While each force impacting the formation / deformation of this house is a very immediate natural, legal, physical reality to be dealt with, the realization of these effects results in a spiritual awareness of multiple and simultaneous, fluid and overlapping possibilities that can be understood as representative of fundamental tensions involved in a desire for structural order within the complexities of nature and human experience.
The house sits on a narrow south facing point of land on Puget Sound occupied since 1910 by a small house and out-buildings. The former buildings were surrounded by rockeries and plantings as well as a roughly circular grove of 200 year old Douglas Fir trees. The natural and human-made conditions of the site had established wonderful outdoor spaces and patterns of use that had considerable meaning to the clients and which it was important to connect to and maintain. comprar flomax sin receta
To preserve the existing trees required largely limiting new construction to the existing building excavations. The new and larger building is inserted so as to maintain the existing topography, open space and occupation patterns essentially unscathed. Only one tree was removed to make way for the new house, and this large, twin-forked Port Orford Cedar became the important structural column at the center of the new home. Surrounding greenhouses, docks, bulkheads and other structures were repaired as necessary and maintained to preserve the rich texture of human activity on the site built up over many years.
The site is long and narrow with the narrow end facing directly south onto the beach with a 180° view from Mt. Rainier at the East to the Southernmost Olympic Mountains at the West. The determination to take advantage of sweeping views and to draw in sunlight at all times of the day causes the house to pull this way and that to gain access to these views and light without removing trees or destroying the character of the shoreline.
Multiple overlapping legal setbacks from the shoreline, the property lines, the natural runoff, the septic system and other factors overlay the site with a complex multi-angled grid of limitations. In addition to these legally defined setbacks are the sightlines identified to preserve the neighbors’ views, setbacks to preserve tree roots and existing site structures, height limitations to bring sunlight into the central courtyard at critical times of the day and the desire to shield this central outdoor space from the prevailing afternoon winds.
The spiritual and physical center of this house is the egg shaped kitchen island, the distorted circle from which the house forks outwards toward its competing objectives. This forking, seeking expansion is continually replayed in the form of the house and its components, from the Y shaped steel deck beams cantilevering out from above the egg, to the forked cedar column, to the freestanding kitchen cabinets surrounding the egg to the essential family relic Krumkake iron hung from a special hook on the steel column beside the egg, to the plan of the house itself and its forking, multifaceted attentions.
compra diclofenac LOCATION: San Francisco, CA
Buy Accutane PROJECT SIZE: 16,000 sf
acheter biaxin BUILDING TYPE: Exhibition space
acquistare aldara AWARDS:
2009 American Institute of Architects/TAP National Building Information Modeling (BIM) Award, Honorable Mention for Autodesk Gallery at One Market, san Francisco
2009 Association of Briefing Program Managers (ABPM) Award, “Best New or Renovated Center,” for Autodesk Gallery and Customer Briefing Center.
2009 International Interior Design Association, Northern California Honor Award in Sustainable Design for Autodesk Customer Briefing Center.
comrar venta motrin NARRATIVE:
A media-intensive, 16,000 square foot exhibition space for digital design and fabrication, this project was delivered under a fast track, design-build, Integrated Project Delivery (IPD) contract. The design and construction process took place entirely using collaborative Building Information Modeling (BIM). The project consists of exhibition galleries, artist-in-residence digital design studios, conference and education spaces, with advanced multimedia audio-visual, information technology, and digital fabrication systems integrated into the spatial design of the architecture.
The design process and design concept work together to emphasize four integrated points reinforcing the owner’s intended message: Parametric modeling in support of integrated practice, sustainability and design innovation. With these goals in mind—and the intention to draw upon the unique site and to distinguish a multi-industry software maker’s creative project from more static exhibitions of physical products—the architects introduced the intention to design a space of “creative immersion in an ever-refreshing, media-saturated, special-for-me experience blossom floating within San Francisco clouds.”
To accomplish these goals, the physical space consists of a very simple, rectilinear background structure of translucent fabric boxes suspended above a polished concrete floor. The palette of materials is limited to white drywall and steel, polished concrete, and translucent white fabric hung within the exposed brick and concrete frame of the existing historic building, the large round-topped windows of which open out onto the fog-shrouded downtown waterfront. The primary spatial experience of the project is not the physical structure, but is instead the image content projected onto the system of taut white fabric boxes flowing fog-like throughout the space, defining individual galleries and meeting spaces, yet tying the space together as a single experiential thread of immersion within floating film imagery. Utilizing a complex grid of 84 projectors and hundreds of focused speakers, a coordinated film can wander through the entire space of the project—perhaps tracking a swarm of butterflies floating above a field of time-lapse blossoming flowers, or tracing the flow of blood through an animated digital heart.
The projection screen boxes are themselves the lowest-hanging components of a field of similar fabric boxes suspended from the ceiling. Together this single background field of cloud-like, undulating rectilinear space serves as projection screens, space dividers, acoustical dampeners, and support enclosure for the dense array of projectors, speakers, computer boxes, mechanical equipment and lighting systems that would otherwise form the predominant and overwhelming image of the space. Within this undulating white cloud, the spatial experience focuses on the software exhibition of human creativity and technological results, rather than on the hardware experience of technological support. Local reclaimed Redwood millwork, Sierra granite, and black recycled steel complete the physical exhibition and furnishing support closest to the body.
As part of a larger, integrated office, conference and gallery complex of 35,000 square feet, the overall project was managed under an equal IPD partnership of two architecture firms (Anderson Anderson Architecture and HOK, designer of the adjacent office spaces); builder (DPR Construction); and owner (Autodesk). This new IPD contract method aligns the interests of all parties and equally incentivizes cost-savings, project speed, quality and design innovation. Together, the project team has delivered a LEED Platinum sustainable project, the highest rating for green construction. The project was delivered in an extremely tight design and construction timeframe, meeting target budget and time schedules, with substantial additional program added into the project during the course of construction, thanks to under-budget savings and the nimble and collaborative contract structure. With its design partner, McCall Design Group, Anderson Anderson Architecture subcontracted and managed a diverse team of engineers, consultants, and technology design collaborators. The project achieved a top, 100% quality and innovation rating in the IPD contract incentive evaluation provided by an independent peer review.