LEED GA + ASSOCIATE AIA
scale: 1/8" = 1'-0"
scale: 1/4" = 1'-0"
scale: 1/8" = 1'-0"
scale: 1/8" = 1'-0"
scale: 1/8" = 1'-0"
scale: 1/4" = 1'-0"
scale: 1/4" = 1'-0"
scale: 1/4" = 1'-0"
scale: 1/4" = 1'-0"
scale: 1/4" = 1'-0"
scale: 1/4" = 1'-0"
"SPLINAL WORKS": BOWSTRINGS ON ACID
Los Angeles, CA
SPRING 2018
Roland ...
This 30,000 sf project derived from a bowstring truss transformation. The structure does not facilitate natural light; therefore, I explored the rotation of the truss and the connection of the roof joists to create oculi. Further transforming the linearity of the structure, I created a splinal beam that curves around controlled programmatic circles. Adding a curvature in plan and section changed the spans of the trusses. The curvature of the structure, along with a standard height to width ratio, resulted in a gradually undulating and rotating roof scape.
Due to the driving circular geometry, I referenced the Aldo Van Eyck Pavilion. The interior walls align with the structural grid and project the geometry of the spline into the occupied space to then regulate the linear program distribution. This facilitates a linear programmatic distribution and an open free space for circulation that cuts across the center and unites all parti. The interaction and relationship of the building components establishes a connection between the exterior, structure and interior that further emphasizes how the structure manipulates every component of the design harmoniously.
As a building placed in the Los Angeles Arts District, I proposed to redefine and reverse the typically found materials and density in which there are opaque murals on the street facades that disconnect the public from the building's program and mask the interior. Therefore, I made the roof a canvas and the facade transparent, light and permeable to allow the street and interior to appear connected as one fluid space. By making the walls transparent glass panels, similar to Zaha Hadid's Heydar Aliyev Center, the surrounding environment has a direct relationship with the museum programs. The fifth facade drawn is a representational color palette used to propose working with a local artist to paint a mural.
It was important to me to transcend the roof art into the interior through the oculi to relate and unite the people, community and architecture at a human scale. Due to the roof undulations, I referenced the Santa Caterina Market ceramic tiles; however, I found that shingles would be more flexible and forgiving of the form.