Luận án Kiến trúc: Tái tưởng tượng Sống bền vững qua Thiết kế Giao hưởng

UILDING AS BRIDGE RE-IMAGINING SUSTAINABLE LIVING THROUGH SYMPHONIC DESIGN EMMA DEMARTELAERE 2UILDING ÀŠ BRIDG RE-IMAGINING SUSTAINABLE LIVING THROUGH SYMPHONIC DESIGN A Design Thesis Submitted to the Department of Architecture and Landscape Architecture of North Dakota State University By Emma DeMartelaere In Partial Fulfillment of the Requirements for the Degree of Master of Architecture Primary Thesis Advisor Wee ancy P— Thesis Committee Chair May 2016 Fargo, North Dakota THESIS PROPOSAL I8 V20 i60 na. 9 NARRATIVE OF THE THEORETICAL ASPECT OF THE THESIS. - + k1 nh nọ HH 19 TYPOLOGICAL RESEARCH. HH TH HH HH nh 21 Case Study 1 Case Study 2 Case Study 3 Case Study 4 Case Study 5 MAJOR PRO.- Q1 19H HH HH nh nh 41 USER/CLIENT DESCCRIPTION.-- 25 1232111231113 135551155511 E11 111 krrrrre 43 PROJECT SÏTE.

- Gà HH HH TH nu nọ HH 44 I4951=®@850/1án/ S1. 47 GOALS OF THE THESIS PRO. - G1111 HH ng nh nh 48 PLANFOR PROCEEDINC. G5 c1 tr 50 THESIS PROGRAM RESULTS FROM THEORETICAL PREMISE RESEARCH.::ccessceseeeeeeeeeeseeeeseeensnes 55 PROJECT JUSTIFICATION.

67 HISTORICAL, SOCIAL, CULTURAL CONTEXT OF THESIS. 9ó SL EOE ONTENTS DESIGN SOLUTION ARTEFACTINVESTICATION. - G - HT TH HH n n kt ARCHITECTURE and PERFORMANCE ANALYSIS. SH TH HH HH TH Thu TH TH HH nh kh APPENDIX REFERENCCES.

HH HH TH HT TH HH HH HH HH HH PREVIOUS STUDIO EXPERIENCCE.-- G1 11911 HH ngưng ABOUT THE AUTHOR. Úc LH TH ng TH HH nh ng Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 01 43 44 45 46 47 48 49 50 51 52 | Title Page Photo 02 | Highpark Entrance 03 | Highpark Aerial Photo 04-05| Highpark Floor Plans 06-08 | Highpark Detail Photos 09-14 | Highpark Circulation and Form Studies 15 | Highpark Section 16 | Daeyang Exterior 17 | Daeyang Interior 18 | Daeyang Stairs 19 | Daeyang Section 20-22 | Daeyang Gallery and House 23 | VLP Chapel 24 | VLP Chapel Plan 25| VLP Chapel Interior Elevation 26-34 | VLP Chapel Interior 35 | House of Suicide 36 | House of Suicide Sketch 37 | Long String Instrument 38 | Ellen Fullman 39 | Downtown Minneapolis 40-42 | Downtown Minneapolis 2 Work Plan Schedule Guthrie Theater Minneapolis Stone Arch Bridge Mill City Museum Minneapolis, MN Downtown Site Site Viewed from Inside Guthrie Theater Stone Arch Bridge Viewed from Guthrie Built Features Isometric Map Traffic Map Views from Site Diagram Figure 53-56 | Views from Site 22 23 24 25 26 27 28 29 30 30 31 32 34 34 35 36 37 38 39 44 45 53 ó8 Z1 72 74 76 78 81 82 84 85 —Ễ^_` `.-> Figure 57 | Topography and Soil Map 86 Figure 58 | Zoning Map 89 Figure 59 | Parking Requirementss 90 Figure 60 | Temperature Graph 92 Figure 61 | Monthly Weather Averages Chart 93 Figure 62 | Annual Weather Averages Chart 93 Figure 63 | Humidity Graph 93 Figure 64 | Wind Diagram 94 Figure 65 | Wind Speed Graph 94 Figure 66 | Sunpath Diagram 95 Figure 67 |Cloud Coverage Graph 95 Figure 68 |Network Diagram 99 Figure 69-71 | Artefact 100 Figure 72-86 | Process Models 102 Figure 87 | Art Venue Map 104 Figure 88 |Intro 1 106 Figure 89 |Intro 2 107 Figure 90 | Exposition 108 Figure 91 |Systems Section 109 Figure 92-93 |Site Maps 110 Figure 94 | First Floor Plan TT] Figure 95 |Second Floor Plan 112 Figure 96 |Third-Fifth Floor Plans 113 Figure 98 |Development: Residence Winter 114 Figure 97 |Development: Residence Summer 114 Figure 99 |Development: Gallery 115 Figure 100 |Development: Library 115 Figure 101 | Recapitulation 116 Figure 102-103| Egress 117 Figure 104| Greywater Section 118 Figure 105| Hydronic Heating System 118 Figure 106| Wall Section 119 Figure 107| Photo of Display 120 Figure 108] Digital Display 121 —ỄƑễ—Ằ—Ằ———__. Can architecture re-interpret our modern approach to sustainable design by re- connecting to the experiential realm of the human being, rather than being merely an application of scientific formulas to a building? For German Philosopher, Martin Heidegger, a bridge is a manifestation of the fourfold—Earth, Sky, Divinities, and Mortals—which is at the root of all dwelling. He believed that preserving this fourfold is how we dwell in a holistic way on earth.

This understanding of sustainable living requires human participation. Today, sustainable design has disregarded human participation with its specialized application, limiting our Understanding of its relationship to the larger world. However, the task of architecture is not to reduce our understanding with the world, but rather to, like music, invite us into a space for interpretation; calling us to participate in its experience. My project re-interprets sustainable living based on Heidegger's sense of dwelling, by creating an atmosphere that establishes a harmonious relationship between all things—Earth, Sky, Divinities, and Mortals.

Located in the artistically dense community of downtown east Minneapolis, MN, | propose a mixed-use residence for artists participating in local residency programs. It includes retail, apartments, artist studios, exhibition space, a research library, and informal performance space. The design provides an opportunity for the city to engage in meaningful and multi-layered cultural exchange between communities through the works of visiting artists. Inspired by the way one participates in music and framed in the structure of a symphony, architecture brings all things together—bridging city to city, individual to community, nature to technology— into one harmonious composition.<-^- ASPECT OF THE THESIS Sustainability.

This word carries a lot of weight today in the design field. It’s innovative, it’s GREEN! It will save our planet and allow our children’s children to experience and enjoy this earth for generations to come. Today, this term sustainability has been deemed the solution to all our Earth’s environmental problems and it is practiced as a set of predefined formulas ready to apply to the next great sustainable design. Popular belief is that if you follow the path of LEED or other sustainable formulas, you are being ethically responsible to our planet.

The reality though, is that sustainable design is not just a checklist or set of formulas that can be blindly tacked on to the design of a building. It must take into account environmental context, inhabitants and the building itself, bringing all things together into a harmonious existence, in order to truly be sustainable. Today, sustainable design has lost touch with the everyday person. The formulaic response of sustainable design requires the knowledge of a specialist, making its practice abstract and inconsequential to the everyday person.

Because of its specialization, people see sustainability as something that is out of their individual control and a problem for the trained architect or engineer to solve. This is part of our society’s collective action problem, which is being heightened by globalization. We are becoming connected more and more globally and less and less locally each day, causing us to lose connection with our local environments and our place in the larger world. The specialization of our modern culture can be seen in all areas of our lives.

German Philosopher, Hans-Georg 11 Gadamer explains the specialization of culture in his book The Enigma of Health. He uses an example from the past when families would have one doctor for the entire family who would visit them in their home. This allowed the doctor to observe the home environment in its entirety giving indications of the patient's lifestyle which the doctor could take into account when evaluating the patient’s health. Today’s doctors no longer take this holistic approach to patient care.

Now, each of us has many doctors, who each specializes in a different part of our health, and who gives us the same treatment as all other patients, after examining our health in the same unrevealing office environment. The specialization of culture has created a disconnection between the specialist and the everyday person—between physician and patient. To a physician, illness is a state of the body that’s defined by a collection of signs and symptoms. Assessing or focusing on the signs or symptoms he categorizes the illness as being a typical case of a certain disease.

However, a patient does not see his illness in terms of signs and symptoms, rather he sees it in terms of how he is experiencing the illness—as an effect on his ability to do regular activities. “As Eric Cassell, MD and M.P, notes, ‘on being presented with a sick person, doctors do not attempt to find out what is the matter but, rather, attempt to make a diagnosis’” (Toombs, 1992, p. This is similar to the diagnostic applicability of sustainability to architecture. Architects complete an examination of a building to determine the correct formula, or diagnosis, to apply in order to make it sustainable, or healthy.

However, sustainability, like health, cannot be analyzed exclusively in terms of science. Like health, it is to be Understood in reference with the experiential realm of the human being. This experiential realm is available to us through an embodied consciousness. We experience the world through our bodies, and in the process gain a better understanding of the world and of ourselves.

Alberto Pérez-Gémez explains this concept in Mood and Meaning in Architecture, “The mind and the world are simply not separate and independent 12 of each other; the mind is an embodied dynamic system in the world, rather than merely a neural network in the head” (2015, p. “This embodied, nondualistic understanding of reality includes our emotions and feelings; .and its most significant experience is Stimmung: attunement, understood as a search for lost integrity, health, wholeness and holiness” (Pérez-Gomez, 2015, p. German Philosopher, Martin Heidegger refers to Stimmung, or mood, as our sense of being in the world. As writer Matthew Ratcliffe states in Why Mood Matters, “.‘' Mood’ or [Stimmung] makes a substantial contribution to the sense that we have of belonging to a world” (2015,p.

Our sense of being in the world is attuned through our bodily encounters with the world. Each of these encounters has the potential to significantly influence our mood. Seventeenth century German scholar, Athanasius Kircher would argue that music is one such encounter. His musical theory, “portrays the body.as an object assaulted by sound, ina state of constant excitement and agitation.” He believed that, “The nerves and muscles in the human body are moved by music, like the strings of an instrument” (Spitzer, 2004, p.

In this way, we experience joy—an extension of the soul—when the strings of life are extended and sadness when they are contracted. These moods are spontaneously express by our bodies, which others pick up on and respond to, our moods resonating between one another. Citing Gaston Bachelard, Pérez-Gédmez explains this idea, “We literally resonate with another’s experience. First there is reverberation, followed by the experience in oneself of resonances, and these eventually have repercussions in the way we perceive the world.

This is how the poetic image is communicated, and we can all have the experience of being cocreators” (2015, p. These resonances between ourselves and our environments, between one another are how we exist in an ongoing historical order. It is important to acknowledge our own mortality and that after our individual existence, life continues, and the contributions we make here and now, 13 positive or negative, are the part of us that will continue to exist long after. As Karsten Harries states in Lessons of a Dream, “The individual who takes his own death to be the end that circumscribes all others would exist inauthentically precisely because he has refused to acknowledge the tragic tension between individual and species in a human being” (1996,p.

The Common belief is that we as humans are self- sufficient wholes, but the reality is that we are a part of an ongoing community.