding nature. The design incorporates the aspects

of green architecture by using environmental technology, energy conserva on, and sustainability while

being executed in an ar s c way.

Herzog’s House in Regensburg Images from Green Architecture

Wines concludes his book by claiming it is impossible for architecture today to be truly green.

No architecture is completely beneficial to nature, and green architecture “is s ll nothing more than

band-aid treatment where major surgery is required.” Yet Wines believes every effort to conserve

nature is beneficial to the environment.

Another discipline in the realm of design with nature is biophilic design. Although similar to

green architecture, biophilic design “emphasizes the necessity of maintaining, enhancing, and restoring

the beneficial experience of nature in the built environment”, writes Stephen R. Kellert and Judith H.

Heerwagen in the book Biophilic Design (Wiley: Hoboken, 2008). Where green design emphasizes

natural conserva on technology, biophilic design focuses on experiences of nature and how they can be

45

integrated with the built environment. Kellert and Heerwagen iden fy 3 important ways to accomplish

biophilic design that are inten onally ideas linked to architecture of the past: using local materials,

implemen ng pa erns and themes of nature within the building’s ar facts, and connec ng to culture

and heritage of the site.

Kellert further explains biophilia as the inherent need of humans to affiliate with natural

systems and processes. Kellert has concluded from various studies from pioneers of biophilia that

contact with nature has: expedited that healing process of pa ents with illness and major surgical

procedures; minimized health and social problems in people who live in close proximity to nature;

increased produc vity for workers that have natural ligh ng, natural ven la on, and other natural

features; enhanced cogni ve func oning; encouraged healthy child development; and provided a higher

quality of life for communi es with access to nature.

Charts from Biophilic Design

In biophilic design, Kellert recognizes six design elements: environmental features, natural

shapes and forms, natural pa erns and processes, light and space, place-based rela onships, and

evolved human-nature rela onships. Within these design elements Kellert has recognized over 70

a ributes such as color, water, air, etcetera. These a ributes are specific ways of represen ng biophilic

design. One of these a ributes is biomimicry, classified under the natural shapes and forms element of

biophilic design.

Biomimicry is another common term when describing nature in design. It is a subcategory of

biophilic design and therefore is not as broad of a strategy, but is a specific way to represent nature in

design. In the book Biomimicry: Innova on Inspired by Nature (Harper: New York, 1997), Janine M.

Benyus defines biomimicry as a science that imitates nature’s models as inspiration and applies them to

solve human problems. Biomimicry is not only an aspect of design, it serves as a model that can be

applied to how we eat, gather energy, heal ourselves, compute knowledge, and conduct business. Yet in

design, biomimicry is a specific form of biophilia where nature provides a model. An example of this is

using the water flow structures of marine sponges to inspire Swiss Re’s London Headquarters.

London Headquarters Marine Sponges Images from Biophilic Design

Vivian Lo ness and Megan Snyder discuss biophilic design, specifically the interface between

indoors and outdoors in the essay “Where Windows Become Doors” from Biophilic Design. Here the

authors reverse the common approach of bringing the outdoors-in, to focusing on bringing the indoors-

47

out. They claim both direc ons of connec on are equally cri cal for human health and inspira on. They

use the example of coffeehouses: one opaque from the street, one transparent but sealed from the

street, and one with large open windows which eliminate the separa on from outdoors and indoors.

According to Lo ness and Snyder, the coffeehouse that has removed the physical barrier between

indoors and outdoors supports ongoing growth of community spirit, ensures safety for those on the

street, and provides a sense of belonging and inclusion.

Certain architects such as Frank Lloyd Wright and Tadao Ando are famous for their ability to

connect to nature through their architecture. Frank Lloyd Wright coined the term organic architecture

and believed in building in harmony with nature as can be seen in his famous works Falling Water and

Taliesin. Wright used various techniques—from designing with the site in mind, to organic mo fs, to

natural materials—as a way to bring nature into his designs. Ando on the other hand is a master at using

his architecture’s clean lines and play of light and shadow with spa al varia ons to poe cally

complement nature. His approach is more symbolic than literal. Although these architects use very

different ways to connect to nature in their designs, they both are considered successful in this respect.

Wright’s Fallingwater Ando’s Langen Founda on Image from ArchDaily.com Image from David Pearson’s In Search of Natural Architecture

With the limitless ways to connect to nature in architecture it seems that there is always a

common goal: to build harmoniously with nature so that humans can live healthier lives. There is no

precise formula or measure for how to achieve a successful design that connects to nature, but depends

on each unique piece of architecture and how the elements of architecture relate to the elements of

nature. The harmony of architecture and nature relies on the discre on and ar s c ability of the

architect or designer to create a balance of built and natural elements which promote healthy lifestyles.

Supplemental Research: Abbreviated Case Study 1

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Name of Facility:

U. S. Green Building Council Headquarters by Envision Design

Loca on:

Washington, DC

Program:

Office Building

Image from USGBC.org

USGBC’s “Dashboard” displays sta s cs on its design’s energy saving Upper level of the office, above the lobby

Images from MetropolisMag.com The 73,770 square-foot headquarters for the U.S. Green Building Council was completed in 2009

as a 2-level headquarters in Washington, DC. Designed by Envision Design, the office incorporates various energy- and water-saving strategies as well as sustainable materials and an innova ve layout.

The 2-level headquarters takes the 5th and 6th floors of a curtainwalled office building

Image from MetropolisMag.com

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Main Level Image from MetropolisMag.com

The main floor contains 2 adjacent conference rooms and a lecture hall. The above diagram shows a playful sea ng area in the center to encourage socializing.

Upper Level Image from MetropolisMag.com

Ar ficial Light

Natural Light

Eco-corridor Images from MetropolisMag.com

The upper level contains private offices as well as an open office space. An “eco-corridor” maximizes natural sunlight into the offices.

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Kitchen/Lounge area Image from MetropolisMag.com

Sustainable materials breakdown MetropolisMag.com

The USGBC Headquarters is a great example of innova ve spa al planning that emphasizes its core values of sustainability and green design. I par cularly thought the several playful sea ng arrangements within the office were a great way to encourage casual social interac on. The eco-corridor was another idea I found to be really beneficial not only to save energy consump on, but to create a more pleasant environment for people to work in. The various sustainable materials are incorporated into the design in a fresh and fun way that I believe reflects the en re a tude of the USGBC: that green design can not only benefit our environment but can also improve the way we live and work.

Evalua on of Design

Supplemental Research: Abbreviated Case Study 2

55

Name of Facility:

Ford Founda on Building by Kevin Roche John Dinkeloo and Associates (KRJDA)

Loca on:

320 East 43rd Street New York, NY 10017

Program:

Office Building

Indoor atrium/winter garden Image from MetropolisMag.com

The Ford Founda on Building is a 12-story office building completed in 1968 and located in Midtown Manha an. The building is characterized by its large indoor atrium and winter garden along with its transparent office layout. The building creates an L-shape in plan that par ally wraps around the garden.

Sec on_______________________________________________________________

View to atrium below Images from MetropolisMag.com

57

View up to atrium skylight

Model from ini al design presenta on shows light flooding the atrium

Images from MetropolisMag.com The winter garden requires natural sunlight to penetrate the building. Two glazed facades along

with the large roof-skylight flood the building with natural sunlight resul ng in a bright, airy space.

The Ford Founda on Building also displays a balance between public and private working spaces. KRJDA wanted to create a design that would establish a sense of community within the office. Rather than designing an open working space with cubicles, KRJDA created visual connec ons with transparencies where workers could close their doors if they needed sound isola on.

Building Plan Image from docomomo-us.org Office with view out to atrium Image from MetropolisMag.com

Windows look out into atrium Image from MetropolisMag.com

Evalua on of Design:

The design of the Ford Founda on Building is s ll admired today for its design despite being built over 40 years ago. I personally think the atrium is ingenious, providing natural sunlight, visual transparencies, and natural vegeta on within the building. One aspect of this design that I think could be improved is increased natural ven la on into the atrium space by opening the surrounding program to the atrium space. Sound control would be an issue, but from what we know today about indoor air biofilters, perhaps the winter garden could increase the indoor air quality and provide natural air systems to be incorporated into the design. Overall, I find the Ford Founda on Building to be an inspiring piece of architecture. I find the strength of its design to rest primarily on the indoor garden and atrium space as an unprecedented element of office design.

59

Supplemental Research: Ar cle 1

61

“Indoor Air Biofilters Deliver Clean Air Naturally”

By Peter J. Arsenault

November 2012

Architectural Record

h p://con nuingeduca on.construc on.com

Five-story Indoor Air Biofilter at Drexel University Image from Architectural Record

People spend approximately 80-90% of their en re lives indoors. As a result, indoor air quality (IAQ) has become a major concern for our health and general well-being. Plant-based indoor air biofilters are a new trend for increased IAQ .

Ar cle Summary:

Air contaminants exist in our indoor environments and are most commonly in the form of vola le organic compounds (VOCs). VOCs exist in building materials such as paints, adhesives, and furniture, but can also be introduced through cleaning supplies, photocopiers, computers, and even peoples’ perfume. Addi onally, concentra ons of par culate ma er (dust) can create respiratory problems, and high levels of gases such as carbon monoxide can create health issues.

The most common way to solve these issues of air contaminants and par culate ma er is to exhaust out contaminated air and replace it with fresh outdoor air. Air filtra on has typically been done mechanically but thanks to the research done at the University of Guelph, Ontario we are now finding ways to do this naturally and effec vely. In 1994, the University of Guelph began research on “indoor air biofilters” and has advanced their design since then. The indoor air biofilter requires a ver cal hydroponic green wall that is water-based and soil-free to filter air through specific types of plants. The indoor air biofilter needs to be in a tall ver cal space that is open (such as an atrium or by a stairway) to maximize its effec veness per square foot. The plants remove indoor air contaminants while filtering the indoor air naturally. This works by breaking down the benign pollutants while conver ng water and carbon dioxide processes to distribute clean, cool air through the building with mechanical systems.

Po ed plants do not have the same effect the indoor air biofilters have because the removal of air contaminants occurs within the microbes of the roots and not from the plant leaves. Thus, po ed plants are not effec ve because they do not have their roots exposed for air to flow through. An indoor air biofilter can remove up to 90% of VOCs in a single pass of contaminated air. Indoor air biofilters are more effec ve than High-Efficiency Par culate Air (HEPA) filters because they have the ability to remove gaseous par cles as well as airborne dust par cles; whereas the HEPA filters can only remove airborne dust par cles.

Indoor air biofilters improve the overall environment within the space. Since they require natural light for the plants to grow, sunlight is required to penetrate the space. Exposure to natural light and vegeta on has proven psychological benefits on people. Studies also show that workers exposed to natural elements (like plants, sunlight, and fresh air) feel less frustrated, more pa ent, report higher levels of overall sa sfac on and well-being, and are therefore more produc ve employees. Along with improvements in IAQ, common office ailments are decreased, employee absenteeism is decreased, and typical employee produc vity is increased. Common office ailments include fa gue, headaches, sore throats, coughs, and dry skin issues.

Supplemental Research: Ar cle 2

63

“Designing the Urban Landscape to Meet 21st Century Challenges”

By Diane Toomey

December 5, 2012

Yale Environment 360

h p://e360.yale.edu

Martha Schwartz Image from e360.yale.edu Ar cle Summary:

This interview with Martha Schwartz, a landscape architect and professor at Harvard’s Graduate School of Design explores the role of landscape design in urban sustainability. Schwartz believes the premiere role of an urban landscape is to a ract people, and the best way to do that is to understand the unique culture of the city in which you are designing. “How people use open space in the Middle East is very different than how they use it in China,” Schwartz explains. “So if you don’t really understand people’s cultural values, you’ll get it wrong.”

In the United States in par cular, Schwartz finds a disconnection between urbanism and environmentalism. The bulk of our urban environments are not parks, but streets and sidewalks, yet most of our focus on design is either in maintaining lush green parks or in the architectural design of buildings. There seems to be a lack of a ention in the design for the places we use the most, which are the streets and sidewalks. “It’s not architecture. It’s not landscape. It’s not designed,” says Schwartz.

Schwartz recognizes a few urban projects she finds successful in their ability to fuse urban planning, landscape design, and human usability together. In Copenhagen, Denmark, urbanist Jan Gehl promoted the use of streets through implemen ng bike lanes. He believed the investment in bike lanes would eventually decrease the general cost of healthcare and was found to be correct in his predic on. In Melbourne, Australia, Rob Adams designed a basin for street-lined tree plan ngs to store water under the street for watering during the dry season. As a result, the trees bring down the demand for cooling

the neighboring buildings. Schwartz recognizes both of these instances as integrated systems: where one change in design impacted many aspects of the environment.

It is also important that people want to live in ci es, according to Schwartz. When people live in ci es and in close proximity to one another, less resources are used in terms of energy, food, and transport. I found this part to be extremely important for my thesis because not only does encouraging city living reduce consump on of resources, but it also conserves the land on which we live.

Schwartz believes the best way to make ci es more pleasant is to bring nature to where people are. She finds the Scandinavians and the Germans to be the most advanced in their abili es to incorporate sustainability in urban areas and thinks we can learn from their examples.

Sharing ideas on sustainability and nature conserva on is the main objec ve of my thesis program for the Worldwide Headquarters for the Nature Conservancy. Since cultures have different values and beliefs (as Schwartz has men oned) a Worldwide Headquarters is a way to learn from different cultures on the various strategies of sustainability. I think this is truly important since we are all connected through this world and are all responsible in sustaining it.

Schwartz adamantly believes the best sustainable design does not just rebuild buildings, but works with the landscape and urban planning to create an integrated system that creates benefits on many levels. I think that as interior designers we are also a part of this conversa on. Interiors are also responsible for sustainability since the way in which we design our interior environments can affect sustainability. When we start shi ing our thinking to the large-scale picture of how design affects the world in which we live, we then can take steps toward improving how we live within this world through design.

Codes and Guidelines

65

Occupancy Group:

Building Codes

Mul -use Occupancy: A-2, A-3, B A-2: Restaurants A-3: Community Halls, Exhibi on Halls, Lecture Halls

B: Civic Administra on Offices, Libraries when not classified in Group E, Offices

Occupancy Loads:

Assembly without fixed seats: 7 net SF/occupant Business areas: 100 gross SF/occupant Educa onal, Classroom area: 20 net SF/occupant Kitchens, commercial: 200 gross SF/occupant Library, Reading Rooms: 50 net SF/occupant Library, Stack Area: 100 gross SF/occupant

Number of Egresses:

Occupancy Group A-2:

Minimum 2 exits

Occupancy Group A-3:

Minimum 3 exits

Occupancy Group B:

Minimum 2 exits

Maximum Exit Access Travel Distance:

Occupancy Groups A-2 & A-3: Sprinklered: Primary: 150 Secondary: 250 Occupancy Group B: Sprinklered: 300

Maximum Length of Dead End Corridor:

20 maximum length

Stairs:

Width: minimum 44” Headroom Clearance: minimum 84” Minimum Riser Height: 4” Maximum Riser Height: 7” Minimum Tread Depth:11”

Maximum Tread Depth: Shall not exceed the smallest tread depth by more than 0.375” Interior Finishes:

Occupancy Group A-2 & A-3 (Sprinklered): Ver cal Exits & Exit Passageways: Class B

Exit Access Corridors & Other Exitways: Class B Rooms & Enclosed Spaces: Class C Occupancy Group B (Sprinklered): Ver cal Exits & Passageways: Class B Exit Access Corridors & Other Exitways: Class B Rooms & Enclosed Spaces: Class B Restroom Fixture Minimums:

Occupancy Group A-2: Water Closets/Urinals: 1 per 75 Males, 1 per 75 Females Lavatories: 1 per 200 Males, 1 per 200 Females Drinking Fountains: 1 per 500 people Other: 1 Service Sink Occupancy Group A-3:

Water Closets/Urinals: 1 per 70 for the first 210 and 1 per 125 for the remainder Males, 1 per 35 for the first 210 and 1 per 65 for the remainder Females

Lavatories: 1 per 200 Males, 1 per 200 Females Drinking Fountains: 1 per 500 people Other: 1 Service Sink

Occupancy Group B: Water Closets/Urinals: For number of persons for each sex: 1-20 1 fixture 21-45 2 fixtures 46-70 3 fixtures 71-100 4 fixtures 101-140 5 fixtures 141-190 6 fixtures 1 fixture for each addi onal 60 persons Lavatories: For number of persons for each sex: 1-25 1 fixture 26-50 2 fixtures 51-75 3 fixtures 76-115 4 fixtures 116-160 5 fixtures 1 fixture for each addi onal 60 persons Drinking Fountains: 1 per 100

Other: 1 Service Sink

67

Fire Stairs:

¼” = 1’-0” Plan of Fire Stair________________________________________________________________________

Minimum corridor widths:

ADA/Universal Design Requirements

The minimum clear passage width for a single wheelchair shall be 36 inches (915 mm) minimum along an accessible route, but may be reduced to 32 inches (815 mm) minimum at a point for a maximum depth of 24 inches (610 mm), such as at a doorway.

Minimum clear width for passage of two wheelchairs is shown to be 60 inches minimum.

The space required for a wheelchair to make a 180-degree turn is a clear space of 60 in

(1525 mm) diameter or a T-shape space is 36 inches (915 mm) wide at the top and stem within a 60 inch by 60 inch (1525 mm by 1525 mm) square.

Images from h p://www.access-board.gov

69


The minimum clear width of an accessible route shall be 36 in (915 mm) except at doors. A 90 degree turn can be made from a 36 inch (915 mm) wide passage into another 36 inch (915 mm) passage if the depth of each leg is a minimum of 48 inches (1220 mm) on the inside dimensions of the turn. A U-turn around an obstruc on less than 48 inches (1220 mm) wide may be made if the passage width is a minimum of 42 inches (1065 mm) and the base of the U-turn space is a minimum of 48 inches (1220 mm) wide.


Restrooms:

Clear floor space for water closets not in stalls shall comply with Fig. 1. Clear floor space may be arranged to allow either a le -handed or right-handed approach.

Water Closets

The height of water closets shall be 17 in to 19 in (430 mm to 485 mm), measured to the top of the toilet seat (see Fig. 2). Seats shall not be sprung to return to a li ed posi on.

Grab bars for water closets not located in stalls shall comply with Fig. 3. The grab bar behind the water closet shall be 36 in (915 mm) minimum.

Controls for flush valves shall be mounted on the wide side of toilet areas no more than 44 in (1120 mm) above the floor.

Toilet paper dispensers shall be installed within reach, as shown in Fig. 2. Dispensers that control delivery, or that do not permit con nuous paper flow, shall not be used.


Fig. 1_________________________________________________________________________________

71

Fig. 2____________________________________


Fig. 3_________________________________________________________________

Accessible toilet stalls shall be on an accessible route.

Toilet Stalls

The size and arrangement of the standard toilet stall shall comply with Fig. 4, Standard Stall. Standard toilet stalls with a minimum depth of 56 in (1420 mm) shall have wall-mounted water closets. If the depth of a standard toilet stall is increased at least 3 in (75 mm), then a floor-mounted water closet may be used. Arrangements shown for standard toilet stalls may be reversed to allow either a le - or right-hand approach.

In standard stalls, the front par on and at least one side par on shall provide a toe clearance of at least 9 in (230 mm) above the floor. If the depth of the stall is greater than 60 in (1525 mm), then the toe clearance is not required.

If toilet stall approach is from the latch side of the stall door, clearance between the door side of the stall and any obstruc on may be reduced to a minimum of 42 in (1065 mm).

Grab bars complying with the length and posi oning shown in Fig. 4, 5, 6, and 7 shall be provided. Grab bars may be mounted with any desired method as long as they have a gripping surface at the loca ons shown and do not obstruct the required clear floor area. Grab bars shall comply with.


Fig. 4____________________________________

Fig. 5___________________________________

73


Fig. 6 Fig. 7

Urinals shall be stall-type or wall-hung with an elongated rim at a maximum of 17 in (430 mm) above the finish floor.

Urinals

A clear floor space 30 in by 48 in (760 mm by 1220 mm) shall be provided in front of urinals to allow forward approach. Urinal shields that do not extend beyond the front edge of the urinal rim may be provided with 29 in (735 mm) clearance between them.

Flush controls shall be hand operated or automa c and shall be mounted no more than 44 in (1120 mm) above the finish floor.

Lavatories shall be mounted with the rim or counter surface no higher than 34 in (865 mm) above the finish floor. Provide a clearance of at least 29 in (735 mm) above the finish floor to the bo om of the apron. Knee and toe clearance shall comply with Fig. 8.

Lavatories and Mirrors

A clear floor space 30 in by 48 in (760 mm by 1220 mm) shall be provided in front of a lavatory to allow forward approach. Such clear floor space shall adjoin or overlap an accessible route and shall extend a maximum of 19 in (485 mm) underneath the lavatory.

Hot water and drain pipes under lavatories shall be insulated or otherwise configured to protect against contact. There shall be no sharp or abrasive surfaces under lavatories.

Lever-operated, push-type, and electronically controlled mechanisms are examples of acceptable designs. If self-closing valves are used the faucet shall remain open for at least 10 seconds.

Mirrors shall be mounted with the bo om edge of the reflec ng surface no higher than 40 in (1015 mm) above the finish floor.

Image from h p://www.access-board.gov

Fig. 8______________________________

Door Clearances:

Doorways shall have a minimum clear opening of 32 in (815 mm) with the door open 90 degrees, measured between the face of the door and the opposite stop.

Minimum maneuvering clearances at doors that are not automa c or power-assisted shall comply with the following Fig. 9:

75

Images from h p://www.access-board.gov Fig. 9___________________________________________________________________

The minimum space between two hinged or pivoted doors in series shall be 48 in (1220 mm) plus the width of any door swinging into the space. Doors in series shall swing either in the same direc on or away from the space between the doors.

Thresholds at doorways shall not exceed 3/4 in (19 mm) in height for exterior sliding doors or 1/2 in (13 mm) for other types of doors. Raised thresholds and floor level changes at accessible doorways shall be beveled with a slope no greater than 1:2.

Handles, pulls, latches, locks, and other opera ng devices on accessible doors shall have a shape that is easy to grasp with one hand and does not require ght grasping, ght pinching,

or twis ng of the wrist to operate. Lever-operated mechanisms, push-type mechanisms, and U-shaped handles are acceptable designs. When sliding doors are fully open, opera ng hardware shall be exposed and usable from both sides. Hardware required for accessible door passage shall be mounted no higher than 48 in (1220 mm) above finished floor.

If a door has a closer, then the sweep period of the closer shall be adjusted so that from an open posi on of 70 degrees, the door will take at least 3 seconds to move to a point 3 in (75 mm) from the latch, measured to the leading edge of the door.

Single Unisex Restroom:

Image from Bobrick.com

77

Mul -Stall Men’s Room:


Mul -Stall Women’s Restroom:


79

LEED for New Construction v2.2 Registered Project Checklist

Yes ? No

10 4 Sustainable Sites 14 Points

Y Prereq 1 Construction Activity Pollution Prevention Required1 Credit 1 Site Selection 1

1 Credit 2 Development Density & Community Connectivity 11 Credit 3 Brownfield Redevelopment 1

1 Credit 4.1 Alternative Transportation, Public Transportation Access 11 Credit 4.2 Alternative Transportation, Bicycle Storage & Changing Rooms 11 Credit 4.3 Alternative Transportation, Low-Emitting & Fuel-Efficient Vehicles 11 Credit 4.4 Alternative Transportation, Parking Capacity 1

1 Credit 5.1 Site Development, Protect or Restore Habitat 11 Credit 5.2 Site Development, Maximize Open Space 11 Credit 6.1 Stormwater Design, Quantity Control 11 Credit 6.2 Stormwater Design, Quality Control 1

1 Credit 7.1 Heat Island Effect, Non-Roof 11 Credit 7.2 Heat Island Effect, Roof 11 Credit 8 Light Pollution Reduction 1

Yes ? No

5 Water Efficiency 5 Points

1 Credit 1.1 Water Efficient Landscaping, Reduce by 50% 11 Credit 1.2 Water Efficient Landscaping, No Potable Use or No Irrigation 11 Credit 2 Innovative Wastewater Technologies 11 Credit 3.1 Water Use Reduction, 20% Reduction 11 Credit 3.2 Water Use Reduction, 30% Reduction 1

17 Energy & Atmosphere 17 Points

Y Prereq 1 Fundamental Commissioning of the Building Energy Systems RequiredY Prereq 2 Minimum Energy Performance RequiredY Prereq 3 Fundamental Refrigerant Management Required

10 Credit 1 Optimize Energy Performance 1 to 1010.5% New Buildings or 3.5% Existing Building Renovations 114% New Buildings or 7% Existing Building Renovations 217.5% New Buildings or 10.5% Existing Building Renovations 321% New Buildings or 14% Existing Building Renovations 424.5% New Buildings or 17.5% Existing Building Renovations 528% New Buildings or 21% Existing Building Renovations 631.5% New Buildings or 24.5% Existing Building Renovations 735% New Buildings or 28% Existing Building Renovations 838.5% New Buildings or 31.5% Existing Building Renovations 9

10 42% New Buildings or 35% Existing Building Renovations 103 Credit 2 On-Site Renewable Energy 1 to 3

2.5% Renewable Energy 17.5% Renewable Energy 2

3 12.5% Renewable Energy 31 Credit 3 Enhanced Commissioning 11 Credit 4 Enhanced Refrigerant Management 11 Credit 5 Measurement & Verification 11 Credit 6 Green Power 1

continued…

*Note for EAc1: All LEED for New Construction projects registered after June 26th, 2007 are required to achieve at least two (2) points under EAc1.

Project Name:Project Address:

Yes ? No

8 5 Materials & Resources 13 Points

Y Prereq 1 Storage & Collection of Recyclables Required1 Credit 1.1 Building Reuse, Maintain 75% of Existing Walls, Floors & Roof 11 Credit 1.2 Building Reuse, Maintain 100% of Existing Walls, Floors & Roof 11 Credit 1.3 Building Reuse, Maintain 50% of Interior Non-Structural Elements 1

1 Credit 2.1 Construction Waste Management, Divert 50% from Disposal 11 Credit 2.2 Construction Waste Management, Divert 75% from Disposal 1

1 Credit 3.1 Materials Reuse, 5% 11 Credit 3.2 Materials Reuse,10% 1

1 Credit 4.1 Recycled Content, 10% (post-consumer + ½ pre-consumer) 11 Credit 4.2 Recycled Content, 20% (post-consumer + ½ pre-consumer) 11 Credit 5.1 Regional Materials, 10% Extracted, Processed & Manufactured Regio 11 Credit 5.2 Regional Materials, 20% Extracted, Processed & Manufactured Regio 11 Credit 6 Rapidly Renewable Materials 11 Credit 7 Certified Wood 1

Yes ? No

15 Indoor Environmental Quality 15 Points

Y Prereq 1 Minimum IAQ Performance RequiredY Prereq 2 Environmental Tobacco Smoke (ETS) Control Required1 Credit 1 Outdoor Air Delivery Monitoring 11 Credit 2 Increased Ventilation 11 Credit 3.1 Construction IAQ Management Plan, During Construction 11 Credit 3.2 Construction IAQ Management Plan, Before Occupancy 11 Credit 4.1 Low-Emitting Materials, Adhesives & Sealants 11 Credit 4.2 Low-Emitting Materials, Paints & Coatings 11 Credit 4.3 Low-Emitting Materials, Carpet Systems 11 Credit 4.4 Low-Emitting Materials, Composite Wood & Agrifiber Products 11 Credit 5 Indoor Chemical & Pollutant Source Control 11 Credit 6.1 Controllability of Systems, Lighting 11 Credit 6.2 Controllability of Systems, Thermal Comfort 11 Credit 7.1 Thermal Comfort, Design 11 Credit 7.2 Thermal Comfort, Verification 11 Credit 8.1 Daylight & Views, Daylight 75% of Spaces 11 Credit 8.2 Daylight & Views, Views for 90% of Spaces 1

Yes ? No

5 Innovation & Design Process 5 Points

1 Credit 1.1 Innovation in Design: Provide Specific Title 11 Credit 1.2 Innovation in Design: Provide Specific Title 11 Credit 1.3 Innovation in Design: Provide Specific Title 11 Credit 1.4 Innovation in Design: Provide Specific Title 11 Credit 2 LEED® Accredited Professional 1

Yes ? No

60 9 Project Totals (pre-certification estimates) 69 PointsCertified: 26-32 points, Silver: 33-38 points, Gold: 39-51 points, Platinum: 52-69 po

Poten al Sites

81

Building Loca on: 33-01 Vernon Boulevard

Poten al Site 1:

Queens, NY 11106

Block: 321

Lot: 11

Zoning: Industrial/ Manufacturing

Building Area: 27,400 SF

Number of Floors: 2

Lot Area: 31,759 SF

Year Built: 1952

Image from Google.com/maps

Image from OasisNYC.net

Street View Looking Northwest Image from Google.com/maps

83

Street View Looking Southeast

Street View Looking South

Street View Looking West Images from Google.com/maps

Site 1 is appealing because it is across the street from a park with views to the East River. The building has an a ached parking lot on site. The neighborhood is somewhat industrial, yet on the verge of transforma on to a more cultural hub with the Noguchi Museum and Socrates Sculpture Park in close proximity.

Poten al Site 2:

Building Loca on: 110 Kent Avenue Brooklyn, NY 11211

Block: 2316

Lot: 49

Zoning: Commercial/Office Building


Number of Floors: 3

Lot Area: 5,000 SF

Year Built: 1925


85


Street View Looking Southwest Image from Google.com/maps

Street View Looking West

Street View Looking North

Street View Looking West (Lot Next to Site) Images from Google.com/maps

Site 2 is on a waterfront block in Brooklyn with clear views to Manha an. The building is located on a larger lot that connects directly to the waterfront. The neighborhood is industrial and in need of revitaliza on.

87

Poten al Site 3:

Building Loca on: 32-50 Vernon Boulevard Queens, NY 11102

Block: 313

Lot: 1

Zoning: Commercial/Office Building


Number of Floors: 1

Lot Area: 356,500 SF

Year Built: 1931



Street View Looking Southwest Image from Google.com/maps

89

Street View Looking North Image from Google.com/maps

Street View Looking West Image from Google.com/maps

View From West End of Lot Looking West

Site 3 is in very close proximity to Site 1—in fact it is on the same block but the opposite side. The loca on is directly on the East River and sandwiched between two parks: Rainey Park and the Socrates Sculpture Park. The site actually contains 2 structures that make up what is currently Costco Wholesale. Since the structures are so large, there are a lot of possibili es in how to use the site to connect to the surrounding natural elements of the river and parks. Addi onally, the op on to demolish one building would be a way to deal with the amount of square footage.

Project Program

Sta s cal Charts and Func onal Descrip ons

93

Public Lobby50

23,917

4 Public

4486

1,93

400

4no

itibi

hxE

23

28,0042

904

noit

acud

E

483

9,2

276

éfaC

31

057,

112

85no

itar

tsini

mdA

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/AN

/A2,651

3

Project 00

188,428

2148

9sl

atoT

Addional Exterior

)221,241

(:e

capS

Project

Sum

mary

% of Total

Departments

Total Sq. Ft. of Departm

entSecondary O

ccupancyPrim

ary O

ccupancy

Area cif

icep

Sno

itpir

cseD

)FS(

Remarks

Recepon/ Lobby

502

13264

3264

Lobby is also open gathering space for public

Recepon desk w

ith exhibi

on and educa

on info; public sea

ng

This area

m

ay

include

adjacent

exterior space3264

653Departm

ent 71

932

05s l

atoT

Area SubtotalCircula

on Factor 20%

Public Entry

Secondary O

ccupancyN

umber of

Rooms

Extension (# areas x sq.

Room or Area w

ithin Departm

ent Prim

ary O

ccupancyFurniture Fixtures &

Equipm

ent

Area cif

icep

Sno

itp ir

cseD

)FS(

Remarks

Exhibion Hall -

Permanent

2002

116320

16320

Permanent

exhibion on

world's

ecosystems,

current progress in conserva

on, etc.

Abundant w

all/display space; N

atural sunlight

Exhibion Hall -

Temporary

2002

116320

16320

Changing exhibi

on addressing an aspect of nature: sustainability in design, natural ar

facts, etc.

Abundant w

all/display space; N

atural sunlight32640

6528Departm

ent 86

193

400

4sl

atoT


on Factor 20%

Public Exhibion

Secondary O

ccupancyN

umber of

Rooms


Room or Area w

ithin Departm

ent Prim

ary O


Equipm

ent

95

Area cif

icep

Sn o

itpir

cseD

)FS(

Remarks

Classrooms

300

41000

4000Desks, w

hite board, projector/screen

Supply Closets1

02

2550

Library30

21

49974997

Mixed-m

edia center

Computers, printers,

scanners, copiers Auditorium

2000

112000

12000Fixed sea

ng Green Room

50

1250

250 Projector Room

20

140

40Projector

Lecture Hall50

02

10002000

Movable sea

ng

2 adjacent halls will

have a movable

paron to create

one large open space23337

4667Departm

ent 28004

290

4sl

atoT


on Factor 20%

Educaon

Secondary O

ccupancyN

umber of

Rooms


Room or Area w

ithin Departm

ent Prim

ary O


Equipm

ent

Area cif

icep

Sno

itp ir

cseD

)FS(

Remarks

Dining Area50

01

10001000

Tables & sea

ng

This space may be

combined w

ith the public lobby/gathering space

Kitchen5

01

10001000

Standard comm

ercial cooking appliances

Order/Pay Area

102

1248

248

Menu, register, &

counter w

/ prepared goods

Storage1 refrigerated storage; 1 pantry

Must have access to

delivery drop-off2448490

Department

8392

266

slat

oT


on Factor 20%

Cafe

Secondary O

ccupancyN

umber of

Rooms


Room or Area w

ithin Departm

ent Prim

ary O


Equipm

ent

00

2100

200

Area cif

icep

Sn o

itpir

cseD

)FS(

Remarks

Lobby/Recepon

51

1225

225Recep

on Desk O

pen Work Space

100

12500

2500 Private W

ork Space3

15

8504250

Conference Room15

01

900900

Formal m

eeng

Collaboraon Space

60

2500

1000

Work sta

ons conducive to brainstorm

ing and sm

all group la

mrof

nIkr

ow

mee

ng Storage

10

1917

91797921958

Department

0571

12

85sl

atoT


on Factor 20%

Administra

on

Secondary O

ccupancyN

umber of

Rooms


Room or Area w

ithin Departm

ent Prim

ary O


Equipm

ent

Area cif

icep

Sno

itpir

cseD

)FS(

Remarks

Men's Room

60

2325

65012 W

C/Urinals, 11

Lavatories1 Service Sink

Wom

en's Room6

02

325650

12 WC, 11 Lavatories

10 Drinking Fountains Fire Stairs

N/A

02

112224

Passenger ElevatorN

/A0

225

50 Freight Elevator

N/A

01

3535

Loading Dock5

01

600600

2209442

Department

1562

071

slat

oT

Service

Secondary O

ccupancyN

umber of

Rooms


Room or Area w

ithin Departm

ent Prim

ary O


Equipm

ent


on Factor 20%

97

Bubble Diagram

99

Recep on/Lobby

PermanentExhibi on

TemporaryExhibi on

Kitchen

DiningArea

Order/Pay Area

Storage

Storage

PrivateLobby

Open WorkSpace

PrivateWorkSpace

PrivateWorkSpace

PrivateWorkSpace

PrivateWorkSpace

PrivateWorkSpace

ConferenceRoom

Collabora onSpace

Collabora onSpace

Storage

SupplyCloset

ClassroomClassroom

Classroom Classroom

LibraryAuditorium

SupplyCloset

GreenRoom

ProjectorRoom

LectureHall

LectureHall

Enter

FreightElevator

LoadingDock

Men’sRoom

Women’sRoom

Men’sRoom

Women’sRoom

PassengerElevator

PassengerElevator

Stacking Diagram

101

Recepon/

Lobby3917 SF

Exhibion

39168 SFLevel 1:71,260 SF Assigned/77,345 SF Available

Level 2:16,384 SF Assigned/77,345 SF Available

Educaon

24004 SFCafe

2937 SFService1234 SF

Service634 SF

Administra

on11750 SF

Educaon

4000 SF

Bibliography

103

Books

Benyius, Janine M. Biomimicry: Innova on Inspired by Nature. New York: Harper Perennial, 2002. Print.

Falkenberg, Haike. Interior Gardens: Designing and Construc ng Green Spaces in Private and Public

Buildings. Basel: Birkhäuser, 2011. Print.

Kayden, Jerold S. Privately Owned Public Space: The New York City Experience. New York: John Wiley,

2000. Print.

Kellert, Stephen R., Judith H. Heerwagen, and Mar n L. Mador. Biophilic Design: The Theory, Science,

and Prac ce of Bringing Buildings to Life. Hoboken, NJ: Wiley, 2008. Print.

McHarg, Ian L. Design with Nature. Garden City, NY: Natural History, 1969. Print

Pearson, David. In Search of Natural Architecture. New York: Abbeville, 2005. Print.

Wines, James. Green Architecture. Köln: Taschen, 2000. Print.

Periodicals

Millard, Bill. "Designing the Building-Landscape Interface." Architect 100.7 (2011): 56-61. Art Full Text

(H.W. Wilson). Web. 30 Sept. 02012.

Pearson, Clifford A. "Renzo Piano Designs A Living, Breathing Building in San Francisco's Golden Gate

Park." Architectural Record 197.1 (2009): 48. Art & Architecture Complete. Web. 21 Sept. 2012.

Pollock, Naomi R. "Tadao Ando Bridges Nature and Structure at the Aomori Contemporary Art Center in

the Wooded Hills of Northern Japan." Architectural Record 192.10 (2004): 124-131. Art &

Architecture Complete. Web. 21 Oct. 2012.

Interviews

"Interview with Laura Jacobs, Director of Communica ons." E-mail interview. 5 Oct. 2012.

Websites

"About the Academy." CalAcademy.com. California Academy of Sciences, n.d. Web. 22 Sept. 2012.

<h p://www.calacademy.org >.

Arsenault, Peter J. "Indoor Air Biofilters Deliver Clean Air Naturally."

Con nuingEduca on.Construc on.com. Architectural Record, Nov. 2012. Web. 28 Nov. 2012.

<h p://con nuingeduca on.construc on.com >.

Cockram, Michael. "Crystal Bridges Museum - Safdie in Arkansas." ArchitectureWeek. Architecture

Week, 1 Feb. 2012. Web. 12 Oct. 2012. <h p://www.architectureweek.com >.

Crystal Bridges Museum. Crystal Bridges Museum of American Art, n.d. Web. 12 Oct. 2012.

<h p://crystalbridges.org>.

Currey, Mason. "Rediscovered Masterpiece: The Ford Founda on." MetropolisMag.com. Metropolis

Magazine, 17 Dec. 2008. Web. 22 Nov. 2012. <h p://www.metropolismag.com >.

Goff, Liz. "Astoria History." Astoria.org. N.p., n.d. Web. 2 Dec. 2012. <h p://www.astoria.org >.

LaBarre, Suzanne. "Ul mate Client." MetropolisMag.com. Metropolis Magazine, 17 June 2009. Web. 5

Nov. 2012. <h p://www.metropolismag.com >.

Nature.org. The Nature Conservancy, n.d. Web. 11 Sept. 2012. <h p://www.nature.org>.

105

Toomey, Diane. "Designing the Urban Landscape to Meet 21st Century Challenges." E360.Yale.edu. Yale

University, 5 Dec. 2012. Web. 6 Dec. 2012. <h p://e360.yale.edu>.

"USGBC Project Profile: U. S. Green Building Council Headquarters Washington, DC." USGBC.org. U.S.

Green Building Council, 2009. Web. 10 Oct. 2012. <h p://usgbc.org>.

Site Selec on and Documenta on

Site Analysis

109


Building Loca on: 32-50 Vernon Boulevard

Queens, NY 11102

Block: 313

Lot: 1

Zoning: Retail


Number of Floors: 2

Lot Area: 298,586 SF

Image from bing.com

Southeastern façade from Vernon Blvd.

111

Looking south on Vernon Blvd. with Costco on the right and the Noguchi Museum on the le Map from Bing.com

Looking southwest through parking lot Map from Bing.com

Perspec ve Key Plan:

Looking southeast through parking lot Map from Bing.com

Main entry; northeast façade from parking lot Map from Bing.com

113

Northeast façade through parking lot Map from Bing.com

Path at perimeter of parking lot facing East River Map from Bing.com

View across East River looking west from path Map from Bing.com

View looking North from path Map from Bing.com

The site is directly on the East River and sandwiched between two parks: Rainey Park to the south and the Socrates Sculpture Park to the north. This waterfront neighborhood within Astoria, Queens is fairly residen al since the 1920s and ‘30s when rapid transit was established into Manha an. Many apartment buildings and housing complexes were built at this me and are s ll occupied today. The neighborhood also has a strong history in culture and the arts. Directly across Vernon Boulevard from the site is the Noguchi Museum (former studio of ar st Isamu Noguchi), and less than a mile from the Museum of the Moving Image which was originally the studios of Paramount Pictures. The neighborhood also once contained the Steinway piano factories. Although many of these industries have since le this neighborhood, there is s ll a strong sense of community that I no ced with people walking and jogging along the streets. I think si ng my building here would add to this neighborhood’s culture as a public building of educa on and innova ve design.

This site is suitable for my project because it is adjacent to water and land (the East River, Rainey Park, and the Socrates Sculpture Park) with views to Manha an. When I visited this site I found a very pleasant tree-lined path at the perimeter of the Costco parking lot with sea ng along the waterfront. People were here fishing and admiring the view and access to water, despite its somewhat hidden loca on behind the busy parking lot. Even though the current building does not take full advantage of its waterfront loca on (something I certainly intend to improve upon), it is clear there is a desire to gather on this site and appreciate its loca on even though the func on of the building is en rely unrelated.

Both aspects of nature and building will be visually and physically linked to my project to support the overall par of building with nature. Since my project will include public programs of exhibi on and lectures on nature conserva on and a philosophy of living with nature (even in an urban environment), I believe the loca on in the urban metropolis of New York City is crucial to the strength of the various philosophies I will explore within my project: why it is important to access nature, how humans benefit from exposure to nature, and examining the interface between the built and natural environments.

The site is currently accessible by mass transit. The N/Q subway line stops 8 blocks from the site at Broadway Avenue and 31st Street. From the subway you can walk or take the Q104 bus which stops directly in front of the site. Addi onally, the loca on on the water would allow for ferry access from Manha an if I choose to incorporate that into my final design.

The site actually contains 2 structures that make up what is currently Costco Wholesale. Since the structures are so large, I would propose to demolish one building to provide a more feasible square footage (154,690 SF among 2 floors). The building is a manufactured steel construc on with 7’ masonry walls at its base. It is a very simple building with metal siding and clerestory windows. The lack of design on the exterior will allow for greater opportuni es in the design process of the project.

115

Base Building Drawings

117

100 200 400

East River

Roosevelt Island

East River

Manha an

Astoria, Queens

Rainey Park

SocratesSculpture

Park

SocratesSculpture

Park

Vernon Blvd

33rd Rd

Broadway

34th Ave

35th Ave

21st

St

Site Plan

NoguchiMuseum

Astoria HealthPlayground

Long Island CityHigh School

N

119

PARKING

TO BE DEMOLISHED

VERNON BLV

D

33RD RD

NSite Plan

1/64” = 1’-0”

EAST RIVER

A

A

B B

121

Northeast Eleva on

1/32” = 1’-0”

Southeast Eleva on

1/32” = 1’-0”

123

SECTION B-B

1/64” = 1’-0”

SECTION A-A

1/64” = 1’-0”

Thesis Proposal Research Book by Kazuki Daimo

Documents

Transcript of Thesis Proposal Research Book by Kazuki Daimo